(Piano Collection). Often called a "supervirtuoso," Earl Wild has been performing for almost seven decades. He has attained a special place as a Liszt interpreter. In 1986 he was presented with the Liszt medal from the People's Republic of Hungary in recognition of his series of Liszt's major piano works recorded on six compact discs. Wild's documentary entitled "Wild About Liszt," filmed at the Marquess of Londonderry's estate "Wynard," received the British Petroleum award for best musical documentary. His vast discography includes recordings on 11 major labels. Contents: Funerailles * Sonnet 47 of Petrarch * Sonnet 104 of Petrarch * Sonnet 123 of Petrarch * Dante Sonata (Fantasia quasi Sonata) * Les jeux d'eaux a la Villa d'Este * La Leggierezza.

Masterworks of the 19th-century composer include Hungarian Rhapsody No. 2 in C-sharp minor, Consolation No. 3 in D-flat major, Liebestraum No. 3 in A-flat major, La Campanella (Paganini Etude No. 3), and 9 others.

The most authoritative English-language study of Liszt's oeuvre, this survey by a noted musicologist examines the works in chronological order. Subjects include romantic pieces, symphonic poems, songs, symphonies, and other compositions.

A look beyond the virtuosity of Romanticism’s piano superstar. Pianist Paul Roberts recasts Franz Liszt as a composer of poetic feeling rather than just a purveyor of technical brilliance. Reading Franz Liszt: Revealing the Poetry behind the Piano Music immerses readers in Liszt’s world through a vivid exploration of his most beloved pieces and the literature that inspired them—from Petrarch’s love poetry to the sensibilities of Byron, Sénancour, Goethe, and others. The origins of artistic inspiration can be obscure. However, for Franz Liszt, literary quotations in his scores provide fascinating insights into the sources of his creative imagination, revealing a breadth of reading that inspired some of the greatest piano music of all time. A knowledge of the writers whom Liszt revered and often quoted at length enriches an understanding and appreciation of his music. Roberts shows how Liszt in his pioneering piano works created a new concept of musical expression comparable to the emotional and dramatic power of the opera and novel. This book leads us into the essence of Liszt’s poetic world, revealing the relevance of his literary inspiration for today’s listeners as well as for performers coming to terms with its expressive demands.

Carl V. Lachmund (1857-1928) was an American pupil of Liszt; he studied with the Hungarian master in Weimar between the years 1882-1884. During that time he kept a diary which eventually ran to some 700 pages. This document gives one of the mo st exhaustive accounts of Liszt's keyboard instruction extant. Some time after World War I, and in response toa demand from a number of musicians with an interest in the matter, Lachmund decided to turn his diary into a book about his daily life with Liszt. In order to gather additional background material about a period now long past, he wrote to more than 200 musicians in America and Europe who had had some personal contact with the composer, and invited them to share their personal reminiscences. The book never appeared and his papers came to rest in the New York Public Library, with whose cooperation this book is now being published.The Liszt scholar Alan Walker has undertaken the task of introducing, editing, and annotating the Lachmund papers. He calls the diary an irreplaceable source of first-hand material which throws fresh light on the way Liszt taught the piano. Liszt also emerges from these pages as a great and noble human being. This book will interest all teachers, performers, and students of the period. It represents a major contribution to nineteenth-century studies.

Franz Liszt was one of the most awe-inspiring figures in all of music history. As a composer, he was experimental and inventive, pushing the boundaries of form and harmony. As a pianist, he possessed breathtaking virtuosity: his masterful technique was almost acrobatic. Liszt left behind an enormous body of piano music - by turns poetic, glittering, prophetic, profound, and haunting - that failed to command the acclaim it deserved in his lifetime. Today, however, Franz Liszt is widely known as both a brilliant composer and one of the greatest pianists ever.

No nineteenth-century composer had more diverse ties to his contemporary world than Franz Liszt (1811-1886). At various points in his life he made his home in Vienna, Paris, Weimar, Rome, and Budapest. In his roles as keyboard virtuoso, conductor, master teacher, and abbé, he reinvented the concert experience, advanced a progressive agenda for symphonic and dramatic music, rethought the possibilities of church music and the oratorio, and transmitted the foundations of modern pianism. The essays brought together in Franz Liszt and His World advance our understanding of the composer with fresh perspectives and an emphasis on historical contexts. Rainer Kleinertz examines Wagner's enthusiasm for Liszt's symphonic poem Orpheus; Christopher Gibbs discusses Liszt's pathbreaking Viennese concerts of 1838; Dana Gooley assesses Liszt against the backdrop of antivirtuosity polemics; Ryan Minor investigates two cantatas written in honor of Beethoven; Anna Celenza offers new insights about Liszt's experience of Italy; Susan Youens shows how Liszt's songs engage with the modernity of Heinrich Heine's poems; James Deaville looks at how publishers sustained Liszt's popularity; and Leon Botstein explores Liszt's role in the transformation of nineteenth-century preoccupations regarding religion, the nation, and art. Franz Liszt and His World also includes key biographical and critical documents from Liszt's lifetime, which open new windows on how Liszt was viewed by his contemporaries and how he wished to be viewed by posterity. Introductions to and commentaries on these documents are provided by Peter Bloom, José Bowen, James Deaville, Allan Keiler, Rainer Kleinertz, Ralph Locke, Rena Charnin Mueller, and Benjamin Walton.

Franz Liszt's six Consolations S.172 alongside his Liebestraume S.541 (German for "dreams of love") both composed for the piano."