Frederic Chopin vs Franz Liszt
Marlesia A Hall
Tri-County Technical College
Chopin (1810-1849) and Franz Liszt (1811-1886) remain as two pre-prominent cases of the common, mid-nineteenth century piano virtuoso-authors. Revered by Parisian and European high society, both were composers of music that the working classes were fond and included both the cozy dreams and the intense, patriot pride of that time. The two men were for the most part contemporary, Chopin conceived in 1810 and Liszt a year later, despite the fact that Liszt outlived Chopin (died of tuberculosis) by 39 years. Both were among the first to convey cutting edge showmanship amazing in its full creative potential, and both can be credited with symphonious advances that Frederic misrepresented their pictures as promoters of flashy show pieces.
However in spite of these likenesses, there were significant contrasts between the two. Chopin earned his living by teaching piano to the children of the elite and wealthy while Liszt taught hundreds of gifted pianist free of charge, perhaps due in part to his humble beginnings. Chopin was the more saved, blue-blooded, groggily wonderful exclusive piano performer. For all his notoriety for being an entertainer, he gave close to 30 really open exhibitions in his whole lifetime, wanting to show his music in the more cozy surroundings of the Paris salon in the 1830’s and 40’s, Liszt was an outgoing player – yet in addition, the best expert the piano has known. Liszt wowed audiences and fellow musicians, especially during the 1840’s, with near superhuman feats on the piano. Even Chopin remarked that he wished he could perform his own compositions as well as Liszt performed them. He is known to be perhaps the greatest piano virtuoso of all time, but also composed for the piano as well as the orchestra. During his later career, he was also a widely recognized conductor.
Charles Halle, who heard the two men play in their prime, depicted the distinctions as takes after: ”Chopin conveyed you with him into a Neverland, in which you would have jumped at the chance to stay perpetually; Liszt was all daylight and astonishing quality, enslaving his listeners with a power that nobody could withstand.” A prodigy on the piano afforded Liszt the opportunity to meet Schumann and Beethoven. Chopin met many prominent musicians, artists, and writers including Victor Hugo, Heinrich Heine, Hector Berlioz, and Franz Liszt.
Chopin’s piano music has exceeded the repertory, and turned into the vehicle for virtuosos of each demeanor, from the technical difficulty of Etude in C Minor, Op. 10, No 12 to the boisterous and majestic polonaise of Polonaise in A Flat Major, Op. 53 (1842). On the off chance that a piano player doesn’t react to Chopin’s supposition, there are dependably the Polish swagger and the military octaves to consider. Chopin’s Etude in C Minor, Op. 10, No. 12 (1831-ish) was composed to help the pianist develop speed and endurance of the left hand. And although training was the primary purpose, Etude in C Minor, Op. 10, No. 12 became a masterpiece. It is believed that the Russian takeover of Warsaw (Chopin’s home) in 1831 was the inspiration for this etude. Although Chopin moved to Paris at the age of 21 he grew up and attended music school in Warsaw, Poland.
Liszt, on the other hand, while still particularly a piece of each musician’s repertory with a couple of key pieces, doesn’t overwhelm solo piano writing as Chopin does. In the meantime, in any case, current artists have turned out to be progressively captivated with Liszt’s later years. Torn between his arousing and profound slants, Liszt was likewise a significant melodic dynamic. Liszt began studying piano in Vienna at the age of 11, He was gaining acclaim across Europe as a piano soloist by the age of 19, but withdrew for a few years, practicing upwards of 12 hours a day. While situated in Weimar in the 1850’s – after Chopin’s passing and after his brilliance years as a visiting musician – Liszt turned into the recognized focal point of European melodic progressivism, both with his own piano and instrumental works and through his championing of Wagner and different pioneers of the day. Later on, first situated in Rome and after that moving anxiously between Rome, Weimar and Budapest, he turned out an assemblage of religious music and, at last, stark piano pieces that still are not all around ok known.
These later piano works point toward the future in different ways. The harmonies are radical to be sure for the time in which they were composed – the 1870’s and mid 1880’s. The tonality is frequently shady for long extends, there are anxious reiterations and starkly severe surfaces. Also, a portion of the music – over all the notable ”Jeux d’eau a la Villa d’Este” – point straightforwardly toward Impressionism.
The piano music of the two writers has normally pulled in the immense virtuosos of the recorded time. With such an abundance of phonographic articulations available to listeners and/or students, the job of any present day student who wanders into this repertory turns into a considerable one. Overall, it is undeniably noted that the similarities between the two are far less that the differences. All things considered, neither musician should be reduced to some chronologically ill-researched guess of a Romantic identity.
All things considered, it could be said a genuinely current piano player, abounding with the diagnostic clearness and direct force, may appear to be incomprehensibly to have more to offer in this music than some chronologically misguided guess of a Romantic identity. An excessive number of current emulators of the old.
Hoffer, C. R. (n.d.). Western music listening today (CD in he back).
Hoffer, C. R. (2015). Music listening today.
Chopin, F., ; Banowetz, J. (2000). Piano works. Place of publication not identified: Belwin Mills Pub.
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