Episodes
| Series | Episode | Title | First Broadcast | Comments |
|---|---|---|---|---|
| 01 | 20070312 | With Donald Macleod. The first biography of Franz Liszt appeared when he was only 23, yet even in old age the superstar pianist-composer refused to write his own memoir. Nevertheless, more than 35,000 of his letters to musicians, royalty, friends and loved ones have survived, revealing the incredible story of his life in his own words. Preludio (Etudes d'execution transcendante) Jeno Jando (piano) Ave verum corpus BBC Singers Peter Dijkstra (conductor) Sonata in B minor George-Emmanuel Lazaridis (piano) Am grabe Richard Wagners Daniel Hyde (organ) Schubert arr Liszt: Der Müller und der Bach Arcadi Volodos (piano). | ||
| 01 | A Rock Star In The Country | 20150105 | 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 Préludes", inspired by words by Alphonse de Lamartine. West-Eastern Divan Orchestra / Daniel Barenboim Tasso: Lamento e Trionfo Berlin Philharmonic / Herbert von Karajan Prometheus London Philharmonic Orchestra / Georg Solti. Donald Macleod focuses on Liszt's 1848 move to Weimar with his mistress Carolyne.
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| 01 | A Rock Star In The Country | 20170508 | Donald Macleod focuses on Liszt's 1848 move to Weimar with his mistress, Carolyne. 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 Préludes", inspired by words by Alphonse de Lamartine. | |
| 01 | Liszt The Virtuoso | 20080623 | Donald Macleod surveys the range of Liszt's piano music, from the Second Hungarian Rhapsody to the work which Wagner called 'great, lovable, deep, and noble' - the Sonata in B minor. Preludio No 1 in (Douze etudes d'execution transcendante, S139) Douze etudes d'execution transcendante, S139 (No 10 in F minor; No 5 in B flat; No 8 in C minor) Boris Berezovsky (piano) Hungarian Rhapsody No 2 in C sharp minor, S244 Roberto Szidon (piano) Sonata in B minor for piano, S178 Alfred Brendel (piano). | |
| 01 | Living Like A Lord | 20110725 | Donald Macleod discusses Liszt's heyday as a touring virtuoso. Lisztomania 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. | |
| 02 | Death And Demons | 20110726 | Donald Macleod on the influences on Liszt's life that led to his becoming a virtuoso. Liszt'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. | |
| 02 | Liszt The Traveller | 20080624 | Donald Macleod looks at the period beginning in 1835 when Liszt eloped with his pregnant mistress, the countess Marie d'Agoult - the beginning of a restless time the composer later immortalised in the first two volumes of his Annees de pelerinage. Pastorale No 3 (Annees de pelerinage - premiere annee, S160); Annees de pelerinage - Nos 2, 4 and 9 Alfred Brendel (piano) Vallee d'Obermann (Annees de pelerinage - premiere annee: Suisse, S160) Lazar Berman (piano) Gondoliera (Venezia e Napoli - supplement to Annees de pelerinage - deuxieme annee, S162); Apres une lecture du Dante (Fantasia quasi Sonata - Annees de pelerinage - deuxieme annee: Italie, S160) Jeno Jando (piano). | |
| 02 | Liszt's Letters | 20070313 | Donald Macleod continues his survey of Liszt's life, told in the composer's own words. A homage to Liszt's virtuoso idol Paganini and a fiery symphony inspired by Dante's Divine Comedy. La Campanella (Grandes Etudes de Paganini) Jorge Bolet (piano) Dante Symphony Berlin Philharmonic Daniel Barenboim (conductor). | |
| 02 | Trailblazer On The Podium | 20150106 | Donald Macleod focuses on how Liszt protected his friend Wagner as he fled arrest. 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 Heroïde Funebre - both rarely played in the concert hall - as well as Liszt's take on the Orpheus myth. Six Grandes Etudes De Paganini: no.3 "La Campanella Lang Lang (piano) Héroïde Funèbre Leipzig Gewandhaus Orchestra / Kurt Masur Vienna Philharmonic / Christoph Eschenbach Orpheus, arr. Camille Saint-Saëns for piano trio Trio Di Parma.
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| 02 | Trailblazer On The Podium | 20170509 | Donald Macleod focuses on how Liszt protected his friend Wagner as he fled arrest. 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 Heroïde Funebre - both rarely played in the concert hall - as well as Liszt's take on the Orpheus myth. | |
| 03 | Liszt The Re-composer | 20080625 | Donald Macleod investigages why Liszt spent so much time re-arranging existing music - by composers such as Bach, Schubert and Mozart - instead of writing more of his own. Schubert: Der sturmische Morgen (Winterreise - transcr for solo piano by Liszt, S561) Anastasia Voltchok (piano) Bach: Prelude in A minor, BWV 543 No 1 (Six Organ Preludes and Fugues - transcr for solo piano by Liszt, S462) Artur Pizarro (piano) Schubert: Der Lindenbaum (Winterreise - transcr for solo piano by Liszt, S561) Reminiscences de Don Juan, S418 (1841) Earl Wild (piano) Mazeppa (Douze etudes d'execution transcendante, S139) Claudio Arrau (piano) Budapest Symphony Orchestra Arpad Joo (conductor). | |
| 03 | Liszt's Letters | 20070314 | More tales from Liszt's travels, including an embarrassing mid-concert scuffle with a piano tuner, and compliments from the King on a brand new creation: the symphonic poem. Excelsior! Daniel Hyde (organ) Piano Concerto No 1 Louis Lortie (piano) Residentie Orchestra The Hague George Pehlivanian (conductor) Pater Noster I BBC Singers Peter Dijkstra (conductor) Tasso Berlin Radio Symphony Orchestra Karl Anton Rickenbacher (conductor). | |
| 03 | Memories Of Home | 20150107 | 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. Blume und Duft Dietrich Fischer-Dieskau (baritone), Daniel Barenboim (piano) BBC Philharmonic / Gianandrea Noseda Ce qu'on entend sur la montagne Hungarian National Philharmonic Orchestra / Zoltán Kocsis. Donald Macleod introduces a paean to Liszt's Hungarian homeland and a pastoral idyll.
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| 03 | Memories Of Home | 20170510 | Donald Macleod introduces a paean to Liszt's Hungarian homeland and a pastoral idyll. 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. | |
| 03 | Self-composure (weimar, 1848-61) | 20110727 | Donald Macleod focuses on the works Liszt wrote while he was living in Weimar. In 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. | |
| 04 | Liszt The Song Composer | 20080626 | Donald Macleod explores Liszt's songs, including settings of Heine, Hugo and Petrarch. While he is not often thought of as a composer of songs, Liszt wrote around 80 of them, some of which are considered to be among his finest works. Vergiftet sind meine Lieder, S289 (text: Heine) Dietrich Fischer-Dieskau (baritone) Daniel Barenboim (piano) Die Loreley, S273 No 2 (text: Heine) Hildegard Behrens (soprano) Cord Garben (piano) Ich mochte hingehn, S296 (text: Herwegh) Four settings of Victor Hugo: S'il est un charmant gazon, S284; Enfant, si j'etais roi, S283; Comment, disaient-ils, S276; Oh! quand je dors, S282 Brigitte Fassbaender (soprano) Irwin Gage (piano) Tre sonnetti di Petrarca, S270: Pace non trovo; Benedetto sia il giorno; I vidi in terra angelici costumi Thomas Quasthoff (baritone) Justus Zeyen (piano). | |
| 04 | Liszt's Letters | 20070315 | Donald Macleod delves into more of Liszt's writings, including the changing fortunes of his popularity as a composer and a musical premonition of Wagner's death in Venice. Ave Maria I Edward Goater (tenor) BBC Singers Peter Dijkstra (conductor) Totentanz (Danse macabre) Krystian Zimerman (piano) Boston Symphony Orchestra Seiji Ozawa (conductor) Andante maestoso Daniel Hyde (organ) Mephistopheles (A Faust Symphony) Orchestra of the Ferenc Liszt Academy András Ligeti (conductor) La lugubre gondola Thomas Hitzlberger (piano). | |
| 04 | Mystic (rome) | 20110728 | Donald Macleod explores the music of Liszt's years in Rome. Liszt 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. | |
| 04 | The Death Of Daniel Liszt | 20150108 | Donald Macleod explores the tragic death of Liszt's son Daniel. 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. Festklänge BBC Philharmonic / Gianandrea Noseda Hunnenschlacht (arr Liszt for two pianos) Georgia Mangos, Louise Mangos (pianos) Hamlet Lasst mich ruhen Hermann Prey (baritone), Alexis Weissenberg (piano).
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| 04 | The Death Of Daniel Liszt | 20170511 | Donald Macleod explores the tragic death of Liszt's son Daniel. 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. | |
| 05 | From The Cradle To The Grave | 20150109 | 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. Hungarian Rhapsody no.2 (arr. Liszt for orchestra) Boston Pops Orchestra / Arthur Fielder Die Ideale Leipzig Gewandhaus Orchestra / Kurt Masur Von der Wiege bis zum Grabe BBC Scottish SO / Ilan Volkov. Donald Macleod explores the thorny circumstances of Liszt's departure from Weimar.
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| 05 | Whispers And Laments | 20110729 | Donald Macleod focuses on the music of Liszt's final years. There 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. | |
| 05 LAST | From The Cradle To The Grave | 20170512 | Donald Macleod explores the thorny circumstances of Liszt's departure from Weimar. 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. | |
| 05 LAST | Liszt The Visionary | 20080627 | Donald Macleod explores the very modern, forward-looking works of Liszt's final decade. Am Grabe Richard Wagners, S202 Kronos Quartet Aki Takahashi (piano) Marcella DeCray (harp) Bagatelle sans tonalite, S216a Valse oubliee No 1, S215 Leslie Howard (piano) Von der Wiege bis zum Grabe (Symphonic Poem No 13), S107 Leipzig Gewandhausorchester Kurt Masur (conductor) Les jeux d'eau a la Villa d'Este (Annees de pelerinage, troisieme annee, S163) Alfred Brendel (piano) La lugubre gondola, S134 Steven Isserlis (cello) Stephen Hough (piano) Nuages Gris, S199; Schlaflos! Frage und Antwort, S203; Unstern! Sinistre, disastro, S208 Paul Lewis (piano) Go not, happy day, S335 (Text: Tennyson) Thomas Hampson (baritone) Geoffrey Parsons (piano). | |
| 05 LAST | Liszt's Letters | 20070316 | Donald Macleod looks at Liszt's spiritual side, from his obsession with legends of good versus evil, to his minor orders in the church which led the Hungarian composer to be labelled 'half gypsy, half priest'. Mephisto Waltz No 1 Jorge Bolet (piano) Via Crucis: Les 14 stations de la croix Carolyn Foulkes, Olivia Robinson (sopranos) Lynette Alcántara (mezzo-soprano) Edward Goater (tenor) Edward Price (baritone) Charles Gibbs (bass) BBC Singers Peter Dijkstra (conductor). | |
| 2019 | 01 | The Ninth Wonder Of The World | 20190121 | Franz 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 Hungarian Rhapsody No 2 Transcendental Etude No 4 'Mazeppa' Don Sanche (The Castle of Love): Overture Malédiction Christus - Ressurexit Produced by Sam Phillips for BBC Wales Donald Macleod examines the promotion of Liszt as a child prodigy. Donald Macleod offers a weekly guide to composers and their music. Franz 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 Mondays 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 Don Sanche (The Castle of Love): Overture Mal退diction Christus - Ressurexit Produced by Sam Phillips for BBC Wales |
| 2019 | 02 | The Idol | 20190122 | Franz 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' Totentanz El Contrabandista – Rondo Fantastique Grand Galop Chromatique Cantata for Inauguration of the Beethoven Monument: I. Maestoso – Quasi Allegretto Soirées de Vienne (9 Valse-Caprises after Schubert), No 6 Produced by Sam Phillips for BBC Wales Donald Macleod examines how the persona of Liszt, the virtuoso, was created. Donald Macleod offers a weekly guide to composers and their music. " Produced by Sam Phillips for BBC Wales Franz 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 Tuesdays episode, Donald examines the earliest photograph of Liszt we have - taken in 1843 by Herman Biow - and Henri Lehmanns 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. El Contrabandista Rondo Fantastique Cantata for Inauguration of the Beethoven Monument: I. Maestoso Quasi Allegretto Soir退es de Vienne (9 Valse-Caprises after Schubert), No 6 |
| 2019 | 03 | Liszt's Women | 20190123 | Franz 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) Années de pèlerinage - Première année: Suisse: 2. Au lac de Wallenstadt A Symphony to Dante's Divine Comedy: 1. Inferno Harmonies poétiques et religieuses: Cantique d'amour Orpheus Wieder möcht' ich dir begegnen Produced by Sam Phillips for BBC Wales. Donald Macleod examines Liszt's complicated relationships with women. Donald Macleod offers a weekly guide to composers and their music. Franz 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 Wednesdays episode, Donald explores Josef Danhausers painting of 1840 immortalising Liszt at the piano, examining how his fathers warning became a prophecy which would characterise his son's relationships with women throughout his life. Liebestraum No 3 (Nocturne) Ann退es de p耀lerinage - Premi耀re ann退e: Suisse: 2. Au lac de Wallenstadt A Symphony to Dante's Divine Comedy: 1. Inferno Harmonies po退tiques et religieuses: Cantique d'amour Orpheus Wieder m怀cht' ich dir begegnen Produced by Sam Phillips for BBC Wales. Franz 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. Années de pèlerinage - Première année: Suisse: 2. Au lac de Wallenstadt Harmonies poétiques et religieuses: Cantique d'amour Wieder möcht' ich dir begegnen Franz 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. |
| 2019 | 04 | Haunted By Wagner | 20190124 | Franz 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 Thursdays 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) Prometheus A Faust Symphony: III. Mephistopheles In Liebeslust The Legend of St Elizabeth: Chorus of the Angels At the Grave of Richard Wagner Produced by Sam Phillips for BBC Wales Donald Macleod explores Franz Liszt's friendship with Richard Wagner. Donald Macleod offers a weekly guide to composers and their music. Franz 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) |
| 2019 | 05 LAST | Liszt's 'vie Trifurquee' | 20190125 | Franz 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 Kózmata 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 Via Crucis (Cruxis): Station VI Hungarian Rhapsody No 9 Nuages Gris Mephisto Waltz No 2 Années de pèlerinage: I - Suisse: IV. Au bord d’une source Richard Wagner (arr. Franz Liszt) Produced by Sam Phillips for BBC Wales Donald Macleod explores what Liszt called his 'threefold existence.' Donald Macleod offers a weekly guide to composers and their music. Produced by Sam Phillips for BBC Wales Franz 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. Ann退es de p耀lerinage: I - Suisse: IV. Au bord dune source |
