Franz Liszt

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风格: #协奏曲　#歌剧　#教堂音乐　#西方古典　#交响曲　#奏鸣曲　#浪漫主义　#器乐独奏
地区: Hungary 匈牙利

艺人介绍

李斯特·费伦茨（匈牙利语：Liszt Ferenc，1811年10月22日－1886年7月31日），更常见名称为弗朗茨·李斯特（德语：Franz Liszt），匈牙利钢琴演奏家和作曲家，浪漫主义音乐的主要代表人物之一。

李斯特出生于奥地利东部一个叫莱丁的村庄，当时匈牙利是奥匈帝国的一部分，他父亲是匈牙利人，母亲是奥地利的日耳曼族人，因此他有两个名字，分别是匈牙利和奥地利德语两种拼法，他从小随母亲说德语，直到晚年才学会用匈牙利文写作。匈牙利人自诩为欧洲唯一的有色人种，他们的姓名排列也和其他欧洲人不同：姓在前，名在后。

李斯特的父亲是一位业余音乐家，他5岁时由父亲教会弹奏钢琴，8岁时开始作曲，9岁登台表演，获得匈牙利贵族资助赴维也纳学习，师从著名钢琴教育家卡尔·车尔尼，他曾说：“我的一切都是彻尔尼教我的。”贝多芬曾听其演奏，并亲吻其额头。1823年全家迁居巴黎，1824年在巴黎首次公演获得成功。

1835年他和达尔古特伯爵夫人到日内瓦同居，1840年分手，伯爵夫人为他生了三个孩子，其中一个女儿后来嫁给瓦格纳。分手原因是李斯特要为伯恩贝多芬墓地修缮筹资而进行欧洲巡回演出，伯爵夫人带着孩子回到巴黎。1843年李斯特担任魏玛大公的宫廷乐长，1848年他又和俄国亲王王妃莎茵-维特根斯坦同居，并成为贵族，改名为弗兰兹·冯·李斯特。1861年赴罗马，为了不和王妃结婚，1865年李斯特出家成为天主教神职人员，但仍然身着神父的黑袍在德国，奥地利，匈牙利和意大利各处奔走授课，并分文不取，扶助了许多年轻音乐家，如葛利格、德布西、鲍罗丁等，为普及音乐作出了相当大的贡献。

匈牙利人为了争取独立，将李斯特看作是民族英雄，每次邀请他回匈牙利，都会举行盛大的欢迎仪式。1886年他在德国的拜罗伊特（巴伐利亚州靠近捷克边境）因肺炎不治去世，安葬于当地。

从李斯特开始，欧洲音乐家的地位开始迅速提升，国王王公们都会对他脱帽致敬。

李斯特生前曾是欧洲最伟大的钢琴演奏家，经常奔波在欧洲各地演出，他彬彬有礼，善于迷人，坚定地支持肖邦、柏辽兹和瓦格纳，他积极探索钢琴的演奏技巧，充分灵活地运用转调手法和音色变化的技巧，并推动了管弦乐队的改革，他的演奏往往是即兴的，是一种创造性的演奏，有时就是现场创作，因此相当吸引观众。他在魏玛时为许多新进的年轻音乐家提供了演出舞台，他经常亲自担任指挥，让这些先锋音乐家自己出演。

他一生创作了700多首音乐作品，并创造了交响诗这一音乐形式。他的主要音乐作品有吉普赛风格的《匈牙利狂想曲》（米高梅出品的动画片“猫和老鼠”其中获奥斯卡奖的一集“汤姆猫弹钢琴”使用了完整的匈牙利狂想曲作为全集的背景音乐，也显示出这个曲子弹奏的复杂技巧），《浮士德交响曲》，《但丁交响曲》，《帕格尼尼练习曲》，《瓦格纳改编作品：汤豪舍》等。有人认为他的作品技巧辉煌，内容肤浅，但他不愧是位伟大的音乐革新家，并在历史上对改善音乐家地位，推动新生音乐风格起到相当大的作用。他最著名的贡献包括发明了交响诗这一体裁。

他还著书立说，出版多部论文和书信集，他的论文《论艺术家的处境》对改善音乐家的社会地位起到很大的作用。

李斯特部分著名作品简介

爱之梦

《爱之梦》，S541，实际上是3首夜曲，据乌兰（Ludwig Uhland，1788-1862）与符利拉德（Ferainand Freiligrath）的诗上所附《男高音或女高音独唱用的三首歌曲》(Drei Lieder Für eine Tenor oder Sopran-Stimme)的编曲。共三首：1.据乌兰的《高贵的爱情》（Hohe Liebe）而谱曲，富于表情的小行板，降A大调。2.据乌兰的《神圣的死亡》（Seliger Tod）谱曲，极似慢板，E大调。3.优雅的快板，降A大调，据符利拉德的《尽其所能爱的去爱》（O lieb,so lang du lieben kannst）谱曲。

音乐会练习曲之一：森林的细语

李斯特从青年时代开始受肖邦、帕格尼尼等人的影响，苦练钢琴技巧，成为首屈一指的钢琴演奏家。此后他也作了一些肖邦式的练习曲。《森林的细语》（Waldesrauschen ）是李斯特呈现给其弟子普鲁克纳的《两首演奏会用练习曲》之一，这两首乐曲作于1862-1863年。热爱大自然，崇拜大自然本是浪漫主义作家创作的一大特征，而写作此曲时作曲家已洞悉人世荣则极盛、逆则难逾的真谛，他于罗萨利奥圣母修道院所在的马里奥山冈俯瞰俗世，写出这富于哲理的名曲有其个人的感受。李斯特把音乐从近乎耳语的声（pp，极弱），发展到飓风般地撼天气

《汤豪舍序曲》钢琴改编版

《汤豪舍》（Tannhauser）原是瓦格纳创作的三幕歌剧。作于1842-1845年完整标题为《汤豪舍以及瓦尔特堡的歌咏比赛》。音乐以小号的号角式演奏揭开了典礼的序幕，音乐进入舒展高雅的“高雅主题”，使人们仿佛看到了潇洒的绅士和端庄的贵妇人的进行队列。而《汤豪舍》的序曲可以说是整个故事情节的缩影。整首作品不但技巧繁复且气势磅礴。有三个部分构成，中间部分表现肉欲感的维纳斯堡的世界，前后两个部分是虔诚的朝圣者的音乐。而且这是一首结构宏大的歌剧改编曲，从各种快速音阶、琶音、双音到左右手跳跃的八度、和弦，是典型的李斯特笔下的炫技式作品。

《梅菲斯特圆舞曲》

此曲也常被译为《魔鬼圆舞曲》，因为梅菲斯特就是歌德剧作《浮士德》中的魔鬼。李斯特的这部作品原来是一首钢琴独奏曲，作曲家在1862年将它改编成约10分钟长的管弦乐交响诗，而后又将其发展成共约70分钟长的三乐章交响曲《浮士德》中的终乐章。钢琴版的《梅菲斯特圆舞曲》堪称是李斯特炫技作品的代表。

Franz Liszt, T.O.S.F. (Hungarian: Liszt Ferencz; October 22, 1811 – July 31, 1886), in modern use Liszt Ferenc (from 1859 to 1867 officially Franz Ritter von Liszt, was a 19th-century Hungarian composer, virtuoso pianist, conductor, teacher and Franciscan tertiary.

Liszt gained renown in Europe during the early nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered by some to be perhaps the greatest pianist of all time. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.

As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.

(wiki)

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by Michael Rodman

Liszt was the only contemporary whose music Richard Wagner gratefully acknowledged as an influence upon his own. His lasting fame was an alchemy of extraordinary digital ability -- the greatest in the history of keyboard playing -- an unmatched instinct for showmanship, and one of the most progressive musical imaginations of his time. Hailed by some as a visionary, reviled by others as a symbol of empty Romantic excess, Franz Liszt wrote his name across music history in a truly inimitable manner.

From his youth, Liszt demonstrated a natural facility at the keyboard that placed him among the top performing prodigies of his day. Though contemporary accounts describe his improvisational skill as dazzling, his talent as a composer emerged only in his adulthood. Still, he was at the age of eleven the youngest contributor to publisher Anton Diabelli's famous variation commissioning project, best remembered as the inspiration for Beethoven's final piano masterpiece. An oft-repeated anecdote -- first recounted by Liszt himself decades later, and possibly fanciful -- has Beethoven attending a recital given by the youngster and bestowing a kiss of benediction upon him.

Though already a veteran of the stage by his teens, Liszt recognized the necessity of further musical tuition. He studied for a time with Czerny and Salieri in Vienna, and later sought acceptance to the Paris Conservatory. When he was turned down there -- foreigners were not then admitted -- he instead studied privately with Anton Reicha. Ultimately, his Hungarian origins proved a great asset to his career, enhancing his aura of mystery and exoticism and inspiring an extensive body of works, none more famous than the Hungarian Rhapsodies (1846-1885).

Liszt soon became a prominent figure in Parisian society, his romantic entanglements providing much material for gossip. Still, not even the juiciest accounts of his amorous exploits could compete with the stories about his wizardry at the keyboard. Inspired by the superhuman technique -- and, indeed, diabolical stage presence -- of the violinist Paganini, Liszt set out to translate these qualities to the piano. As his career as a touring performer, conductor, and teacher burgeoned, he began to devote an increasing amount of time to composition. He wrote most of his hundreds of original piano works for his own use; accordingly, they are frequently characterized by technical demands that push performers -- and in Liszt's own day, the instrument itself -- to their limits. The "transcendence" of his Transcendental Etudes (1851), for example, is not a reference to the writings of Emerson and Thoreau, but an indication of the works' level of difficulty. Liszt was well into his thirties before he mastered the rudiments of orchestration -- works like the Piano Concerto No. 1 (1849) were orchestrated by talented students -- but made up for lost time in the production of two "literary" symphonies (Faust, 1854-1857, and Dante, 1855-1856) and a series of orchestral essays (including Les préludes, 1848-1854) that marks the genesis of the tone poem as a distinct genre.

After a lifetime of near-constant sensation, Liszt settled down somewhat in his later years. In his final decade he joined the Catholic Church and devoted much of his creative effort to the production of sacred works. The complexion of his music darkened; the flash that had characterized his previous efforts gave way to a peculiar introspection, manifested in strikingly original, forward-looking efforts like Nuages gris (1881). Liszt died in Bayreuth, Germany, on July 31, 1886, having outlived Wagner, his son-in-law and greatest creative beneficiary.

Franz Liszt　弗朗茨·李斯特 / Liszt Ferenc

艺人介绍

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最新简评（共172条）

Franz Liszt 弗朗茨·李斯特 / Liszt Ferenc

艺人介绍

热门评论

最新简评（共172条）

Franz Liszt　弗朗茨·李斯特 / Liszt Ferenc