“Sadness and greatness are the fate of artists.

” This is the famous saying of musician Franz Liszt (1811-1886).

As a composer, conductor, teacher and organizer of music activities, he occupied the central position of artistic life in the 19th century.

However, the artist who achieved great success did not get rid of the sadness of romanticism.

Once he said, “die, die when you are young – how happy!” Liszt is a famous Hungarian composer, pianist, conductor and great romantic master.

He is one of the most outstanding representatives in the early stage of romanticism.

He was born in Hungary in 1811.

His father was the housekeeper of a rich Hungarian man.

When Liszt was only ten years old, his father discovered his musical talent.

For Liszt’s further study, his father sold his family property and collected some money.

The whole family moved to Vienna.

The life of a family of three in Vienna is very poor.

They are crowded in a small house and make a living by working.

In order to learn the piano, Liszt’s father hired the famous pianist Che Erni as a teacher.

Little Liszt has classes three times a week and has to walk for more than two hours every time.

But ten year old Liszt is not afraid of hard work and has never stopped piano lessons.

Cherni also appreciated the hard-working student.

Two years later, Liszt’s piano skills improved by leaps and bounds, and he was able to give concerts in Vienna.

Once, a deaf old man appeared in the audience of his concert.

Although the old man could not hear Liszt’s performance, his heart seemed to feel the great power of the young genius, so the old man warmly hugged the prodigy and kissed him on the forehead after the concert.

The old man was a master of music, and the news was published in major European newspapers at that time, making the 12-year-old Liszt famous all over Europe for a time.

With the support of some Hungarian nobles, Liszt came to Paris to continue his music career.

Liszt’s personality is cheerful, enthusiastic and has a wide range of friends.

When he was in Paris, he often interacted with great French writers.

They all had humanitarian thoughts, pursued equality, fraternity and freedom, and advocated innovation in art.

Hugo is always the first to appreciate Liszt’s works, and Liszt is often the first to appreciate Hugo’s literary works.

Several of Liszt’s works are based on the artistic conception of Hugo’s poems, and some of Hugo’s poems are also inspired by Liszt’s melody.

No wonder later generations call these two artists a pair of “spiritual twins”.

In 1831, the violinist Paganini appeared in Paris and caused a sensation.

He made Liszt realize the height that a master performer can reach.

Liszt watched Paganini, the violin magician’s unique performance, and made up his mind to be Paganini on the piano.

He learned to use the piano to do those brilliant, impossible and miraculous things.

He also wrote music that no one had ever played on the piano before.

He believed that there was no music that the piano, the instrument he loved and chose, could not express.

He adapted almost all kinds of music that people had written in the past, from grand opera to Beethoven’s symphony.

Liszt believes that if he rewrites operas and symphonies on the piano, he can bring those lovely melodies to those who would never have a chance to hear them.

Liszt is one of the greatest pianists and presenters.

He performs with his fingers.

His personality charm has produced many legends.

During the performance, instead of facing or facing the audience with his back as usual, he adopted the more effective sitting posture commonly used now.

This pose shows his well-defined profile, reminiscent of Dante characters.

He leaned over the keyboard and made a thunderous roar.

There were also love words, which fascinated the noble woman.

Lower ranking ladies scrambled for his snuff box and tore his handkerchief to pieces.

Liszt encouraged these antics as part of the legend.

But behind the surface of these phenomena, he is a real musician.

Liszt played the sonata written later by Beethoven for his friends and believers.

They will never forget that feeling.

In Paris, there are as many famous musicians as robins in May, but Liszt has become a favorite among them.

Liszt developed the piano skills to an unparalleled level, greatly enriched the expressiveness of the piano and created the effect of orchestral music on the piano.

He also pioneered the recitation method, and he has excellent improvisation ability.

Therefore, he has won the reputation of “king of piano”.

In terms of composition, he advocated title music, created the genre of symphonic poetry, developed the technique of free transfer, opened the prelude to the birth of atonal music, and established the romantic principle opposite to the college atmosphere and the public atmosphere.

He composed 13 preludes such as Tasso, Hungary, prelude, matepa and Prometheus, 19 Hungarian Rhapsody and 12 advanced etudes, which greatly expanded the expressiveness of piano music.

The piano piece Hungarian Rhapsody is inseparable from Liszt’s name, just as the waltz is inseparable from Strauss and the symphony is inseparable from Beethoven’s name.

Its piano music has been listed in the literature treasure house of world classical piano music.

Liszt’s 19 piano pieces “Hungarian Rhapsody” occupy a particularly important position in his piano works.

These works not only give full play to the musical expression of the piano, but also set an outstanding musical model for the creation of Rhapsody, a musical genre.

These works are based on the folk songs and folk dances of Hungarian and Hungarian Gypsies, and are artistically processed and developed.

Therefore, they all have a distinctive national color.

These songs have careful structure, rich and active musical thoughts, and the music language and music expression methods are closely related to Hungarian country dance music and urban rap music.

Although the form of music changes from time to time, the music image is always bright and simple, reflecting the perfect unity of natural beauty and artistic beauty.

In the legend of the pianist, the legend of love is inseparable.

Liszt was never married.

For most of the fifty years, his life was full of sighs, tears and the threat of suicide.

Among those who tortured him was George Sang.

TheySpent a summer together in Switzerland.

There are Lola montaire and Mary diplexi, the prototype of Alexandre Dumas Jr.

‘s camellia.

What played a more important role in Liszt’s artistic development was his relationship with the countess Mary Daguerre, who wrote novels under the pseudonym of Daniel Stern.

They went to Switzerland together and lived an idyllic life for several years.

They had three children, of whom kosima later became Wagner’s wife.

Liszt and the countess broke up in resentment.

The countess later made Liszt the object of satire in her novels.

Liszt withdrew from the stage at the height of his fame in order to devote himself to composing music.

In his later years, Liszt came to Rome and prayed in those beautiful old churches.

Here, many great artists and musicians have created their best works to celebrate the glory of God, and many great and good people have come here to worship God.

His father died when Liszt was a 16-year-old child.

At that time, Liszt wanted to be a priest.

But a kind priest in the diocese advised him that he should not waste God’s extraordinary musical talent, so he gave up the idea for the time being.

In his later years, Liszt thought that since he was old, he should naturally enter the church and convert to Christ.

So in his later years, he became known as “father Liszt”.