Liszt‘s Funérailles is a broadly conceived, virtuoso funeral march that has found a permanent place in the repertoire of all great pianists while remaining within the reach of talented amateurs. This separate print from Liszt‘s cycle "Harmonies poétiques et religieuses" (published by Henle in HN 639) opens with a new preface by the editor devoted specifically to Funérailles. Critical comments on the sources and on peculiarities of the musical text can be found at the end of the volume.
- Level of difficulty (Explanation)
- Other titles with this level of difficulty
- Piano 7 difficult
ABRSM: Piano FRSM (recommended)
Funérailles, or “obsequies” in English, is taken from Liszt’s Harmonies poétiques et religieuses, a cycle of ten piano pieces of highly contrasting design and expression that is also available in complete form from Henle (HN 639). Liszt had already published an extraordinarily demanding and progressive piano piece entitled Harmonies poétiques et religieuses as early as … more
About the composer
The most famous piano virtuoso of the nineteenth century is regarded as the most influential artist and composer (with Berlioz, Wagner) of the so-called New German School. His immense musical oeuvre comprises, above all else, works for solo piano, including numerous transcriptions; he also devised the symphonic poem. Important, too, are his sacred and secular choral works and songs.
|1811||Born in Doborján/Raiding (Sopron) on October 22, son of an official in the service of Prince Esterházy. First piano lessons from his father, early first attempts at composition, first public performance at age nine.|
|1822||Relocation of the family to Vienna, studies with Carl Czerny and Antonio Salieri.|
|1823||Relocation of the family to Paris. Composition studies with Ferdinando Paër and Antonín Reicha (1826). Performances in salons, concerts.|
|1824–27||Concert tours through France, to England and Switzerland. Composition of opera paraphrases for piano.|
|1830||Acquaintance with Berlioz, self-study by reading. He becomes Parisian society’sfavourite pianist and piano teacher.|
|1835||He moves to Switzerland with Countess Marie d’Agoult: their first child together, Blandine-Rachel, is born here. He continues concertizing in Paris.|
|from 1839||Continuous concert tours throughout Europe.|
|from 1847||Symphonic poems, including No. 2, “Tasso: lamento e trionfo”; No. 1, “Ce qu‘on entend sur la montagne” (‘Bergsymphonie,’ ‘Mountain Symphony’); “A Faust Symphony in Three Character Pictures”; “A Symphony to Dante’s Divine Comedy” (‘Dante Symphony’); as well as [No. 11], “Hunnenschlacht” (“Battle of the Huns”).|
|1848–61||Kapellmeister in Weimar; he advocates for progressive music (Wagner, Schumann, Berlioz).|
|1857–62||Oratorio, “The Legend of St. Elisabeth.”|
|1861–68||Resident in Rome.|
|1865||Takes minor holy orders.|
|1871||Appointed Hungarian court councilor; he lives in Rome, Weimar, and Budapest.|
|1886||Death in Bayreuth on July 31.|
About the authors
De Henle Urtext is zeer overzichtelijk, ook in de moeilijkste passages. Een historisch voorwoord en de bronvermelding completeren een in alle opzichten aan te raden uitgave.