Franz Liszt (1811-1886)

Episodes

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201101Living Like A Lord20110725Lisztomania swept Europe in the early 1840s - wherever he performed his reception was hysterical. It all began in Berlin, with a sensational series of concerts in the Singakademie. The only performer in his concerts, he invented the modern recital, and became a huge star. When he left Berlin he was driven out of the city in a coach drawn by six white horses, in a stately procession, as if a reigning monarch were taking leave of his people. Donald Macleod looks at Liszt's heyday as a touring virtuoso.

Donald Macleod discusses Liszt's heyday as a touring virtuoso.

201102Death And Demons20110726Liszt's father Adam took charge of his son's career once his remarkable talent had become obvious, finding teachers for him and arranging concerts. He died suddenly when Liszt was still a teenager, and a preoccupation with death appears in the young composer's music from here on in. Seeing the phenomenal Paganini perform in 1830 was a blinding flash of revelation, and he set out to become the Paganini of the piano. With Donald Macleod.

Donald Macleod on the influences on Liszt's life that led to his becoming a virtuoso.

201103Self-composure (weimar, 1848-61)20110727In Weimar, Liszt experienced the most settled, productive years of his life. The large music room of the Altenburg, Liszt's home in Weimar, provided a perfect venue for the performance of some of the pieces he now focussed on. In all his activities there, Liszt was supported by his mistress and companion, Princess Carolyne von Sayn-Wittgenstein. Donald Macleod looks at the music of Liszt's Weimar years, including his masterpiece, the B minor sonata.

Donald Macleod focuses on the works Liszt wrote while he was living in Weimar.

201104Mystic (rome)20110728Liszt grew old in Rome. He followed his mistress Carolyne there, in the hope of marrying her, but the ceremony was prevented in a complex story of intrigue and corruption. After a retreat in a monastery on the slopes of Monte Mario, the composer chose to enter the lower orders of the Catholic priesthood, which one friend described as 'an act of spiritual suicide'. Donald Macleod explores the music Liszt wrote in Rome while he grappled with several personal crises.

Donald Macleod explores the music of Liszt's years in Rome.

201105 LASTWhispers And Laments20110729There was a shift in Liszt's musical style in the last years of his life, from virtuosic exuberance to dissonance, silence and abandoned endings. During this time there was a rapprochement between the composer and his daughter Cosima, from whom Liszt had been estranged over her affair with Wagner. Donald Macleod explores the music of Liszt's final years, including pieces written in response to his premonition of Wagner's death, and a piece written shortly before Liszt's own death on a visit to Cosima in Bayreuth in 1885.

Donald Macleod focuses on the music of Liszt's final years.

201501A Rock Star In The Country2015010520170508 (R3)Donald Macleod presents a rare opportunity to hear all 13 of Liszt's symphonic poems. Today: the composer moves to Weimar with his mistress Carolyne.

In 1848, as revolution raged across Europe, Franz Liszt made the decision to walk away from his life as the most scandalous and brilliant piano virtuoso in the world - and settle down in the provincial German city of Weimar. Over the next twelve years he would forge a reputation as one of the most original composers of the Romantic Era - inventing a genre of composition that became known as the 'symphonic poem'. Liszt's new form of orchestral piece spun poetic or literary fables in music, evoking moods and images in its themes and harmonies, depicting heroes and villains, dramas and triumphs - a radical departure from the symphonic ideal of Beethoven and Brahms. This week, Donald Macleod presents a unique opportunity to hear all twelve of the symphonic poems Liszt created in Weimar - plus his final, valedictory symphonic poem, composed many years later, just before his own death.

We begin with Liszt's move to Weimar in 1848, accompanied by his beloved mistress Princess Carolyne von Sayn-Wittgenstein, a Russian aristocrat. With Carolyne still married to her Russian prince, the pair courted scandal by openly living 'in sin' at their spectacular Weimar residence, the Altenberg. Meanwhile, Liszt was busily composing what would ultimately prove his most popular symphonic poem, 'Les Pr退ludes', inspired by words by Alphonse de Lamartine.

Donald Macleod focuses on Liszt's 1848 move to Weimar with his mistress, Carolyne.

201502Trailblazer On The Podium2015010620170509 (R3)Donald Macleod explores Liszt's symphonic poems. Now established in Weimar, Liszt protects his friend Wagner as he flees arrest.

In 1848, as revolution raged across Europe, Franz Liszt made the decision to walk away from his life as the most scandalous and brilliant piano virtuoso in the world - and settle down in the provincial German city of Weimar. Over the next twelve years he would forge a reputation as one of the most original composers of the Romantic Era - inventing a genre of composition that became known as the 'symphonic poem'. Liszt's new form of orchestral piece spun poetic or literary fables in music, evoking moods and images in its themes and harmonies, depicting heroes and villains, dramas and triumphs - a radical departure from the symphonic ideal of Beethoven and Brahms. This week, Donald Macleod presents a unique opportunity to hear all twelve of the symphonic poems Liszt created in Weimar - plus his final, valedictory symphonic poem, composed many years later, just before his own death.

As Liszt began to establish a reputation as a composer in Weimar, he also began to cultivate a reputation as an innovative and dynamic conductor. Liszt was diverted from his musical work by the travails of his friend Richard Wagner, who was fleeing arrest after inciting revolution in Dresden. Donald Macleod introduces the symphonic poems Mazeppa and Herode Funebre - both rarely played in the concert hall - as well as Liszt's take on the Orpheus myth.

Donald Macleod focuses on how Liszt protected his friend Wagner as he fled arrest.

201503Memories Of Home2015010720170510 (R3)Donald Macleod presents a rare opportunity to hear all 13 of Liszt's symphonic poems. Today: a paean to the composer's Hungarian homeland, and a pastoral idyll.

In 1848, as revolution raged across Europe, Franz Liszt made the decision to walk away from his life as the most scandalous and brilliant piano virtuoso in the world - and settle down in the provincial German city of Weimar. Over the next twelve years he would forge a reputation as one of the most original composers of the Romantic Era - inventing a genre of composition that became known as the 'symphonic poem'. Liszt's new form of orchestral piece spun poetic or literary fables in music, evoking moods and images in its themes and harmonies, depicting heroes and villains, dramas and triumphs - a radical departure from the symphonic ideal of Beethoven and Brahms. This week, Donald Macleod presents a unique opportunity to hear all twelve of the symphonic poems Liszt created in Weimar - plus his final, valedictory symphonic poem, composed many years later, just before his own death.

Liszt's symphonic poems - spectacular, orchestral canvases that told a story in music - revolutionised the way music was conceptualised in the mid-19th century. In 1854, with the success of his first years in Weimar still ringing in his ears, the composer sat down to put the finishing touches to his first published volume of symphonic poems. It gave him the opportunity to revise and polish his very first, longest - and now least-perfomed - attempt at the form: a pastoral idyll summing up the beauty of mountain life. Donald Macleod also introduces Liszt's hymn to his native land: Hungaria.

Donald Macleod introduces a paean to Liszt's Hungarian homeland and a pastoral idyll.

201504The Death Of Daniel Liszt2015010820170511 (R3)Donald Macleod explores Liszt's symphonic poems. Today: the composer struggles to come to terms with the tragic death of his son Daniel.

In 1848, as revolution raged across Europe, Franz Liszt made the decision to walk away from his life as the most scandalous and brilliant piano virtuoso in the world - and settle down in the small German town of Weimar. Over the next twelve years he would forge a reputation as one of the most original musical creators of the Romantic Era - inventing a new genre of composition that became known as the 'symphonic poem'. Liszt's new form of orchestral piece spun poetic or literary fables in music, evoking moods and images in its themes and harmonies, depicting heroes and villains, dramas and triumphs - a radical departure from the symphonic ideal of Beethoven and Brahms. This week, Donald Macleod presents a unique opportunity to hear all twelve of the symphonic poems Liszt created in Weimar - plus his final, valedictory symphonic poem, composed many years later, just before his own death.

As Liszt took stock of nearly a decade spent in Weimar, he could be justifiably proud: he had shed his reputation as a brilliant pianistic show-pony and instead shown his vast talent as a composer, creating some of his most revered works. But his personal life was a mess. He struggled to gain sanction from the Catholic church to wed his beloved Carolyne, and then his beloved son Daniel died suddenly at the age of only 20. Donald Macleod explored the tragic circumstances of an event that Liszt said changed him for ever.

Donald Macleod explores the tragic death of Liszt's son Daniel.

201505 LASTFrom The Cradle To The Grave2015010920170512 (R3)Donald Macleod presents a rare opportunity to hear all 13 of Liszt's symphonic poems. Today: the composer leaves Weimar and the symphonic poem behind - or so it seems...

In 1848, as revolution raged across Europe, Franz Liszt made the decision to walk away from his life as the most scandalous and brilliant piano virtuoso in the world - and settle down in the provincial German city of Weimar. Over the next twelve years he would forge a reputation as one of the most original composers of the Romantic Era - inventing a genre of composition that became known as the 'symphonic poem'. Liszt's new form of orchestral piece spun poetic or literary fables in music, evoking moods and images in its themes and harmonies, depicting heroes and villains, dramas and triumphs - a radical departure from the symphonic ideal of Beethoven and Brahms. This week, Donald Macleod presents a unique opportunity to hear all twelve of the symphonic poems Liszt created in Weimar - plus his final, valedictory symphonic poem, composed many years later, just before his own death.

After a decade crafting a new life for himself in Weimar, it was time for Liszt to leave the city and the symphonic poem behind...or so he thought. Donald Macleod explores the thorny circumstances of Liszt's departure from Weimar - and one poignant, valedictory symphonic poem, composed many years later, just a few years before the composer's death in 1886.

Donald Macleod explores the thorny circumstances of Liszt's departure from Weimar.

201901The Ninth Wonder Of The World20190121Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five images of the composer. Liszt's acclaim as a child was such that he was even claimed to be a reincarnation of Mozart. In Monday's episode, Donald examines an engraving of the 9 year-old Liszt after a portrait by Ferdinand de Luttgendorf-Leinburg, using it to trace the influence of Liszt's father Adam in the promotion of his son as this child prodigy extraordinaire.

50 Variations on a Waltz by Diabelli - Variation 24

Evelyne Dubourg, piano

Hungarian Rhapsody No 2

Budapest Festival Orchestra

Ivan Fischer, conductor

Transcendental Etude No 4 'Mazeppa

Lise de la Salle, piano

Don Sanche (The Castle of Love): Overture

Hungarian State Opera Orchestra

Tamကs Pကl, conductor

Mal退diction

Jorge Bolet, piano

London Symphony Orchestra

Christus - Ressurexit

Henriette Bonde-Hansen, soprano

Michael Schade, tenor

Andreas Schmidt, bass

Iris Vermillion, alto

G䀀chinger Kantorei

Cracow Chamber Choir

Radio-Sinfonieorchester Stuttgart des SWR

Helmut Rilling, conductor

Produced by Sam Phillips for BBC Wales

Donald Macleod examines the promotion of Liszt as a child prodigy.

201902The Idol20190122Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five images of the composer. Liszt rose to become the greatest performer of his age - effectively inventing the idea of the piano recital - his playing amazing audiences across Europe. In Tuesday's episode, Donald examines the earliest photograph of Liszt we have - taken in 1843 by Herman Biow - and Henri Lehmann's portrait of the composer from four years earlier. Through these images, Donald explores the impact that Liszt's astute managing of his image had on the idea of him as a Romantic idol, and examining the various elements which went into creating the dramatic persona of Liszt the virtuoso.

Grandes Etudes de Paganini No 3 'La Campanella

Daniil Trifonov, piano

Totentanz

Sergio Tiempo, piano

Orchestra de Svizzera Italiana

Ion Marin, conductor

El Contrabandista - Rondo Fantastique

Valentina Lisitsa, piano

Grand Galop Chromatique

Gyorgy Cziffra, piano

Cantata for Inauguration of the Beethoven Monument: I. Maestoso - Quasi Allegretto

Diana Damrau, soprano

J怀rg Dürmüller, tenor

Georg Zeppenfeld, bass

K怀lner Kantorei

Cappella Coloniensis des WDR

Paul Komen, clavichord

Bruno Weil, conductor

Soir退es de Vienne (9 Valse-Caprises after Schubert), No 6

Vladimir Horowitz, piano

Produced by Sam Phillips for BBC Wales

Donald Macleod examines how the persona of Liszt, the virtuoso, was created.

201903Liszt's Women20190123Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five images of the composer. On his deathbed, Liszt's father Adam, warned his 15-year-old son about being dominated by women. In Wednesday's episode, Donald explores Josef Danhauser's painting of 1840 immortalising `Liszt at the piano`, examining how his father's warning became a prophecy which would characterise his son's relationships with women throughout his life.

Liebestraum No 3 (Nocturne)

Peter Szokolay, piano

Ann退es de p耀lerinage - Premi耀re ann退e: Suisse: 2. Au lac de Wallenstadt

Lazar Berman, piano

A Symphony to Dante's Divine Comedy: 1. Inferno

Frankfurt Radio Symphony Orchestra

Yuri Ahronovitch, conductor

Harmonies po退tiques et religieuses: Cantique d'amour

Alfred Brendel, piano

Orpheus

Berlin Philharmonic

Zubin Mehta, conductor

Wieder m怀cht' ich dir begegnen

Dietrich Fischer-Dieskau, tenor

Daniel Barenboim, piano

Produced by Sam Phillips for BBC Wales.

Donald Macleod examines Liszt's complicated relationships with women.

201904Haunted, By Wagner20190124Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five images of the composer. Liszt's admiration for Wagner forged a friendship between two of the biggest musical personalities of the 19th Century. In Thursday's episode, Donald examines how this relationship cast a shadow over Liszt's own ability to compose and how personal events helped him to free himself from this shadow, in the process assessing a photograph from 1865 of Liszt, posing with his daughter Cosima and Hans von Bülow.

Richard Wagner (arr. Franz Liszt)

Tannh䀀user: Choeur des P耀lerins(excerpt)

Tanguy de Williencourt, piano

Prometheus

London Philharmonic Orchestra

Sir Georg Solti, conductor

A Faust Symphony: III. Mephistopheles

Vinson Cole, tenor

Choir and Orchestra of Dresden State Opera

Giuseppi Sinopoli, conductor

In Liebeslust

Matthew Polenzani, tenor

Julius Drake, piano

The Legend of St Elizabeth: Chorus of the Angels

Choir of the Ameisenkinder of the Goethe Gymnasium, Weimar

Chorus of Hungarian Radio

Staatskapelle Weimar

Carl St. Clair, conductor

At the Grave of Richard Wagner

Kronos Quartet

Marcella DeCray, harp

Aki Takahashi, piano

Produced by Sam Phillips for BBC Wales

Donald Macleod explores Franz Liszt's friendship with Richard Wagner.

201905 LASTLiszt's 'vie Trifurquee'20190125Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five images of the composer. In the final episode of the week, Donald examines a photograph of Liszt taken by Ferencz K zmata in Budapest in 1873, noting how in later life, the promoted image of the composer changed to that of a distinguished cleric, a spiritual dreamer in touch with the sages. Yet in this period, Liszt was more troubled than in any other part of his life. Donald explores the lengths he went to, to try and maintain a balance in his life - a period when he lived a 'threefold existence' - splitting his time between Rome, Weimar and Budapest and travelling over 4000 miles a year.

Legend of St Francis of Assisi: St Francis preaches to the birds

Wilhelm Kempff, piano

Via Crucis (Cruxis): Station VI

Marie-Claire Alain, organ

Ensemble Vocal Audite Nova de Paris

Jean Sourisse, conductor

Hungarian Rhapsody No 9

Louis Kentner, piano

Nuages Gris

Pierre-Laurent Aimard, piano

Mephisto Waltz No 2

Gewandhausorchester Leipzig

Kurt Masur, conductor

Ann退es de p耀lerinage: I - Suisse: IV. Au bord d'une source

Aldo Ciccolini, piano

Richard Wagner (arr. Franz Liszt)

Tristan und Isolde: Isoldes Liebstod

Vladimir Horowitz, piano

Produced by Sam Phillips for BBC Wales

Donald Macleod explores what Liszt called his 'threefold existence.

202201Recollections2022011720230821 (R3)Donald Macleod recounts Liszt's childhood in the Hungarian village of Raiding and the story of his youthful, rural upbringing. In later life Liszt made several visits to Raiding and recalled a happy childhood there noting the influence of his musical father and of the travelling folk musicians that passed through his village. Today's programme recounts Liszt's first encounter with the piano, his emerging precocious musical talent, up to his departure to the bright lights of Vienna to begin a life as a travelling virtuoso.

Hungarian Rhapsody No 8 in F sharp minor

Roberto Szidon, piano

Die Drei Zigeuner

Dietrich Fischer-Dieskau, baritone

Daniel Barenboim, piano

Symphonic Poem: From the Cradle to the Grave

BBC Philharmonic Orchestra

Gianandrea Noseda, conductor

Fantasy on Motifs from Beethoven's 'Ruinen von Athen

Michel Beroff, piano

Leipzig Gewandhaus Orchestra

Kurt Masur, conductor

Variation on a Theme of Diabelli

Leslie Howard, piano

Hungarian Rhapsody No 10 in E - 'Preludio

Georges Cziffra, piano

Franz Liszt's Hungarian childhood in Raiding.

202202Flood2022011820230822 (R3)After several years of absence from Hungary, Liszt is taken aback by news of the disastrous floods in Pest in 1838. His thoughts turn to the country of his birth and prompt him to take action to support his native countrymen. Donald Macleod continues his story of Liszt's relationship with Hungary and recounts how thoughts of his homeland inspired a new sequence of works which will eventually become the Hungarian Rhapsodies.

Hungarian Rhapsody No 5 in E minor 'Heroide-elegiaque

Nelson Freire, piano

Six Grandes Etudes de Paganini - No 6 'La Campanella

Alice Sara Ott, piano

Fantasia on Hungarian Folk Themes

Louis Lortie, piano

Residentie Orchestra The Hague

George Pehlivanian, conductor

Two Hungarian Recruiting Dances by Laszlo Fay and Janos Bihari 'Zum Andenken

Leslie Howard, piano

Hungarian Rhapsody No 2 in C sharp minor (arr.orchestra)

Philadelphia Orchestra

Eugene Ormandy, conductor

Liszt is inspired to action after news of a natural disaster in his homeland, Hungary.

202203Uprising2022011920230823 (R3)Europe in the 1840s saw a potent wave of nationalism with uprisings breaking out in many of the continent's major cities as people campaigned against old feudal rule and the right to self-determination. As Donald Macleod relates, the uprising in Hungary was a prime example and it required a reaction and a response from the country's most famous son, Franz Liszt, both personally and musically.

Hungarian Rhapsody No 15 'Rakoczy March

John Ogdon, piano

Arbeiterchor

Dietrich Fischer-Dieskau, baritone

Netherlands Chamber Choir

Rudolf Jansen, piano

Uwe Gronostay, conductor

Symphonic Poem - 'Hungaria

London Philharmonic Orchestra

Bernard Haitink, conductor

Liebestraum No 1 'Hohe Lieb

Daniel Barenboim, piano

Magyarok Istene' (version for organ)

Olivier Vernet (organ)

Hungarian costume and a jewel-encrusted sword. With Donald Macleod.

202204Charitas2022012020230824 (R3)It is indicative of Liszt's nature that he was so giving and generous, both with his money and his time. Profoundly religious, he believed absolutely in what he referred to as 'Genie oblige' - the obligation of genius. One of his favourite images was of the saint St Francis of Padua, captured in a miraculous image brandishing his motto `Charitas`, which prompted Liszt to depict him in music. Donald Macleod continues his story of Liszt and Hungary with a focus on his benevolent response to the country of his birth and on how he was prevailed upon to take a part in shaping the course of the nation's future, in particular by giving weight to its music.

2 L退gendes - No 2 'St Francois de Paule marchant sur les flots

Frederik Ullen, piano

Hungarian Coronation Mass - II. 'Gloria

Szecsody Iren, soprano

Tiszay Magda, alto

Jozsef Simandy, tenor

Andras Farago, bass

Kronungskirche Budapest Orchestra and Chorus

Janos Ferencsik, conductor

Hungarian Rhapsody No 9 in E flat 'Pesther Carnival - II. Finale presto

Takacs Piano Trio

Piano Concerto No 2 in A

Boris Berezovsky, piano

Philharmonia Orchestra

Hugh Wolff, conductor

Hungarian Rhapsody No 6 in D flat

Martha Argerich, piano

Liszt, charity and the obligation of genius.

202205 LASTJe Suis Hongrois2022012120230825 (R3)Donald Macleod recounts Liszt's final years, and the period when the elderly composer spent much time travelling between his homes in Rome, Weimar and Budapest, journeying hundreds of miles by train to fulfil his many obligations. Tired and often unfairly criticised by even those closest to him, his final days were tragic. When he died an international argument ensued as to which country held the best claim to his final resting place.

Hungarian Rhapsody No 4 in D minor (orchestral arrangement)

Budapest Festival Orchestra

Ivan Fischer, conductor

Die Legende von der Heiligen Elisabeth - Part 2

'Death of Elisabeth'

'Chorus of Angels'

Melanie Diener, soprano

Solisten des MDR Kinderchores

Chor 'Die Ameisenkinder' des Goethegymnasiums Weimar

Chor des Ungarischen Rundfunks

Staatskapelle Weimar

Carl St Clair, conductor

Hungarian Portraits - 'Mosonyi Grabgeleit

Alfred Brendel, piano

Cardas Macabre (arr. for Hungarian folk instruments)

Orchestra of the Hungarian State Folk Ensemble

Istvan Albert/Laszlo Berki, leaders

Seven Sacramenta - Responsories V. 'Extreme unctio

Male Chorus of the Hungarian Army

Zsuzsa Elekes, organ

Istvan Zambo, conductor

Hungarian Rhapsody No 11 in A minor

Roberto Szidon, piano

Liszt's final years and the conflict over his burial.