Franz Liszt
Wandering from “Die schöne Müllerin“ D 795
As an avowed Schubert fan, Franz Liszt liked to perform transcriptions of Schubert’s songs in his piano recitals – and indeed to such great effect that publishers began to take notice. Starting in 1838, numerous such arrangements appeared in print. They quickly spread throughout Europe in numerous editions and reprints. The six “Miller Songs” published in 1846 are, according to the title of the Viennese first edition, “transcribed into a lighter style” and thus offer a good introduction to this area of Liszt’s artistry. Especially since “Wandering” is an impressive example of how Liszt the arranger transforms a simple verse song into a piano piece par excellence by means of ever new timbres and figurations. With his fingerings, Evgeny Kissin offers an optimal foundation for the successful rendition of the musical text produced by Andrea Lindmayr-Brandl based on all the sources.
作曲家について
Franz Schubert
He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering; modifications occur mostly not in continuous unfolding, but through sudden eruptions. His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers; they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. His immense oeuvre in spite of his brief life comprises 600 songs, including his two famous song cycles; seven complete and several unfinished symphonies (including the “Unfinished” in B minor); other orchestral works; numerous pieces of chamber music; fourteen complete and several unfinished piano sonatas as well as other piano pieces; dances for piano and four-hand works; six masses and other sacred compositions; numerous pieces for choir or vocal ensemble, especially for male voices. Although he also contributed to every genre of music theater and his friends predicted a career for him in opera, only two of his ten finished operas were performed during his lifetime, as was the incidental music to “Rosamunde.”
| 1797 | Born in Himmelpfortgrund near Vienna on January 31, the son of a teacher. First piano lessons from his brother Ignaz, violin lessons from his father at age eight. |
| from 1808 | Choirboy in the Imperial Chapel; attends the imperial and royal boys choir school (“Stadtkonvikt”), playing violin in its orchestra. Lessons from Antonio Salieri, who attempts to win over the boy enamored with Mozart, Haydn, and Beethoven to Italian opera. First surviving compositions. |
| 1811 | Composition of his first song, “Hagars Klage.” |
| 1813–14 | Attends the pedagogical secondary school, after which he teaches in his father’s school. |
| 1813/14 | Composition of the magical opera “Des Teufels Lustschloss” and the Symphony No. 1 in D major in classical form. |
| 1814 | Composition of the Mass in F Major, D 105. He writes songs, which he groups by their poets, e.g. Matthisson and Goethe, including “Gretchen am Spinnrade,” which marks the birth of the art song. |
| 1815 | Composition of the musical comedy “Claudine von Villa Bella” after Goethe and “Der vierjährige Posten.” Completion of the Symphony No. 2 in B-flat major and composition of the Symphony No. 3 in D major as well as the Masses in G major and No. 3 in D major; the song “Erlkönig,” among others. |
| 1816 | Composes 110 songs, the Symphonies No. 4 in C minor and No. 5 in B-flat major, and the Mass in C major. He leaves his parents’ home, suspends his position as teacher, and moves in with Schober. |
| 1817 | Sixty songs, including “Der Schiffer,” “Ganymed,” “An die Musik,” “Die Forelle,” “Gruppe aus dem Tartarus,” “Der Tod und das Mädchen.” Gradually his compositions are performed (his oeuvre already comprises around 500 works). Returns to his parental home. |
| 1818 | He teaches the daughters of Count Johann Karl Esterházy. Composition of four-hand piano pieces. |
| around 1819 | Composition of the Piano Quintet in A major (“Trout” Quintet). |
| 1820 | Premiere in Vienna of the melodrama “Die Zauberharfe” and the musical comedy “Die Zwillingsbrüder.” The song “Frühlingsglaube,” among others. |
| 1821 | First Schubertiade: a convivial musical- and literary evening meeting of Schubert’s circle of friends. Publication of the songs “Erlkönig” and “Gretchen am Spinnrade” as well as other Goethe songs and 36 dances. |
| 1821–22/54 | Composition/premiere of “Alfonso und Estrella,” one of the early through-composed German operas. |
| 1822 | Completion of the Mass in A-flat major; Symphony No. 7 in B minor (“Unfinished”); Wanderer Fantasy in C major for piano, which unites in one movement the four different characters of symphonic movements. |
| 1823 | Composition of the musical comedy “Die Verschworenen” (premiere in Frankfurt am Main in 1861), the heroic-Romantic opera “Fierrabras” (premiere in Karlsruhe in 1897), and the incidental music to “Rosamunde,” which is premiered in Vienna. Song cycle “Die schöne Müllerin,” songs “Auf dem Wasser zu singen,” “Lachen und Weinen,” among others; Piano Sonata in A minor, D 784. |
| 1824 | Once more teacher of the children of Count von Esterházy. String Quartet in D minor (“Death and the Maiden”). “Wandrers Nachtlied” (“Über allen Gipfeln ist Ruh”). The piano sonata takes on greater importance. |
| 1825 | Long holiday travels, including to Gmunden-Gastein, where he composes the Great Symphony in C major (No. 9 or No. 8), in which he considerably expands classical form (e.g. horn motto at the beginning, configuration of time). |
| 1827 | Song cycle “Winterreise” (contrasts dream sequences with reality); German Mass; four Impromptus for piano; Piano Trios in B-flat major, D 898, and E-flat major, D 929. |
| 1828 | Publication of the “Six Moments Musicaux” for piano. Composition of the last three piano sonatas in C minor, A major, and B-flat major (the latter with a tendency towards the esoteric), the sonata movement in A minor (“Lebensstürme”), the Mass in E-flat major. “Thirteen Songs after Poems by Rellstab and Heine” (posthumous “Schwanengesang,” “Swan Song”). In March, a concert dedicated to only his own music. Death in Vienna on November 19. |
Franz Liszt
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. |
| 1866–72 | Oratorio, “Christus.” |
| 1871 | Appointed Hungarian court councilor; he lives in Rome, Weimar, and Budapest. |
| 1886 | Death in Bayreuth on July 31. |
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