".The Opus 1 (s148) Variations show a clever young hand at work, especially in the ease of the modulation at the coda from A flat major to E major-a key-shift which would dominate much of his mature work. I personally mainly gravitate towards his later works when he got involved with the Church, and dealt with tremendous personal loss of both not being able to be with a love of his life, death of his kid, etc., however there are great flashes of brilliance early on, I especially love his Op.1 variations, if we didn't know who composed it, on first listening, we'd think it was by Schubert. Liszt almost more than anything redefined our idea of what the piano can do and how to compose for it in this new light.īrahms carried the torch forward for a lot of Bob Schumann's idea, improved on it, I care not for Schumann's work personally but recognize his importance and influence as I like Brahms, so without no Bobby, no Johannes as we know him. The repertoire is challenging but worth the effort – you can hear how Liszt’s music was absorbed by other composers – his spare, tritone- based melodic lines, or the sparkling tone colours of the air, light and water depicted in his musical postcards, the Années de Pélerinage." ".This is a fascinating idea: to take some of Liszt’s core piano works and explore how the man and his music influenced everything that followed.first programme is about Liszt the expressionist, and his followers – Berg, Scriabin, Wagner the second concentrates on his impressionist works, along with Ravel, Bartók and Messiaen. Here's a cool excerpt from a a CD review that fittingly summs up some of the ideas he pioneered in terms of compositon, and expansion of the tonal language he rewrote some of the 'rules' or rather turned his back on them, he more than anyone else I can recall set the stage for the movements and traditions that followed.
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