Franz Liszt  
Franz Liszt

Portrait of Liszt by Ary Scheffer, 1837
Franz Liszt, Hungarian form Liszt Ferenc (born October 22, 1811, Raiding, Hungary—died July 31, 1886, Bayreuth, Germany), Hungarian piano virtuoso and composer. Among his many notable compositions are his 12 symphonic poems, two (completed) piano concerti, several sacred choral works, and a great variety of solo piano pieces.

Youth and early training
Liszt’s father, Ádám Liszt, was an official in the service of Prince Nicolas Eszterházy, whose palace in Eisenstadt was frequented by many celebrated musicians. Ádám Liszt was a talented amateur musician who played the cello in the court concerts. By the time Franz was five years old, he was already attracted to the piano and was soon given lessons by his father. He began to show interest in both church and Gypsy music. He developed into a religious child, also because of the influence of his father, who during his youth had spent two years in the Franciscan order.

Franz began to compose at the age of eight. When only nine he made his first public appearance as a concert pianist at Sopron and Pozsony (now Bratislava, Slovakia). His playing so impressed the local Hungarian magnates that they put up the money to pay for his musical education for the next six years.

Ádám obtained leave of absence from his post and took Franz to Vienna, where he had piano lessons with Carl Czerny, a composer and pianist who had been a pupil of Ludwig van Beethoven, and studied composition with Antonio Salieri, the musical director at the Viennese court. He gave several concerts in Vienna, with great success. The legend that Beethoven attended one of Liszt’s concerts and kissed the prodigy on the forehead is considered apocryphal—but Liszt certainly met Beethoven.

Liszt moved with his family to Paris in 1823, giving concerts in Germany on the way. He was refused admission to the Paris Conservatoire because he was a foreigner; instead, he studied with Anton Reicha, a theorist who had been a pupil of Joseph Haydn’s brother Michael, and Ferdinando Paer, the director of the Théâtre-Italien in Paris and a composer of light operas. Liszt’s Paris debut on March 7, 1824, was sensational. Other concerts quickly followed, as well as a visit to London in June. He toured England again the following year, playing for George IV at Windsor Castle and also visiting Manchester, where his New Grand Overture was performed for the first time. This piece was used as the overture to his one-act opera Don Sanche, which was performed at the Paris Opéra on October 17, 1825. In 1826 he toured France and Switzerland, returning to England again in the following year. Suffering from nervous exhaustion, Liszt expressed a desire to become a priest. His father took him to Boulogne to take sea baths to improve his health; there Ádám died of typhoid fever. Liszt returned to Paris and sent for his mother to join him; she had gone back to the Austrian province of Styria during his tours.

Liszt in 1843, at the height of his career
  Liszt now earned his living mainly as a piano teacher, and in 1828 he fell in love with one of his pupils. When her father insisted that the attachment be broken off, Liszt again became extremely ill; he was considered so close to death that his obituary appeared in a Paris newspaper. After his illness he underwent a long period of depression and doubt about his career. For more than a year he did not touch the piano and was dissuaded from joining the priesthood only through the efforts of his mother. He experienced much religious pessimism.

During this period Liszt took an active dislike to the career of a virtuoso. He made up for his previous lack of education by reading widely, and he came into contact with many of the leading artists of the day, including Alphonse de Lamartine, Victor Hugo, and Heinrich Heine. With the July Revolution of 1830 resulting in the abdication of the French king Charles X and the coronation of Louis-Philippe, he sketched out a Revolutionary Symphony.

Between 1830 and 1832 he met three men who were to have a great influence on his artistic life. At the end of 1830 he first met Hector Berlioz and heard the first performance of his Symphonie fantastique. From Berlioz he inherited the command of the Romantic orchestra and also the diabolic quality that remained with him for the rest of his life.

He achieved the seemingly impossible feat of transcribing Berlioz’s Symphonie fantastique for the piano in 1833, and he helped Berlioz by transcribing other works of his and playing them in concert. In March 1831 he heard Niccolň Paganini play for the first time. He again became interested in virtuoso technique and resolved to transfer some of Paganini’s fantastic violin effects to the piano, writing a fantasia on his La campanella. At this time he also met Frédéric Chopin, whose poetical style of music exerted a profound influence on Liszt.

Franz Liszt, portrait by Hungarian painter Miklós Barabás, 1847
  Years with Marie d’Agoult
In 1834 Liszt emerged as a mature composer with the solo piano piece Harmonies poétiques et religieuses, based on a collection of poems by Lamartine, and the set of three Apparitions. The lyrical style of these works is in marked contrast to his youthful compositions, which reflected the style of his teacher Czerny. In the same year, through the poet and dramatist Alfred de Musset, he met the novelist George Sand and also Marie de Flavigny, countess d’Agoult, with whom he began an affair. In 1835 she left her husband and family to join Liszt in Switzerland; their first daughter, Blandine, was born in Geneva on December 18. Liszt and Madame d’Agoult lived together for four years, mainly in Switzerland and Italy, though Liszt made occasional visits to Paris. He also taught at the newly founded Geneva Conservatory and published a series of essays, “On the Position of Artists,” in which he endeavoured to raise the status of the artist—who up to then had been regarded as a kind of superior servant—to that of a respected member of the community.

Liszt commemorated his years with Madame d’Agoult in the first two books of solo piano pieces collectively named Années de pčlerinage (1837–54; Years of Pilgrimage), which are poetical evocations of Swiss and Italian scenes. He also wrote the first mature version of the Transcendental Études (1838, 1851); these are works for solo piano based on his youthful Étude en 48 exercices, but here transformed into pieces of terrifying virtuosity.

He transcribed for the piano six of Paganini’s pieces—five studies and La campanella—and also three Beethoven symphonies, some songs by Franz Schubert, and further works of Berlioz. He made these transcriptions to make the work of these men more available and thus spread the appreciation of their music, which was still greatly neglected at that time. Liszt also wrote a number of fantasias on popular operas of the day and dazzled audiences with them at his concerts.

Liszt in 1858 by Franz Hanfstaengl
  His second daughter, Cosima, was born in 1837 and his son, Daniel, in 1839, but toward the end of that year his relations with Madame d’Agoult became strained and she returned to Paris with the children. Liszt then returned to his career as a virtuoso to raise money for the Beethoven Memorial Committee in Bonn for the completion of its Beethoven monument.

For the next eight years Liszt traveled all over Europe, giving concerts in countries as far apart as Ireland, Portugal, Turkey, and Russia. He continued to spend his summer holidays with Madame d’Agoult and the children on the island of Nonnenwerth in the Rhine River until 1844; then they finally parted, and Liszt took the children to Paris.

Liszt’s brilliance and success were at their peak during these years as a virtuoso. Everywhere he was received with great adulation; gifts and decorations were showered on him, and he had numerous mistresses, including the dancer Lola Montez and Marie Duplessis. Nevertheless, he still continued to compose, writing songs as well as piano works.

His visit to Hungary in 1839–40, the first since his boyhood, was an important event. His renewed interest in the music of the Gypsies laid the foundations for his Hungarian Rhapsodies and other piano pieces composed in the Hungarian style. He also wrote a cantata for the Beethoven Festival of 1845, his first work for chorus and orchestra, and some smaller choral works.


Franz Liszt Fantasizing at the Piano (1840), by Danhauser, commissioned by Conrad Graf. The imagined gathering shows seated Alfred de Musset or Alexandre Dumas, George Sand, Franz Liszt, Marie d'Agoult; standing Hector Berlioz or Victor Hugo, Niccolň Paganini, Gioachino Rossini; a bust of Beethoven on the grand piano (a "Graf"), a portrait of Lord Byron on the wall, a statue of Joan of Arc on the far left.
Compositions at Weimar
In February 1847 Liszt met the princess Carolyne Sayn-Wittgenstein at Kiev and later spent some time at her estate in Poland. She quickly persuaded him to give up his career as a virtuoso and to concentrate on composition. He gave his final concert at Yelizavetgrad (Kirovograd) in September of that year. Having been director of music extraordinary to the Weimar court in Germany since 1843, and having conducted concerts there since 1844, Liszt decided to settle there permanently in 1848. He was later joined by the princess, who had unsuccessfully tried to obtain a divorce from her husband. They resided together in Weimar, and Liszt now had ample time to compose, as well as to conduct the court orchestra in operas and concerts. This was the period of his greatest production: the first 12 symphonic poems, A Faust Symphony (1854; rev. 1857–61), A Symphony to Dante’s Divina Commedia (1855–56), the Piano Sonata in B Minor (1852–53), the Piano Concerto No. 1 in E-Flat Major (1849; rev. 1853 and 1856), and the Piano Concerto No. 2 in A Major (1839; rev. 1849–61). (A third piano concerto, in E-flat, composed in 1839, was left unperformed during his lifetime and was not discovered until 1988.) During the period in Weimar Liszt also composed the Totentanz for piano and orchestra, revised versions of the Transcendental and Paganini Études and of the first two books of the Années de pčlerinage, choral works, and numerous others. Some of these works had been sketched out in the 1840s or earlier, but, even so, his productivity in this period remains astonishing.
  The avant-garde composers of the day regarded Weimar as the one city where modern composers could be heard, and many of them came to Liszt as pupils. The so-called New German school hoisted the banner of modernism, which naturally annoyed the more academic musicians. Some members of the Weimar court also were upset by Liszt’s continued support of the composer Richard Wagner, who had had to flee in 1849 with Liszt’s help from Germany to Switzerland because of his political activism. The straitlaced citizens of Weimar also objected strongly to the princess openly living with Liszt, and the grand duchess of Weimar was under pressure from her brother, Nicholas I of Russia, to ban Princess Sayn-Wittgenstein from all court functions. Furthermore, the grand duke who originally appointed Liszt died in 1853, and his successor took little interest in music. Liszt resigned five years later, and, though he remained in Weimar until 1861, his position there became more and more difficult. His son, Daniel, had died in 1859 at the age of 20. Liszt was deeply distressed and wrote the oration for orchestra Les Morts in his son’s memory. In May 1860 the princess had left Weimar for Rome in the hope of having her divorce sanctioned by the pope, and in September, in a troubled state of mind, Liszt had made his will. He left Weimar in August of the following year, and after traveling to Berlin and Paris, where he saw Marie d’Agoult, he arrived in Rome. He and the princess hoped to be married on his 50th birthday. At the last moment, however, the pope revoked his sanction of the princess’s divorce; they both remained in Rome in separate establishments.

Liszt a few months before his death. Photo by Nadar
  Eight years in Rome
For the next eight years Liszt lived mainly in Rome and occupied himself more and more with religious music. He completed the oratorios Die Legende von der heiligen Elisabeth (1857–62) and Christus (1855–66) and a number of smaller works. He hoped to create a new kind of religious music that would be more direct and moving than the rather sentimental style popular at the time. Liszt was one of the few 19th-century musicians to be interested in Gregorian plainsong, but his efforts were frowned on by the ecclesiastical authorities, and much of his sacred music remained unpublished until many years after his death.

In 1862 his daughter Blandine died at the age of 26. Liszt wrote his variations on a theme from the J.S. Bach cantata Weinen, Klagen (Weeping, Mourning) ending with the chorale Was Gott tut das ist wohlgetan (What God Does Is Well Done), which must have been inspired by this event. The princess’s husband died in 1864, but there was no more talk of marriage, and in 1865 Liszt took the four minor orders of the Roman Catholic Church, though he never became a priest. In 1867 he wrote the Hungarian Coronation Mass for the coronation of the emperor Francis Joseph I of Austria as king of Hungary. This commission renewed his links with his native land. Meanwhile, his daughter Cosima, who, at the age of 19, had married Liszt’s favourite pupil, Hans von Bülow, was having an affair with Richard Wagner. She had an illegitimate child by Wagner, which led to a quarrel between the two composers that lasted until 1872.

Last years
In 1869 Liszt was invited to return to Weimar by the grand duke to give master classes in piano playing, and two years later he was asked to do the same in Budapest. From then until the end of his life he divided his time between Rome, Weimar, and Budapest. After a reconciliation with Wagner in 1872, Liszt regularly attended the Bayreuth festivals. He appeared occasionally as a pianist in charity concerts and continued to compose. His music began to lose some of its brilliant quality and became starker, more introverted, and more experimental in style. His later works anticipate the harmonic style of Claude Debussy, and one late work called Bagatelle Without Tonality anticipates Béla Bartók and even Arnold Schoenberg.

Liszt, photo by Franz Hanfstaengl, June 1867


In 1886 Liszt left Rome for the last time. He attended concerts of his works in Budapest, Ličge, and Paris and then went to London—his first visit there in 45 years—where several concerts of his works were given. He then went on to Antwerp, Paris, and Weimar. He played for the last time at a concert in Luxembourg on July 19. Two days later he arrived in Bayreuth for the festival. His health had not been good for some months, and he went to bed with a high fever, though he still managed to attend two Wagner performances. His final illness developed into pneumonia, and his condition was not helped by the callous behaviour of Cosima, who left him alone in order to supervise the running of the festival. He died on July 31.


Franz Liszt
Liszt was not only the greatest piano virtuoso of his time but also a composer of enormous originality and a principal figure in the Romantic movement. As a composer he radically extended the technique of piano writing, giving the instrument not only brilliance but a full and rich, almost orchestral sound.

Most of his compositions bear titles and are representations of some natural scene or of some poetic idea or work of literature or art. Liszt extended the harmonic language of his time, even in his earlier works, and his later development of chromatic harmony helped lead eventually to the breakdown of tonality and ultimately to the atonal music of the 20th century.

Liszt also invented the symphonic poem for orchestra and the method of “transformation of themes,” by which one or two themes in different forms can provide the basis for an entire work—a principle from which Wagner derived his system of so-called leitmotifs in his operas.

As a pianist Liszt was the first to give complete solo recitals, and he did a great deal to encourage the performance of music by Bach, Beethoven, Schubert, Berlioz, Wagner, and Robert Schumann by transcribing their works for piano and playing them in his concerts at a time when they were insufficiently appreciated.

He also helped younger composers, including Edvard Grieg, Mily Balakirev, Aleksandr Borodin, and Claude Debussy, and he taught a number of pupils who themselves became famous virtuosos.

Apart from his more than 700 compositions, Liszt was the author of books on Frédéric Chopin, Hungarian Gypsy music, Wagner’s Lohengrin and Tannhäuser, John Field’s nocturnes, the lieder of Robert Franz, and the Goethe Foundation in Weimar. His published essays and correspondence fill many volumes. A controversial figure in his time, he was attacked for his innovations, and his rivals were jealous of his brilliance and panache. For a long time he was regarded merely as a superficial composer of brilliant trifles, but in recent years his true stature has been seen more clearly as that of a composer who revolutionized the music of his time and anticipated numerous later developments. As Princess Sayn-Wittgenstein said, “Liszt has flung his spear far into the future.”

Humphrey Searle

Encyclopćdia Britannica


Liszt Mausoleum

Liszt was born in Raiding, Hungary, and grew up m a musical environment — his father was an official at the Esterhazy court where Haydn had worked. The family soon moved to Vienna where Liszt studied the piano with Carl Czerny and composition with Mozart's rival, Antonio Salieri. At a concert given in the presence of Beethoven, Liszt is said to have been rewarded with a kiss on the forehead from the aging master.

In 1823 Liszt arrived in Pans, where he soon became a celebrated performer and toured France. He also played in England in 1824, where he was received by King George IV, before illness and the death of his father from typhoid prompted his return. He went back to Paris in 1826, where he befriended Berlioz and Chopin and began his career as a progressive and visionary composer. He also considered becoming a priest and on top of everything else fell in love - these three sides to his character competed for ascendancy during the rest of his life.

As a composer Liszt was influenced by leading Romantics, such as the author Victor Hugo and the painter Eugene

Delacroix: while Chopin brought out his poetic nature, Berlioz encouraged the latent Mephistophelian character in his music. On hearing Paganini in 1831 Liszt set out to match the violinist's astonishing virtuosity in his own work, and wrote a piano transcription of Paganini's La campanella. These diabolical and fiendishly virtuoso elements would later find expression in the swirling Mepliisto waltzes for piano.

In 1834 Liszt began a long affair with the Countess Mane d'Agoult, and the couple moved to Geneva the following year. He continued to perform widely, and won a famous piano duel against his rival Sigismond Thalbergin 1837. In 1839 he began touring extensively as he sought to raise funds for a Beethoven memorial in Bonn. His piano-playing created a sensation wherever he went. He was honoured in his native Hungary, where he rediscovered the interest in gypsy music that would later inspire his Hungarian rhapsodies. He also proposed the establishment of a national conservatoire in Budapest. But his long absences from home cost him his relationship with the countess and they separated in 1844.

The sound of the fountains of the famous garden of Villa d'Este inspired Liszt to write a piano piece called "Jeux d'eau ŕ la Villa d'Este". The villa and the portrait of the composer can be seen in the same image made by István Orosz.

Liszt had a succession of mistresses during these touring years until, m 1847, the Princess Carolyne Sayn-Wittgenstein of Kiev persuaded him to give up travelling and settle as a full-time conductor and composer in Weimar, Germany. In the course of the next 12 years he conducted music by Wagner (including the first performance of Lohengrin m 1850) Schumann, Berlioz. Verdi, and others, m addition to performances of his own works. Weimar became the shrine of the "New German School'', and pianists and composers flocked there for lessons or consultations with Liszt, for which he refused payment. However, his cohabitation with the married princess was becoming a court scandal, and his enthusiastic support of Wagner (then a political exile) was highly controversial. He resigned his post in 1858 and eventually left Weimar in 1861.

Liszt is credited with the invention of the symphonic poem and he completed all but one of the works employing this quintessentially Romantic form during his Weimar years. The main technique was "thematic transformation", in which one or more musical themes, representing heroic people or ideas, evolved throughout the work, thus providing both musical structure and Romantic narrative. The technique reached its zenith in his Piano sonata in В Minor (1853) and m the Faust symphony (1854).

Liszt eventually joined Princess Carolyne m Rome where she had tried, in the end unsuccessfully, to persuade the Pope to grant a divorce. He remained there for eight years, occupying himself mainly with music inspired by religion, including the reflective Annees de pelerinage (Years of pilgrimage) for piano. These pieces are in three volumes: the first deals with Swiss subjects, the second with Italian, and the

third is an unauthorized volume published after Liszt's death. In 1 865 he took the four minor orders of the Catholic Church.

Invitations to Weimar in 1869 and to Budapest in 1871 marked the beginning of a new phase in his life and he subsequently travelled continually between these two cities and Rome. The three centres symbolized the visionary artist, the passionate gypsy, and the pious Catholic that lived within the same man.

Liszt's final tour in 1886 took him once again to Paris and London, but he soon became weak with dropsy and spent his last days in the Wagner festival town of Bayreuth. There he was looked after by Cosima, his second daughter by the Countess d'Agoult and by then Wagner's widow, and was able to attend a production of Parsifal before dying from pneumonia. Liszt left behind more than 400 original works in addition to many transcriptions and arrangements, and he made an impact during his life as the most phenomenal pianist of his time.


Die Hunnenschlacht, as painted by Wilhelm von Kaulbach, which in turn inspired one of Liszt's symphonic poems


Peter Lang
Piano concerto No.1 in E flat major

Allegro maestoso
Allegro marziale animato-Presto


Hanae Nakajima
Piano concerto No.2 in A major
Allegro Agitato assai
Allegro moderato
Allegro deciso
Allegro animato


W.M. Gan
Hungarian Rhapsody No. 2 in C-sharp minor, S.244/2


E. Helling
Hungarian Rhapsody No. 4 in E-flat major, S.244/4


E. Helling
Hungarian Rhapsody No. 5 in E minor (Heroide-elegiaque), S. 244/5


Hungarian Rhapsody No. 15


M. Hawley
Sonata in B minor, S.178


Dieter Goldmann
The Rustel of the Trees
Dance of the Gnomes


Sylvia Capova
Love dream No.3
Consolation in E major


Annees de Pelerinage
T. Pascale

Au bord d'une source
F. Zappala
Sonetto 47 del Petrarca
Sonetto 104 del Petrarca
Sonetto 123 del Petrarca


A. Antonov
Ballade no.2 in B minor


I. Klyuev
Mephisto Waltzes


E. Helling
Valse melancolique


Prelude and Fugue in A minor (after BWV 543)


The Best of Liszt
Liebestraum (Love Dream)
Waldesrauschen (Forest Murmurs) from 2 Concert Etudes ( 4:26 )
Piano Concerto No. 1 in E flat major ( 9:08 )
Piano Concerto No. 2 in A major ( 11:22 )
Concerto for Piano and Orchestra No. 1 in E flat minor ( 13:10 )
Concerto for Piano and Orchestra No. 2 in A major ( 32:05 )
Totentanz ( 50:32 )
Hungarian Rhapsody No. 2 ( 52:02 )
Hungarian March ( 1:02:00 )
Liszt - Complete Hungarian Rhapsodies
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

00:00 - No.1
13:52 - No.2
23:39 - No.3
28:58 - No.4
34:39 - No.5
42:46 - No.6
49:40 - No.7
55:28 - No.8
01:02:44 - No.9
01:14:57 - No.10
01:20:45 - No.11
01:26:45 - No.12
01:36:45 - No.13
01:46:32 - No.14
01:58:56 - No.15
02:04:07 - No.16
02:09:37 - No.17
02:12:47 - No.18
02:16:12 - No.19

Franz Liszt - Hungarian Rhapsody n.2
Paolo Marzocchi plays Hungarian Rhapsody n° 2 by Franz Liszt with an original cadenza
Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version)
Rudin Lengo - Franz Liszt - Piano Concerto No.1 n E-flat Major, S.124
Piano Concerto No.1 in E-flat Major, S.124 (1856) I. Allegro maestoso II. Quasi adagio III. Allegretto vivace - Allegro animato IV. Allegro marziale animato - Presto

Rudin Lengo, piano
Tito Muńoz, conductor
The Royal Conservatory Orchestra

April 12, 2013. Recorded Live at Koerner Hall, Toronto (Canada).

Liszt's First Concerto for Piano and Orchestra was premiered in 1855 in Weimar, with Liszt himself as soloist and Hector Berlioz conducting. The work underwent major changes from its early beginnings in 1830, when Liszt wrote the main theme of the work. It was finally completed in 1849, with further revisions in 1853. A year after the premiere Liszt made a few final revisions before its publication in 1856.

The Concerto is in four continuous movements that resemble a large-scale sonata form. The work is renowned for its exuberant virtuosity and its extensive use of the triangle (third movement).

Liszt - Piano Concerto No. 1, S.124 (Richter)
Performed by: Sviatoslav Richter
Better quality, all in one video and in widescreen!
00:04 - 1st Movement - Allegro Maestoso
05:14 - 2nd Movement - Quasi Adagio
10:14 - 3rd Movement - Allegretto Vivace
14:12 - 4th Movement - Allegro Marziale Animato
Liszt - Piano Concerto No.2 - Kocsis Zoltan
Zoltán Kocsis Hungarian pianist, conductor, and composer.
Franz Liszt - Hungarian Fantasy - Cyprien Katsaris
Cyprien Katsaris is a French-Cypriot pianist, teacher and composer. He was born on 5 May 1951, in Marseilles, France.Katsaris first began to play the piano when he was four, in Cameroon where he grew up. His first teacher was Marie-Gabrielle Louwerse.
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
Jeno Jando, piano
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
No. 1 in C major, "Preludio" 00:00:52
No. 2 in A major, "Fusees" 00:02:28
No. 3 in F major, "Paysage" 00:04:32
No. 4 in D minor, "Mazeppa" 00:07:39
No. 5 in B flat major, "Feux follets" 00:03:59
No. 6 in G minor, "Vision" 00:05:44
No. 7 in E flat major, "Eroica" 00:05:18
No. 8 in C minor, "Wilde Jagd" 00:05:24
No. 9 in A flat major, "Ricordanza" 00:09:26
No. 10 in F minor, "Appassionata" 00:04:52
No. 11 in D flat major, "Harmonies du soir" 00:08:25
No. 12 in B minor, "Chasse neige" 00:05:16
Liszt - Harmonies Poétiques et Religieuses (complete)
Philip Thomson, piano
1. Invocation
2. Ave Maria 7:31
3. Bénédiction de Dieu dans la solitude (The Blessing of God in Solitude) 15:08
4. Pensée des morts (Thoughts of the Dead) 31:35
5. Pater Noster 46:50
6. Hymne de l'enfant ŕ son réveil (The Awaking Child's Hymn) 49:09
7. Funérailles (October 1849) ('Funeral') 55:49
8. Miserere, d'aprčs Palestrina (after Palestrina) 1:06:05
9. Andante lagrimoso 1:09:25
10.Cantique d'amour (Hymn of Love) 1:17:17
Franz Liszt - Harmonies Poetiques et Religieuses, S173/R14
Philip Thomson, piano
Franz Liszt - Harmonies Poetiques et Religieuses, S173/R14 (excerpts)
I. Invocation 00:07:23
II. Ave Maria 00:07:39
III. Benediction de Dieu dans la solitude 00:16:29
IV. Pensee des morts 00:15:12
V. Pater noster 00:02:22
VI. Hymne de l'enfant a son reveil 00:06:41
Horowitz - Liszt Deuxieme Annee V; Sonetto 104 del Petrarca
Liszt - Spanish Rhapsody - Oxana Yablonskaya
Liszt: Sonata in B Minor (Zimerman)
Liszt: Sonata in B minor - Late Piano Works (Full Album)
Pianoforte: Ránki Dezső
A splendid compilation album which contains the absolute BEST version of the Liszt Sonata to date. (Timecode below)
Sonata in B-minor 00:00
Unstern! Sinistre, Disastro 29:28
En Reve, Nocturne, 35:07
Klavierstück in F Sharp Major 37:11
La Lugubre Gondola No. 2 39:13
Wiegenlied 46:45
In Festo Transfigurationis Domini Nostri Jesu Christi 50:22
Impromptu, Nocturne 52:32
Sancta Dorothea 55:59
Mephisto Waltz No. 4 58:17
Mephisto Polka 1:02:01
Csárdás Obstiné 1:06:39
Harmonia Mundi (1990)
Produced with CyberLink PowerDirector 11
Liszt - Andrea Bonatta - Last piano works (period instrument 1873)
Performed on the "Piano Liszt" Eduard Steingraeber, Bayreuth 1873.

1. Mosonyi Gyászmenete - Monsonyis Grabgeleit
2. 1. Elegie
3. Petöfi szellemének - Dem Andenken Petöfis
4. 2. Elegie
5. Nuages gris - Trübe Wolken
6. La lugubre gondola I - Die Trauer-Gondel Nr. 1
7. La lugubre gondola II - Die Trauer-Gondel Nr. 2
8. R.W. Venezia
9. Schlaflos! Frage und Antwort
10. Am Grabe Richard Wagners
11. Unstern! Sinistre
12. Trauervorspiel und Trauermarsch
13. En ręve, Nocturne
14. Bagatelle sans tonalité - Bagatelle ohne Tonart

Jerome Rose Plays Liszt - Mephisto Waltz, Liebestraum No. 3, La Campanella...
Liszt: Mephisto Waltz, Liebestraum No. 3, La Campanella, La Leggierezza, Waldesrauschen, Gnomenreigen, Funerailles, Consolation III, Les Jeux d’Eaux a la Villa d’Este
Jerome Rose Plays Liszt - Liebestraume 1-3, Mephisto Walztes 1-4 ...
Liszt: Liebestraume 1-3, Mephisto Waltzes 1-4, Paganini Etudes, 2 Ballades, 2 Polonaises, 3 Concert Etudes - Il lamento, La leggierezza, Un sospiro, 2 Etudes - Waldesrauschen, Gnomenreigen, Berceuse, Ab Irato
Liszt: Faust Symphony
Chicago Symphony Orchestra and Chorus - tenor S. Jerusalem - conductor Sir Georg Solti
Liszt: Complete Works for Cello & Piano
Ensemble Quaerendo Invenietis
Franz Liszt - 14 Schubert Lieder
Oxana Yablonskaya, piano
Franz Liszt - 14 Schubert Lieder
Schubert - 12 Lieder, S558/R243: No. 2. Auf dem Wasser zu singen 00:04:59
Schubert - Winterreise, S561/R246: No. 6. Wasserflut 00:02:30
Schubert - Mullerlieder, S565/R249: No. 2. Der Muller under der Bach 00:07:10
Schubert - Schwanengesang, S560/R245: No. 8. Ihr Bild 00:02:34
Schubert - Schwanengesang, S560/R245: No. 7. Standchen (Leise flehen meine Lieder) 00:07:06
Schubert - 12 Lieder, S558/R243: No. 9. Standchen (Horch, horch! Der Lerch') 00:02:47
Schubert - 12 Lieder, S558/R243: No. 1. Sei mir gegrusset 00:06:06
Schubert - 6 Melodies, S563/R248: No. 4. Trockne Blumen 00:04:15
Schubert - 12 Lieder, S558/R243: No. 7: Fruhlingsglaube 00:05:00
Schubert - 12 Lieder, S558/R243: No. 3. Du bist die Ruh 00:06:08
Schubert - Schwanengesang, S560/R245: No. 12. Der Doppelganger 00:04:41
Schubert - 12 Lieder, S558/R243: No. 8: Gretchen am Spinnrade 00:04:28
Schubert - 12 Lieder, S558/R243: No. 11. Der Wanderer 00:07:16
Schubert - Schwanengesang, S560/R245: No. 3. Aufenthalt 00:03:51
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