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Playlist of Franz Liszt

  • The Best of Liszt


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    Liebestraum (Love Dream)
    Waldesrauschen (Forest Murmurs) from Two Concert Etudes
    Piano Concerto No. 2 in A major
    Concerto for Piano and Orchestra No. 1 in E flat minor
    Concerto for Piano and Orchestra No. 2 in A major
    Hungarian Rhapsody No. 2
    Hungarian March

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    The very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Ravel, Dvorák…

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  • Liszt: The Great Piano Works - Part 1


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    Composer: Franz Liszt

    Franz Liszt is universally celebrated as one of the greatest-ever virtuoso performers on the modern piano. Contemporary accounts describe his seemingly superhuman technical abilities and equally striking charisma and stage presence. Yet Liszt was a formidable composer, and his expansion of pianistic possibilities was achieved as much through innovation in his own great piano works as through his astonishing performance on the instrument, if not more. Like many child virtuosos thrust early into busy concert careers (Liszt’s began at the age of nine) he retired early, weary of the spotlight, turning his back on the stage at the remarkably early age of 35. Since he lived to the likewise remarkable old age of 75, much more than the latter half of his life was devoted solely to composition, and having been a pianist of his calibre, the works he created for his own instrument were indeed groundbreaking.

    Tracklist Below:

    Played by: Vincenzo Maltempo
    00:00:00 Hungarian Rhapsodies No. 1 in C-Sharp Minor, S.244/1
    00:13:02 Hungarian Rhapsodies No. 2 in C-Sharp Minor, S.244/2
    00:25:41 Hungarian Rhapsodies No. 3 in B-Flat Minor, S.244/3
    00:30:58 Hungarian Rhapsodies No. 4 in E-Flat Major
    00:36:20 Hungarian Rhapsodies No. 5 in E Minor, S.244/5
    00:46:17 Hungarian Rhapsodies No. 6 in D-Flat Major, S.244/6
    00:53:22 Hungarian Rhapsodies No. 7 in D Minor, S.244/7
    00:58:57 Hungarian Rhapsodies No. 8 in F-Sharp Minor, S.244/8
    01:06:13 Hungarian Rhapsodies No. 9 in E-Flat Major, S.244/9
    01:17:35 Hungarian Rhapsodies No. 10 in E Major, S.244/10
    01:23:39 Hungarian Rhapsodies No. 11 in A Minor, S.244/11
    01:29:37 Hungarian Rhapsodies No. 12 in C-Sharp Minor, S.244/12
    01:39:56 Hungarian Rhapsodies No. 13 in A Minor, S.244/13
    01:50:05 Hungarian Rhapsodies No. 14 in F Minor, S.244/14
    02:02:59 Hungarian Rhapsodies No. 15 in A Minor, S.244/15
    02:08:49 Hungarian Rhapsodies No. 16 in A Minor, S.244/16
    02:13:50 Hungarian Rhapsodies No. 17 in D Minor, S.244/17
    02:16:46 Hungarian Rhapsodies No. 18 in F-Sharp Minor, S.244/18
    02:19:53 Hungarian Rhapsodies No. 19 in D Minor, Ss.244/19

    Played by: Enrico Pace
    02:30:04 Années de pèlerinage I, S.160: I. Chapelle de Guillaume Tell
    02:35:34 Années de pèlerinage I, S.160: II. Au lac de Wallenstadt
    02:38:43 Années de pèlerinage I, S.160: III. Pastorale
    02:40:24 Années de pèlerinage I, S.160: IV. Au bord d'une source
    02:44:22 Années de pèlerinage I, S.160: V. Orage
    02:48:29 Années de pèlerinage I, S.160: VI. Vallée d'Obermann
    03:02:20 Années de pèlerinage I, S.160: VII. Eglogue
    03:05:58 Années de pèlerinage I, S.160: VIII. Le mal du pays
    03:11:54 Années de pèlerinage I, S.160: IX. Les cloches de Genève

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  • Franz Liszt - Liebestraum - Love Dream


    Franz Liszt - Liebestraum - Love Dream

  • Franz Liszt - Hungarian Rhapsody No.2


    Franz Liszt
    Hungarian Rhapsody No. 2 in C- Sharp Minor

    Franz Liszt, 1811-1886. Regarded as the greatest pianist of all time, Listz's genius extended far beyond the piano to expand musical composition and performance well beyond its 19th century limitations.

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  • The Best Of Franz Liszt


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    00:00:00 Grandes études de Paganini 'La Campanella' S.141 Allegretto
    00:04:23 Liebesträume S.541 Poco allegro, con affetto
    00:09:20 Hungarian Rhapsody No.6 S.244 Tempo giusto
    00:16:18 Études d'exécution transcendante 'Mazeppa' S.139 Allegro
    00:24:02 Mephisto Waltz No.1 S.514 Allegro vivace (quasi presto)
    00:35:23 3 Études de concert 'Il sospiro' S.144 Allegro affettuoso
    00:40:36 Années de pèlerinage II, Supplément 'Tarantella' S.162 Presto
    00:49:26 Années de pèlerinage II 'Canzonetta del Salvator Rosa' S.161 Andante marziale
    00:52:02 Consolations S.172 Andante con moto
    00:53:36 Consolations S.172 Un poco più mosso
    00:56:32 Consolations S.172 Lento placido
    01:01:38 Consolations S.172 Quasi adagio
    01:04:46 Consolations S.172 Andantino
    01:06:58 Consolations S.172 Allegretto sempre cantabile
    01:09:24 Années de pèlerinage II 'Il Pensieroso' S.161 Lento
    01:14:22 Receuillement S.204 Un poco lento

    Aldo Roberto Pessolano

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    P + C 2020 Classical Tunes

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  • Liszt: complete hungarian rhapsodies


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    Composer: Franz Liszt
    Artists: Artur Pizarro (piano)
    They are a rarity: complete issues of Listz’s 19 Hungarian Rhapsodies. Especially the later ones written at the end of Liszt’s life are hardly ever recorded. The numbers 16 to 19 seem to be less popular with pianists. Too difficult?

    A new recording by pianist Artur Pizarro. This Portugese musician was winner of the Leeds International Piano Competition in 1990. He is always in for a challenge. Two years ago he performed all 32 of Beethoven’s sonatas live in front of an audience in 8 concerts. Pizarro has already made many very well-received recordings for several prominent labels.

    Pizarro is renowned for his lyrical poeticism and outstanding virtuosity which makes him an ideal performer of Liszt’s music. The colourful rhapsodies are reverberating with the composer’s utter admiration for gypsy music. They sound truly Hungarian and rhapsodic under Pizarro’s hands.

    00:00:00 Franz Liszt: No. 1 in C-Sharp Minor
    00:13:08 Franz Liszt: No. 2 in C-Sharp Minor
    00:23:46 Franz Liszt: No. 3 in B-Flat Major
    00:28:57 Franz Liszt: No. 4 in E-Flat Major
    00:34:16 Franz Liszt: No. 5 in E Minor, “Héroide élégiaque”
    00:43:07 Franz Liszt: No. 6 in D-Flat Major
    00:54:25 Franz Liszt: No. 7 in D Minor
    01:00:29 Franz Liszt: No. 8 in F-Sharp Minor
    01:06:52 Franz Liszt: No. 9 in E-Flat Major, “Pesther Carneval”
    01:19:02 Franz Liszt: No. 10 in E Major
    01:25:12 Franz Liszt: No. 11 in A Minor
    01:30:54 Franz Liszt: No. 12 in C-Sharp Minor
    01:42:10 Franz Liszt: No. 13 in A Minor
    01:51:03 Franz Liszt: No. 14 in F Minor
    02:03:50 Franz Liszt: No. 15 in A Minor, “Rákóczy March”
    02:09:53 Franz Liszt: No. 16 in A Minor
    02:14:48 Franz Liszt: No. 17 in D Minor
    02:17:30 Franz Liszt: No. 18 in F-Sharp Minor
    02:20:23 Franz Liszt: No. 19 in D Minor

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  • Liszt - Hungarian Rhapsody No. 2


    Liszt - Hungarian Rhapsody No. 2
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    Ask and you shall receive - here is the long awaited Hungarian Rhapsody No. 2.

    Outro: Liszt - Hungarian Rhapsody No. 6

    Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!
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    We goated.

  • Franz Liszt La Campanella


    This is one of the many songs by Franz Liszt called La Campanella.
    It's a really beautiful song in my opinion, but i hope you'll like it too!


  • Liszt - La Campanella


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    Hope you enjoy my performance of Liszt's La Campanella.

    Outro: Flight of the Bumblebe - Rimsky-Korsakov/Rachmaninoff.

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  • Franz Liszt - Les préludes


    Happy 200th Birthday to Franz Liszt!

    Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.

    Liszt became renowned throughout Europe during the 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 perhaps the greatest pianist of all time.

    Les préludes.

    Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular.

    Conductor: Michel Plasson
    Orchestra: Dresdner Philharmonie

  • Valentina Lisitsa plays Liszts Hungarian Rhapsody No. 2


    Valentina Lisitsa plays Liszt's Hungarian Rhapsody No. 2.

    Recorded live on May 22th, 2010 in Leiden, Holland
    by von Aichberger & Roenneke GmbH
    Michael von Aichberger
    Dominik Roenneke
    Florian Breuer
    Michael Hohnstock
    Thanks to Alexei Kuznetsoff
    Cum Laude Concerten, Leiden
    Michiel van Westering

  • Liszt - Liebestraum No. 3


    Liebestraum No. 3, Liszt
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    Outro: Liszt - Un Sospiro

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  • Franz Liszt Hungarian Rhapsody no 2 The Perfect Version


    Franz Liszt Hungarian Rhapsody no 2 The Perfect Version

  • Franz Liszt - Un Sospiro


    Franz Liszt's third concert etude Un Sospiro played By Ida Cernecka

  • Liszt - Un Sospiro


    Liszt - Un Sospiro
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    Hope you enjoy my performance of Un Sospiro by Liszt.

    Outro: You know what it is ;)

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  • Liszt: Symphonic poems COMPLETE


    Franz Liszt's complete (13) symphonic poems (1848-1882).

    01.Ce qu'on entend sur la montagne (Mountain Symphony) 00:00
    02.Tasso, Lamento e Trionfo 30:32
    03.Les préludes 52:02
    04.Orpheus 01:07:54
    05.Prometheus 01:19:30
    06.Mazeppa 01:32:58
    07.Festklänge (Festal Sounds) 01:48:52
    08.Héroide funebre 02:08:38
    09.Hungaria 02:32:49
    10.Hamlet 02:55:10
    11.Hunnenschlacht (Battle of the Huns) 03:09:44
    12.Die Ideale 03:23:42
    13.Von der Wiege bis zum Grabe (From the Cradle to the Grave) 03:50:36

    Budapest Symphonic Orchestra
    Árpád Joó

  • Martha Argerich – Liszt: Piano Concerto No. 1


    Orchestra Sinfonica Nazionale della Rai
    Enrico Fagone, conductor
    Martha Argerich, piano

    Franz Liszt
    Piano Concerto in E-flat Major, No.1, S. 124
    01:35 – Allegro maestoso
    06:59 – Quasi adagio
    11:31 – Allegretto vivace – Allegro animato
    15:36 – Allegro marziale animato
    January 29th, 2019.

  • Liszt: Sonata in B Minor


    A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)

    The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below).

    Broadly speaking, the sonata has four movements, although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.

    Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.

  • Lang Lang Franz Liszt - La Campanella 2012


    Lang Lang - La Campanella -live at National Centre for the Performing Arts. Beijing. China.

  • Liszt - Consolation No. 3


    Liszt - Consolation No. 3
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    Hope you enjoy my performance of Liszt's Consolation No. 3.

    Outro: Schubert/Liszt - Ständchen (Serenade)

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  • Khatia Buniatishvili - Liszt Piano Concerto no. 2 - LOrchestre de Paris - Andrey Boreyko


    Foi quando me impressionei com esta moça!

  • Liszt - Hungarian Rhapsody No. 6


    Liszt - Hungarian Rhapsody No. 6
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    Hope you enjoy my performance of Liszt's Hungarian Rhapsody No. 6.

    Outro: Liszt - Hungarian Rhapsody No. 2

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  • Franz Liszt - Dante Symphony


    Franz Liszt (Hungarian: Liszt Ferencz, in modern usage Liszt Ferenc 22 October 1811 – 31 July 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary during the Romantic era.

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    Dante Symphony: Eine Symphonie zu Dante’s Divina Commedia (1855-56 based on sketches from 1839 and 1847–48)
    Dedication: Richard Wagner

    1. Inferno
    2. Purgatorio (21:32)
    3. Magnificat (42:22)

    Damenchor des Rundfunkchors Berlin and Berliner Philharmoniker conducted by Daniel Barenboim
    Live recording Elatus

    A Symphony to Dante's Divine Comedy, S.109, or simply the Dante Symphony, is a program symphony. Written in the high romantic style, it is based on Dante Alighieri's journey through Hell and Purgatory, as depicted in The Divine Comedy. It was premiered in Dresden in November 1857, with Liszt himself conducting, and was unofficially dedicated to the composer's friend and future son-in-law Richard Wagner.

    Some critics have argued that the Dante Symphony is not so much a symphony in the classical sense as it is two descriptive symphonic poems. Regardless, Dante consists of two movements, both in a loosely structured ternary form with little use of thematic transformation.

    Liszt put the final touches to the symphony in the autumn of 1857. The premiere of the work took place at the Hoftheater in Dresden on 7 November 1857. The performance was an unmitigated disaster due to inadequate rehearsal; Liszt, who conducted the performance, was publicly humiliated. Nevertheless, he persevered with the work, conducting another performance (along with his symphonic poem Die Ideale and his second piano concerto) in Prague on 11 March 1858. Princess Carolyne prepared a programme for this concert to help the audience follow the unusual form of the symphony.

    Like his symphonic poems Tasso and Les préludes, the Dante Symphony is an innovatory work, featuring numerous orchestral and harmonic advances: wind effects, progressive harmonies that generally avoid the tonic-dominant bias of contemporary music, experiments in atonality, unusual key signatures and time signatures, fluctuating tempi, chamber-music interludes, and the use of unusual musical forms. The Symphony is also one of the first to make use of progressive tonality, beginning and ending in the radically different keys of D minor and B major, respectively, anticipating its use in the symphonies of Gustav Mahler by forty years.

  • 8 Levels of LISZT


    *Headphones recommended*

    The ranking is subjective and involves consideration of both technical and musical difficulty.

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  • Liszt: Ballade No.2 in B minor, S.171


    Written at around the same time as the Bm Sonata (and sharing some marked similarities with it – key, use of thematic transformation, a quiet ending), Liszt’s second Ballade is one of his most important and moving works. It’s built around violent contrasts – the first theme is a kind of black, formless void, while the second is intimate and the third, waywardly melodic. There are three main climaxes (5:34, 9:25, 13:22), the first and last of which feature the first theme, but in radically different forms. The structure of this piece is hard to parse, but it’s essentially in 4 sections which can be loosely analogised to sonata form (but then, any ternary structure can be loosely analogised to sonata form). Across these four sections, the first theme recurs 7 times, growing in intensity each time (until it drops into B maj), while the second is constantly given a new colour whenever it reappears. The use of pure texture here (the opening chromatic line) as a structural feature which is independently developed is remarkable, and when it recurs in split-octave form to accompany the harmonised first theme the effect is pretty amazing (8:45). Similarly too the use of harmony and colour – the opening growl, the Mixolydian colour that slips into the second theme, the magisterial breadth of the climaxes.

    Section 1 [“Exposition”]
    00:00 – Theme 1 in B Aeolian. A desolate chant over chromatic rumbling & darkly syncopated pulses of vague harmony, climaxing at m.17 (0:39) in a G13(#11) chord. Irregular phrase lengths (6+4+4+3). The chromatic accompaniment becomes its own distinct motif (Motif A) and will receive textural development over the course of the work.
    01:00 – Transition 1, with a mystic, Phrygian sound. The bass line uses the first four notes of the T1 melody (F#-G-A-B).
    01:22 – Theme 2 in F#. A sharp contrast to T1. Tender and a little yearning, comprised of chords in open voicings.
    02:07 – T1/transition 1/T2 repeated a semitone lower(!), almost like an exposition repeat.

    Section 2 [“Development”]
    04:12 – A march is introduced, integrating a scale and repeated chord motif (Motif B).
    04:42 – Transition 2, employing a grating C# pedal
    05:09 – Motif A is developed in the RH by being expanded into a split-octave line, while the LH plays (though it’s very hard to hear this) an inverted, chromaticised version of the T1 melody. At m.105 the hands switch roles
    05:34 – T1 returns in F# min, in epic form. The first climax of the work.
    06:07 – Transition 3, using a tritone substitution at m.134 (6:22) to get to
    06:27 – Theme 3, in D. This short, beautiful theme only recurs twice more, always functioning to destabilize whatever tonal centre came before it. It manages to deploy some really striking harmonies while sounding completely natural (the shift from Gmin to A9 from mm.140/1, with the melodic Bb turning into an appoggiatura resolving into B). The turns in this theme into a sort of aural echo of the turn in T2 (m.32, 1:52).
    07:01 – T2 in D/G (Mixolydian). Now with closed voicings, giving a more hushed sound, over a D/A ostinato. The use of the C natural gives T2 a bit of warm/dark Mixo sound. T2 moves into G, then abruptly into Eb (with b6 colour/Phrygian dominant sound), which sets up
    08:10 – T1 in G# min. Now mf, missing its syncopated chords, and with fuller harmony.
    08:37 – Short transition, employing Motif A.
    08:45 – T1 in C min, in full chords, now sweeping.
    09:09 – Motif A is developed texturally, morphing into a precipitous downward cascade of alternating octaves. This leads to
    09:25 – Climax 2. A macabre recollection of the march from 4:12, built around Motif B.
    09:42 – A return of Transition 3.
    10:17 – T3, in B. Remarkably, the downward run starting on m.230 (10:41) is an elaboration of the LH recitative line at m.18 (0:43).
    10:54 – T2, in B (Mixolydian). A new colour, with the chords lower down and alternating hands (the trick is to play these chords so that you can hear the hand-switching), while bells sound in the bass. Wanders into Eb and back to B.

    Section 3 [Recapitulation]
    12:01 – T1, in B. The emotional centre of the work. Not just because T1 is really transformed here for the first time, with full harmony and 4+4 phrases (as opposed to the previous variations, which only intensified it), but because this is the first time in the work any theme takes on a really different character. From this moment on, T1 will only be heard in this luminous variant (call it T1*).
    12:28 – T1*, Var.1
    12:51 – The final return of T3 in F#, now ecstatic and spanning a much wider range on the keyboard. The tail is lengthened with a long melodic descent that leads into a F# pentatonic octave storm (13:16).
    13:22 – T1*, Var.2. This variation and the next constitute the last, glorious climax of the work. The polar counterpart to 5:34.
    13:47 – T1*, Var. 3.

    Section 4 [Coda]
    14:15 – T.2, beginning a long decrescendo/diminuendo over an F# pedal.
    14:52 – A slow statement of T.2 (note the link with T.3) closes.

  • Liszt - Mazeppa


    Liszt - Mazeppa (Transcendental Étude No. 4)
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    Hope you enjoy my performance of Liszt's Mazeppa.

    Outro: A little improvisation around the theme.

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  • Paganini/Liszt - Etude No. 6


    N. Paganini / F. Liszt - Etude No. 6 in A Minor

    Grandes études de Paganini, S.141 - No. 6 in A Minor Theme and Variations

    Thanks for watching. I hope you enjoy this piece :)
    I’m going to play various piano pieces including classical.

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  • Sueño de amor - Franz Liszt


    Sueño de amor - Franz Liszt

  • Schubert - Serenade


    Schubert/Liszt - Ständchen (Serenade)
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    Hope you enjoy this performance of Liszt's arrangement of Schubert's Lied, Ständchen by SPQ.

    Outro: Debussy - Reflets dans l'eau

    Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!
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  • Most Horrifying Piano Music - Liszt Der Doppelgänger


    Most Horrifying Piano Music - Liszt Der Doppelgänger
    Franz Schubert / Franz Liszt Der Doppelgänger from the Schwanengesang

    Still ist die Nacht, es ruhen die Gassen,
    In diesem Hause wohnte mein Schatz;
    Sie hat schon längst die Stadt verlassen,
    Doch steht noch das Haus auf demselben Platz.

    Da steht auch ein Mensch und starrt in die Höhe,
    Und ringt die Hände, vor Schmerzensgewalt;
    Mir graust es, wenn ich sein Antlitz sehe, -
    Der Mond zeigt mir meine eigne Gestalt.

    Du Doppelgänger! du bleicher Geselle!
    Was äffst du nach mein Liebesleid,
    Das mich gequält auf dieser Stelle,
    So manche Nacht, in alter Zeit?

    Heinrich Heine's Buch der Lieder (1827)

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  • Liszt - Liebesträume, Consolations, Etudes.. + Presentation


    Franz Liszt (1811-1886) - Piano Works
    *Click to activate the English subtitles for the presentation* (00:00-03:20)
    Liebesträume - 3 nocturnes
    1- Hohe Liebe (00:00)
    2- Seliger Tod (06:14)
    3- O Lieb (10:58)

    Trois Études de concert
    1- Lamento (15:51)
    2- La leggerezza (26:16)
    3- Un Sospiro (31:16)

    1- Andante con moto (36:50)
    2- Un poco più mosso (38:18)
    3- Lento placido (41:37)
    4- Quasi adagio (45:26)
    5- Andantino (48:38)
    6- Allegretto sempre cantabile (51:33)

    Zwei Konzertetüden
    1- Waldesrauschen (55:00)
    2- Gnomenreigen (59:00)

    La Campanella (1:02:10)
    Grand Galop chromatique (1:07:16)
    Bénédiction de Dieu dans la solitude - No.3 of Harmonies poétiques et religieuses (1:11:47)

    Piano : Jorge Bolet
    Recorded in 1979,1983 & 1986
    Find CMRR's recordings on Spotify:

    Franz Liszt est l’un des plus grands pianistes de l’histoire (un déchiffreur extraordinaire). En tant que compositeur, il est avant tout associé au piano. Il a écrit 1200 pièces (de quoi remplir environ 200 CD). Sa musique est d’une originalité saisissante dans sa conception, son harmonie et son contenu. Ses innovations lui permirent d’exprimer à la fois ses pensées profondes et son côté plus flamboyant étaient une avancée significative sur ce qui s’était passé auparavant. Tous les compositeurs pour le piano furent ensuite redevables à Liszt.

    Liszt inventa le récital pour piano seul. Les programmes étaient jusque-là partagés entre artistes ; il fut le premier à jouer de profil pour le public ; il rendit le piano séduisant, et ceux qui lui succédèrent, prenant Liszt pour modèle, se virent accorder un statut de pop star actuel.

    Le Liebesträum n°3 est l’une des plus connues de toutes les pièces pour piano, un nocturne avec une section médiane passionnée qui, comme les deux autres virent le jour sous la forme de lied. Les nocturnes de Liszt sont d’une grande beauté. Les six consolations, inspirées par la poésie de Charles Sainte-Beuve, rappellent la tendre atmosphère des Nocturnes. La très aimée numéro 3 en ré bémol majeur est la plus célèbre des six.

    Cette selection a pour but de faire découvrir une nouvelle facette de la musique de Liszt pour les auditeurs moins avertis. En effet, même les moins amateurs de la musique de Liszt apprécient ses pièces qui peuvent être savourées en tout temps et particulièrement un soir devant un feu de cheminée ou en contemplant la lune et les étoiles. Le phrasé éloquent, expressif, un rubato sans affectation et l’une des palettes sonores les plus belles de tout pianiste sont les traits caractéristiques du jeu de Jorge Bolet qui rend honneur à ces pièces d’une grande beauté.

    Parmi les oeuvres de Liszt baptisées « études », les plus connues sont peut-être les deux études de concert Waldesrauschen (murmures de la forêt) et Gnomenreigen (danse des gnomes). Les études demandent une virtuosité extraordinaire mais aussi beaucoup de délicatesse et de tendresse. Deux éléments qui ne sont pas toujours facile à marier. Le chant (la ligne mélodique la plus aigu) de ces études est d’une grande poésie.

    « La campanella » utilise le thème du dernier mouvement du concerto pour violon n°2 en si mineur de Paganini pour quelques acrobaties pianistiques traîtreusement difficiles. Le « Grand Galop chromatique » est une oeuvre que Liszt utilisait lui-même pour conclure ses récitals. C’est une pièce difficile, avec un ingénieux trait chromatique en guise de motif, et reste avant tout un divertissement. « Benediction de Dieu dans la solitude » est un chef-d’oeuvre tour à tour mystique et extatique. C’est un monde symphonique. Elle est l’une des oeuvres de Liszt qui nous emmène le plus loin en matière d’introspection.

    Liszt - Six Consolations S.172, Consolation No.3, St.François .. (Century’s record.: Éric Heidsieck) :

    Ferenc Liszt PLAYLIST (reference recordings)

  • Franz Liszt - Danca Macabre - Michael Andreas Haeringer


    On this Sunday, 4th of October, 6 p.m. (18h) Spain Time, I invite you to my online live stream on Facebook.
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    Únanse conmigo este Domingo 4 de Octubre, en un vídeo en directo donde voy a interpretar música de cine, clásica y composiciones propias.
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  • Franz Liszt - Prometheus, symphonic poem No. 5


    Franz Liszt composed his Prometheus in 1850, numbering it No. 5 in his cycle of symphonic poems when he revised it in 1855. The work is based on the Greek myth, Prometheus.
    In 1850, Franz Liszt composed an overture and eight choruses with orchestra accompaniment for Johann Gottfried Herder's Der entfesselte Prometheus (Prometheus Unbound), a mythological work of thirteen scenes meant as a sequel to Aeschylus's Prometheus Bound. This was to be performed for the Herder Festival scheduled for August of that year in Weimar. Liszt gave indications for the orchestration, and from these notes Liszt's helper Joachim Raff produced a score which was used in the first performance. This concert commemorated the unveiling of a monument to Herder on August 24, 1850. In 1855 Liszt revised both the overture and the choruses, which resulted in the expansion of the overture to a symphonic poem and the choruses to a concert stage work.
    The work that was composed to illustrate the imprisonment, pain, hope, and the final triumph of Prometheus turned out to be incomprehensible to the contemporary public due to the many dissonances that accompany the piece. The choral parts ended too soon and were unusable, while the overture acquired own life thanks to the multiple intentional executions and direction from Hans von Bülow.

    Conductor: Bernard Haitink & London Philharmonic

  • Lang Lang: Franz Liszt - Love Dream , S. 541 No. 3


    Recorded live at Carnegie Hall, New York, on November 7, 2003
    Lang Lang - piano

    Franz Liszt - Liebestraum, S. 541 No. 3 (Love Dream / Rêve d'amour)
    Poco allegro, con affetto
    O lieb, so lang du lieben kannst!

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  • Franz Liszt: Liebestraum cello and piano


    Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) Liebestraum at Festival Servais 2007. Halle Basilica, Belgium, June 6, 2007. Festival Concert: Bicentennial Commemoration of the Belgian cello virtuoso Adrien François Servais (1807-1866). Servais Society WEBSITE:

  • Franz Liszt - Ave Maria


    Played by Sviatoslav Richter

    Subtitled Die Glocken von Rom (The Bells of Rome), Liszt's Ave Maria was composed in 1862 at the request of Dr. Siegmund Lebert and Dr. Ludwig Stark who established the Stuttgart Conservatory. This work was written for the fourth part of a series of piano tutors, Grosse theoretish-praktische Klavierschule, assembled by Drs. Lebert and Stark for Conservatory students. A short but moving work, this piece shows Liszt's leanings toward a compositional style that showcases the virtuoso abilities of the pianist and yet does not overshadow the simple theme of the prayer upon which this work is based.
    Written in three distinct sections, this Ave Maria begins with a lyrical theme simply expressed in the treble line which is then developed into a harp-like presentation and supported by rolling arpeggios in the bass line. This is so artfully done that the words of Sir Walter Scott's poem can almost be heard. As the first section closes, Lizst leads the listener onward by introducing the pedal tones that are the basis for the second section. The middle portion of this composition is anchored by these pedal tones and carried by a throbbing heartbeat rhythm in the left hand that supports a sweetly melodic line in the right. The second section then builds in intensity to a grand and intricate chord progression which reflects the passion of sacred adoration. The closing section is a brief but solemn amen to this emotionally charged work and shows Liszt's ability to imbue his compositions with the essence of the works that inspired them.

    Franz Liszt - Ave Maria (Die Glocken von Rom), S.182

  • Les préludes / ~ Conductor: Daniel Barenboim ~ West Eastern Divan Orchestra


    Les préludes is the third of Franz Liszt's thirteen symphonic poems.
    Les préludes is the earliest example of an orchestral work entitled symphonic poem.

    The West-Eastern Divan Orchestra is a youth orchestra based in Seville, Spain, consisting of musicians from countries in the Middle East, of Egyptian, Iranian, Israeli, Jordanian, Lebanese, Palestinian, Syrian and Spanish background.

    It was founded in 1999 by the conductor Daniel Barenboim and academic Edward Said, and named after an anthology of poems by Goethe.

  • Liszt: Réminiscences de Don Juan, S.418


    A jaw-dropping live performance, and by some distance the best one I've heard.

    The Don Juan paraphrase has attained a terrifying (and deserved) reputation as one of the most technically challenging works in the literature, but less remarked upon is the uncanny dramatic insight with which Liszt integrates the music of the statue of the dead Commendatore, the drinking song, and seduction duet into a narrative that celebrates Don Giovanni’s life and yet relentlessly reminds the listener of his eventual punishment.

    The work opens with the Commendatore’s music, both from the graveyard scene where he threatens Don Giovanni and from the finale where he condemns Don Giovanni to hell. There is very little in this section that’s superfluous, despite the apparently florid writing: nearly everything evokes a distinct orchestral texture or passage from the original music, from the eerie modulating scales [3:02] to the sparse declamatory passages [2:35] (both from the final scene).

    After this comes the seduction duet and two variations on this theme, and then an extended fantasy on the champagne aria so intense it feels like an amphetaminic dump straight to the aorta. Importantly, the Commendatore recurs throughout. He appears in the transition from the seduction duet to the drinking song at 11:39 [“Tu m'invitasti a cena...” – the Commendatore invites Don Giovanni to dine with him in hell], 15:12 [note also that the LH mirrors the middle voice from the opening section at 1:04], and at 15:48, where, in what might be the most bone-chilling moment of the entire piece, darkness swarms up to interrupt the lurid ecstasy of the finale, a reminder that underneath the celebratory mood that dominates the piece something more disturbing lies (this passage is often omitted by pianists, which seems pretty unforgivable).

    Okada’s playing here is incredible. The technical mastery is stunning, of course, but is more importantly always used in service of the music. The variations on the seduction duet, for instance, at kept at a tempo that retains the original’s languorous, slightly oily feel, and the opening is played with nearly unmatched intensity. The leaps beginning at 13:49 are played with such a sense of fun – and with such lightness – that it’s hard not to feel like laughing out loud when they arrive, the staccatos at 10:20 are miraculously preserved, and the finale is played with that possessed, almost-but-not-quite-lost control that Horowitz managed to make his trademark.

  • Liszt - Hungarian Rhapsody 15 Rakoczi March 15k subs special


    ♫ Learn the songs you love on piano:

    Franz Liszt - Hungarian Rhapsody 15 Rakoczi March S.244/15
    Here's to 15k subs, as promised! Hope it was worth the wait! Many thanks to my teacher for helping me learn this!
    Apparently 6:06 should be G#. I used Peter Raabe (Breitkopf & Hartel) sheets, which stated G natural.

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  • 郎朗演奏李斯特《爱之梦》/ Lang Lang - Franz Liszt - Dream Of Love




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  • Khatia Buniatishvili - Liebestraum No. 3


    Khatia Buniatishvili live at the iTunes Festival held in Roundhouse, London on September 30, 2014.


  • HAVASI — Confession


    ©2009 HAVASI Entertainment





    Composed and performed by HAVASI

    Producer and Creative Director: Csaba Marjai
    DOP: Zoltan Csincsi
    Director: Laszlo Krisko
    Sound Engineer: Gabor Juhos
    Music Production Director: Miklos Lukacs

  • Franz Liszt - Les préludes, symphonic poem No.3, S.97


    Les préludes (from Alphonse de Lamartine), symphonic poem No.3, S.97. Author: Franz Liszt (1811-1886).
    Conductor: Daniel Barenboim & Chicago Symphony Orchestra

  • Franz Liszt, Hungarian Rhapsody No 2, Orchestral Version, 1 Hour Version Classical Music ☯61


    Franz Liszt, Hungarian Rhapsody No 2, Orchestral Version, 1 Hour Version Classical Music ☯61 - Hungarian Rhapsody No. 2 in C-sharp minor, S.244/2, is the second in a set of 19 Hungarian Rhapsodies by composer Franz Liszt, and is by far the most famous of the set.

    In both the original piano solo form and in the orchestrated version this composition has enjoyed widespread use in animated cartoons. Its themes have also served as the basis of several popular songs.

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    One of the best places to download (for free!) unique HD stock video footage and animated backgrounds for any production purpose. All clips in the library are completely free to use and are a simple right click save to download.

    Franz Liszt: Franz Liszt (born Franz Joseph Liszt) (German pronunciation: Hungarian: Liszt Ferencz, in modern usage Liszt Ferenc, pronounced October 22, 1811 – July 31, 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary.

    Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist. He was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Richard Wagner, Hector Berlioz, Robert Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, 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 many 20th-century ideas and trends. Some of his most notable musical 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.

    #lizst #hungarian #rhapsody

  • Liszt - Transcendental Etude no. 8 Wilde Jagd


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  • Liszt and Chopin scenes


    Escenas extraidas de Chopin un amor imposible

  • Franz Liszt - Hungarian Rhapsody No. 4 in E-flat major


    Happy 200th Birthday to Franz Liszt!

    Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.

    Liszt became renowned throughout Europe during the 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 perhaps the greatest pianist of all time.

    Hungarian Rhapsodies.

    The Hungarian Rhapsodies, S.244, R106, (French: Rhapsodies hongroises, German: Ungarische Rhapsodien, Hungarian: Magyar rapszódiák) is a set of 19 piano pieces based on Hungarian folk themes, composed by Franz Liszt during 1846-1853, and later in 1882 and 1885. Liszt additionally arranged versions for orchestra, piano duet and piano trio.

    Piano: Artur Pizarro

  • Franz Liszt, Historical Hungarian Portraits . L. Kertész.


    Franz Liszt (1811--1886)

    Historische ungarische Bildnisse (Magyar arcképek), S.205 (1885).
    00:00 Széchenyi István
    03:03 Eötvös József
    05:49 Vörösmarty Mihály
    10:55 Teleki László
    15:32 Deák Ferenc
    18:36 Petõfi Sándor
    24:12 Mosonyi Mihály

    Lajos Kertész, piano

    Hungaroton, 2000. Recording 1999.

    Artwork : Georges Braque, La tasse (1911).

  • Liszt: Sonata in B minor - Mariam Batsashvili - Live concert HD


    Pianiste Mariam Batsashvili speelt 'Sonate in b klein' van Liszt in het Muziekcentrum van de Omroep in Hilversum.

    Batsashvili is de eerste vrouwelijke winnaar (2014) van het internationale Liszt Concours. “Voor mij gaat zijn muziek over de kracht van de liefde, over dat wat groter is dan ons leven. Eigenlijk is Liszt een soort peetvader voor me.”

    Mariam Batsashvili [piano]

    Op het programma:
    Franz Liszt: Sonate in b klein

    Opname: zondag 20 november 2016 in het Muziekcentrum van de Omroep in Hilversum. Het concert is onderdeel van de MCO-serie Piano en Passie.

  • Franz Liszt - Les préludes


    Franz Liszt - symponic poem Les préludes with score (audio + sheet music)

    Russian State Symphony Orchestra
    Conductor: Mark Gorenstein



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