![]() Liszt may have been cavalier (my opinion -author Oliver Holmes does not interpret) in his after concert trysts for instance, he used Chopin’s apartment to seduce Chopin’s former fiancée and who was the current wife of his friend. They threw bouquets, fought (physically) for souvenirs such as his handkerchief, they grabbed and smoked his cigar butt, they embroidered his portrait, they wore gloves and broaches bearing his likeness, they framed upholstery fabric from chairs where he allegedly sat and, flirted and slept with him. Women swooned for him as they would do in the future for Valentino, Sinatra, Elvis, the Beatles and Justin Bieber. This time, as an eligible young man, he developed a sensual stage presence. After a quiet period of supporting his mother by giving piano lessons in Paris, Liszt returned to concert touring. Fortunately for Liszt, his father died (Liszt age 15) before too much damage was done. Like Mozart he had a stage father, who, pushed and profited from him. Oliver Hilmes does not give the reader a musical biography it is the story of how Liszt lived his life. I knew nothing about Liszt and went to You Tube to hear some of his music which I’m listening to as I write this and hear familiar refrains. Biography is my genre, and I wondered what a 19th century superstar could be. I picked this from the library shelf for its subtitle. No other Liszt biography in English is as colorful, witty, and compulsively readable, or reveals as much about the true nature of this extraordinary, outrageous talent. The author immerses the reader in the intrigues of the nineteenth-century European glitterati (including Liszt's powerful patrons, the monstrous Wagner clan) while exploring the true, complex face of the artist and the soul of his music. Whereas previous biographies have focused primarily on the composer's musical contributions, Hilmes showcases Liszt the man in all his many shades and personal reinventions: child prodigy, Romantic eccentric, fervent Catholic, actor, lothario, celebrity, businessman, genius, and extravagant show-off. Drawing on new, highly revealing documentary sources, including a veritable treasure trove of previously unexamined material on Liszt's Weimar years, best-selling author Oliver Hilmes shines a spotlight on the extraordinary life and career of this singularly dazzling musical phenomenon. A virtuoso pianist and electrifying showman, he toured extensively throughout the European continent, bringing sold-out audiences to states of ecstasy while courting scandal with his frequent womanizing. The work of Franz Liszt has been arranged by other composers and pianists, most notably Ferruccio Busoni and Marc-André Hamelin.Hungarian composer Franz Liszt (1811-1886) was an anomaly. trills with the fourth and fifth fingers starting on measure 80 and lasting for 4 bars, and fast chromatic scales starting on measure 73. The étude also involves other technical difficulties, e.g. ![]() For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. However, the left hand studies about four extremely large intervals, larger than those in the right hand. The two red notes are 35 half-steps apart (~46cm apart on a piano.) Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the first thirtieth and thirty-second measures. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with little (depending on the arrangement) no rest. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand and muscles within the forearm and wrist. The étude is played at a gentle, brisk allegretto tempo and features constant octave hand jumps between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. Incipit for "La campanella" by Franz Liszt ( Grandes études de Paganini S.
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