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Franz Liszt
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This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
- GenresMusic
458 pages, Hardcover
First published May 21, 2012
14 people are currently reading
22 people want to read
About the author
James Huneker
380 books7 followersHuneker was born in Philadelphia, Pennsylvania. He studied piano in Europe under Leopold Doutreleau and audited the Paris piano class of Frédéric Chopin's pupil Georges Mathias. He came to New York City in 1885 and remained there until his death. In the USA he studied with Franz Liszt's student Rafael Joseffy, who became his friend and mentor.
Huneker wrote the analysis and commentary on the complete works of Chopin for Schirmer's music publishing company. His analysis of all the piano solo works of Johannes Brahms, written shortly after that composer's complete works were published after his death, is highly regarded.
He was the music editor of the Musical Courier and for two years was music editor of the New York paper The Sun, and a frequent contributor to the leading magazines and reviews.
http://en.wikipedia.org/wiki/James_Hu...
Huneker wrote the analysis and commentary on the complete works of Chopin for Schirmer's music publishing company. His analysis of all the piano solo works of Johannes Brahms, written shortly after that composer's complete works were published after his death, is highly regarded.
He was the music editor of the Musical Courier and for two years was music editor of the New York paper The Sun, and a frequent contributor to the leading magazines and reviews.
http://en.wikipedia.org/wiki/James_Hu...
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Displaying 1 of 1 review
May 29, 2018
This biography was written in 1911, merely twenty-five years after Liszt's death. Consequently Mr. Huneker was able to interview many personal friends and colleagues of the pianists who were still living.
This is not a biography in the normal sense. Huneker does not write about Liszt's life in a chronological time line. In fact he gives us little chronological facts. The book reads more like a critique one would read in the music reviews of a magazine or newspaper.
We not only get Huneker's analysis of Liszt's composition technique and style but of several other contemporary writers and artists. Huneker cannot give us a personal account of Liszt's playing but he provides several eye-witness accounts from people who did hear Liszt. Interestingly, the opinions are mixed and we learn that there were a few concert pianists who were considered Liszt's equal or even superior. Huneker gives solid examinations of each artist to better give the reader an understanding of not only Liszt's style of performing but also a few others.
While some people were dazzled by Liszt's bravura and virtuoso playing, others thought it bombastic or even barbaric, preferring the refined sounds produced by Liszt's friend, Chopin.
One essay details the type of piano Liszt required and how he changed and standardized the construction of what we know today as the modern concert piano. Liszt also changed the position of the piano to parallel with the audience so they could get a side view of the piano and profile of the pianist. This is how all artists perform today. Prior to Liszt, pianists played with their back to the audience or hidden behind the piano.
We learn of Liszt's love life, his children by different women and his eventual turn to the mystical, becoming an Abbey in the Roman Catholic church.
Also we learn of Liszt's interesting relationship with Wagner, who married Liszt's daughter (one of them). Wagner brazenly stole compositional ideas from Liszt and Liszt encouraged him. I was not aware of the influence Liszt had on Wagner, but he was very influential in the development of Wagner's musical philosophy and form of composition.
While the writing might seem dated to some, I feel that, while there might be more informative biographies, this one certainly has merit and worthy of a read for anyone interested in this "pop artist" of the 19th century.
This is not a biography in the normal sense. Huneker does not write about Liszt's life in a chronological time line. In fact he gives us little chronological facts. The book reads more like a critique one would read in the music reviews of a magazine or newspaper.
We not only get Huneker's analysis of Liszt's composition technique and style but of several other contemporary writers and artists. Huneker cannot give us a personal account of Liszt's playing but he provides several eye-witness accounts from people who did hear Liszt. Interestingly, the opinions are mixed and we learn that there were a few concert pianists who were considered Liszt's equal or even superior. Huneker gives solid examinations of each artist to better give the reader an understanding of not only Liszt's style of performing but also a few others.
While some people were dazzled by Liszt's bravura and virtuoso playing, others thought it bombastic or even barbaric, preferring the refined sounds produced by Liszt's friend, Chopin.
One essay details the type of piano Liszt required and how he changed and standardized the construction of what we know today as the modern concert piano. Liszt also changed the position of the piano to parallel with the audience so they could get a side view of the piano and profile of the pianist. This is how all artists perform today. Prior to Liszt, pianists played with their back to the audience or hidden behind the piano.
We learn of Liszt's love life, his children by different women and his eventual turn to the mystical, becoming an Abbey in the Roman Catholic church.
Also we learn of Liszt's interesting relationship with Wagner, who married Liszt's daughter (one of them). Wagner brazenly stole compositional ideas from Liszt and Liszt encouraged him. I was not aware of the influence Liszt had on Wagner, but he was very influential in the development of Wagner's musical philosophy and form of composition.
While the writing might seem dated to some, I feel that, while there might be more informative biographies, this one certainly has merit and worthy of a read for anyone interested in this "pop artist" of the 19th century.
Displaying 1 of 1 review