Franz Liszt was born 22 October, 1811 in Raiding to an official in service on the estate of Prince Nikolaus Esterházy, and a talented amateur musician. He was one of the most prominent figure in the 19th century, and the greatest pianist of all. His works, included both piano and symphonic ones, were splendid and extravagant in style.
To me, he is a god. The god of beauty and perfection. I just couldn't exactly understand why such a talented man could enjoy all the beauties of life. Not only his works were recognised and honoured by all his comtemporaries, he possessed the personal magnetism of which legends are made. He was so handsome (I have to admit) that he was always surrounded by his admirers (including La Dame aux Caméllias), followers and friends (among them were Victor Hugo and Geroge Sand, and Hetor Berlioz). He was also lucky enough to receive a kiss on his forehead by Beethoven. Who else in history can enjoy such a prestige?
Inseperable from the legend of pianist was that of the lover. Liszt never married. His path for the better part of fifty years led through a thicket of sighs, tears and threats of suicide. The story of his life is definately dramatic, at least, when his love stories are concerned. And I'm quite sure, it is worth taking a film on it. Crimson is definately a colour for him, for he was noble and irresistable.
In his last yeass Liszt entered the Church, partly because of escaping from his many love affairs, or grieving for them. He took minor orders and was known as Abbé Liszt. When he was 75, he was received with enthusiasm in England, where the people had always been reluctant to recognise him as a composer. He died on 31st July, 1886 during the festival of Wagner's works in Bayreuth, naming with his last breath the masterpiece of the "Music of the Future"—Wagner's opera Tristan und Isolde.
His music sets you on fire, brings you up to the sky, out in the universe and deep down into the ocean. No one could have imagined unless they experienced them. And I must say, though somewhat expected (with his own virtuosity), that his music is also technically demanding, especially with the 12 Études d'exécution transcendanteand Sonata in b minor written for piano.
His goal was pure lyric expression, the projecting of a state of soul through what he called "the mysterious language of tone". Thus, he based nearly all his music on the technique of thematic transformation.
His greatest influence on music history was the innovation of symphonic poem. It opened new paths for composition techniques, and served as the door to modern music.
Symphonic poem, sometimes called tone poem, is a single-movement programme piece for orchestra like a concert overture, but is often more lengthy and freer in construction. Programme Music, just as Liszt once said, "is the renewal of music through its inner connection with poetry." And this is exactly what Liszt's music is about.
