- published: 23 Jan 2021
- views: 50859
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Franz Liszt (German: [fʁant͡s lɪst]; Hungarian Liszt Ferencz, in modern usage Liszt Ferenc (Hungarian pronunciation: [ˈlist ˈfɛrɛnt͡s]); (October 22, 1811 – July 31, 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, philanthropist and Franciscan tertiary.
Liszt gained renown in Europe during the early nineteenth century for his prodigious 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 to be the greatest pianist of all time, although Liszt stated that Charles-Valentin Alkan had superior technique to his own. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Frederic Chopin, Charles-Valentin Alkan, Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg, Ole Bull and Alexander Borodin.
As a composer, Liszt was one of the most prominent representatives of the New German School (Neudeutsche Schule). 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.
The reference to the Faust legend is maintained throughout all of the Mephisto music, but the seventy-year-old Liszt’s Mephistopheles is a grimmer, more unrelenting figure than that of the Faust Symphony or the Mephisto Waltz No 1. The Bagatelle sans tonalité (what a title, in 1885!) and the Mephisto Waltz No 4 remained unpublished for eighty years. It’s not certain exactly when the Bagatelle was written, but since it bears (confusingly) the title of Fourth Mephisto Waltz it must postdate the Third. Whilst the piece is not especially dissonant, it is certainly very wayward in any kind of feeling for a tonal centre and ends with an upward-rushing set of diminished sevenths. (Howard) Pf: Oliver Gardon
2014 Performance, Utrecht
Franz Liszt (1811 - 1886), Bagatelle ohne Tonart (1885) 7. Oktober 2018, Hochschule für Musik Würzburg KARL BETZ, Klavier Tonmeister: Jürgen Rummel
Provided to YouTube by NAXOS of America Bagatelle ohne Tonart, S. 216a (Arr. A. Parfenov for Violin & Piano) · Parfenov Duo Liszt Imagination: Mephisto Walzer on String ℗ 2020 Naxos Released on: 2020-11-27 Ensemble: Parfenov Duo Artist: André Parfenov Artist: Iuliana Münch Composer: Franz Liszt Auto-generated by YouTube.
This piece was written by Franz Liszt in 1885. It has the title ""Fourth Mephisto Waltz"" in the manuscript and on the front page of the manuscript it says “Bagatelle without tonality”. The piece itself is extremely chromatic and causes one to lose a sense of tonal grounding. The ending of this piece is especially unconventional; the way Liszt uses a string of diminished 7th chords building up the tension creates the strong feeling of irreolution, as if there is no answer to the question. If you were to play the “Valse Oubliée” opening phrase right after the ending line of “Bagatelle without tonality,” it fits right in and create a sense of answering the piece. That feature makes the two works fit together effectively as a set. Franz Liszt Bagatelle without Tonality, S. 216a Performer: Tz...
Video created with Concert Creator: https://concertcreator.ai Support me: https://ko-fi.com/bemusical All audio rights belong to Olivier Gardon and Believe. Bagatelle sans tonalité ("Bagatelle without tonality", S.216a) is a piece for solo piano written by Franz Liszt in 1885. The manuscript bears the title "Fourth Mephisto Waltz" and may have been intended to replace the piece now known as the Fourth Mephisto Waltz when it appeared Liszt would not be able to finish it; the phrase Bagatelle ohne Tonart actually appears as a sub-title on the front-page of the manuscript. The Bagatelle is a waltz in a typical sectioned dance form, with repeated sections given inventive variation. While this piece is not especially dissonant, it is extremely chromatic, becoming what Liszt's contemporary Fra...
Alexander Djordjevic performs this piece on his award-winning CD, Gray Clouds: Piano Music of Franz Liszt. This CD was the winner of the 2010 Franz Liszt International Grand Prix du Disque. For more information, please visit http://www.AlexanderDjordjevic.com.
Fryderyk Chopin 213th Birthday Concert (March 1st, 2023). FULL CONCERT: https://www.youtube.com/watch?v=t7dzDtJXOVA&t=1751s
FRANZ LISZT - Bagatelle ohne Tonart - Bagatelle sans tonalité (1885) MARCO RAPETTI, piano from the album "La Valse 1880-1920" (produced by Dynamic S.r.l. - Genoa - Italy - 1993)
7th International FRANZ LISZT Piano Competition Weimar-Bayreuth: Sergey Sobolev plays Liszts "Bagatelle ohne Tonart" (Bagatelle Without Tonality) (S216a) during his performance for the 2nd round of the competition. Recorded 2011/10/27 at the University of Music FRANZ LISZT Weimar.
Franz Liszt (German: [fʁant͡s lɪst]; Hungarian Liszt Ferencz, in modern usage Liszt Ferenc (Hungarian pronunciation: [ˈlist ˈfɛrɛnt͡s]); (October 22, 1811 – July 31, 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, philanthropist and Franciscan tertiary.
Liszt gained renown in Europe during the early nineteenth century for his prodigious 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 to be the greatest pianist of all time, although Liszt stated that Charles-Valentin Alkan had superior technique to his own. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Frederic Chopin, Charles-Valentin Alkan, Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg, Ole Bull and Alexander Borodin.
As a composer, Liszt was one of the most prominent representatives of the New German School (Neudeutsche Schule). 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.