Franz Liszt Quotes

Sorrowful and great is the artist's destiny.

Music is the heart of life." She speaks love; "without it, there is no possible good and with it everything is beautiful.

I love you sometimes foolishly and at these moments I do not understand that I could not, would not, and should not be so absorbing a thought for you as you are for me...

Music embodies feeling without forcing it to contend and combine with thought, as it is forced in most arts and especially in the art of words.

Brahms' Variations are better than mine, but mine were written before his.

A person of any mental quality has ideas of his own. This is common sense.

For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life.

Mozart starved, but you allow Thalberg and Liszt make tons of gold: Of course, you may think that someone immortal cannot die of hunger

If the empire were to collapse, I should personally feel extremely sad. I absolutely do not believe that the personal rule of Napoleon III has been corrupting and oppressive for France-but quite the contrary, it is demonstrably necessary, conciliatory, progressive, and generally intelligent and democratic in the best sense of the word.

It was a quiet, sorrowful piece that began with a slow, memorable theme played out as single notes, then proceeded into a series of tranquil variations. Tsukuru looked up from the book he was reading and asked Haida what it was. “Franz Liszt’s ‘Le mal du pays.’ It’s from his Years of Pilgrimage suite ‘Year 1: Switzerland.’ 

The day will come when all nations amidst which the Jews are dwelling will have to raise the question of their wholesale expulsion, a question which will be one of life or death, good health or chronic disease, peaceful existence or perpetual social fever.

Garris had pet names for all of them. Mahler was the Mad Doktor. Franz Liszt was Son of Lovecraft. Mendelssohn was Santa Claus Meets the Hell’s Angels. Beethoven was the High School Principal.

For a whole fortnight my mind and my fingers have been working around me like two lost souls. Homer, the Bible, Plato, Locke, Byron, Hugo, Lamertine, Chateaubriand, Beethoven, Bach, Hummel, Mozart, Weber are all around me. I study them, meditate on them, devour them with fury; besides this, I practise four to five hours a day of exercises (thirds, sixths, octaves, tremolos, repetition of notes, cadenzas, etc.). Ah! provided I don't go mad you will find me an artist!

Poets and musicians also seem to enjoy a higher incidence of synesthesia. On his website the psychologist Sean Day provides his translation of a passage from an 1895 German article that quotes the great musician Franz Liszt: When Liszt first began as Kapellmeister in Weimar (1842), it astonished the orchestra that he said: “O please, gentlemen, a little bluer, if you please! This tone type requires it!” Or: “That is a deep violet, please, depend on it! Not so rose!” First the orchestra believed Liszt just joked;…later they got accustomed to the fact that the great musician seemed to see colors there, where there were only tones.

I can’t believe you’ve never been to a concert before,” Alane says. “Well, I mean, I’ve been to a few orchestral concerts. You know, Bach. Vivaldi. Oh, and Franz Liszt who, as we all know, was quite the heartbreaker back in his day. But as far as contemporary music goes, no. I’ve never been to a concert.

Composer Franz Liszt received so many requests for locks of his hair that he bought a dog and sent fur clippings instead.

I feel that all the various features of Nature around me…provoked an emotional reaction in the depth of my soul, which I have tried to transcribe in music” wrote Franz Liszt during his stay here.

To a people, always prompt in its recognition of genius, and ready to sympathize in the joys and woes of a truly great artist, this work will be one of exceeding interest. It is a short, glowing, and generous sketch, from the hand of Franz Liszt, (who, considered in the double light of composer and performer, has no living equal,) of the original and romantic Chopin; the most ethereal, subtle, and delicate among our modern tone-poets. It is a rare thing for a great artist to write on art, to leave the passionate worlds of sounds or colors for the colder realm of words; rarer still for him to abdicate, even temporarily, his own throne, to stand patiently and hold aloft the blazing torch of his own genius, to illume the gloomy grave of another: yet this has Liszt done through love for Chopin.

Until the hands are truly "interlocked," such fingers will seem perverse. The difficulty is mental, not physical. Once the pianist has grasped the notion that he does not have two separate hands, but a single unit of ten digits, he has made an advance towards Liszt.

Until the hands are truly "interlocked," such fingerings will seem perverse. The difficulty is mental, not physical. Once the pianist has grasped the notion that he does not have two separate hands, but a single unit of ten digits, he has made an advance towards Liszt

I carry a deep sadness of the heart which must now and then break out in sound. -Franz Liszt

Conversely, animals can be quite sensitive to human music. There are stories of dogs who hide under the couch for piano works by atonal composers but not for those by, say, Mozart. One music teacher told me that her dog would heave an audible sigh of relief if she stopped playing complex, fast-moving pieces by Franz Liszt and proceeded to something calmer. And there are reports of cows that produce more milk listening to Beethoven (although, if this is true, shouldn't one hear more classical music on farms?). Birds listen as carefully to sounds as any musician. They have to, because they learn from each other. Many birds are not born with the song they sing: the symphonies they offer us for free in forests and meadows are cultural. White-crowned sparrows, for example, develop their normal song only when they have been exposed early in life to the sounds of an adult of their species. Many songbirds have dialects-differences in song structure from one population to another. One theory about this is that if a female can tell from a male's song that he is a local boy, she may prefer him as a mate, as he may be genetically adapted to regional conditions. Given the variability in song from location to location it is hard to maintain that birdsong is instinctive in the usual sense. There is room for creativity and modification. Some individuals act as star performers, setting new trends in their region.

The Austrio-Hungarian composer Franz Liszt (1811-1886) was a pianistic miracle. He could play anything on site and composed over 400 works centered around "his" instrument. Among his key works are his Hungarian Rhapsodies, his Transcendental Etudes, his Concert Etudes, his Etudes based on variations of Paganinini's Violin Caprices and his Sonata, one of the most important of the nineteenth century.

In writing a few words of Preface I wish to express, first and foremost, my appreciation of the extreme care and conscientiousness with which La Mara has prepared these volumes.

By leaving the organization of his concerts to others, Liszt sometimes fell victim to amusing errors. He once played in Marseille and included in the programme his arrangement of Schubert’s “La Truite” (“The Trout”). Owing to a printing error the piece appeared as “La Trinité,” and the unsuspecting audience sat through this bubbling music with quasi-religious reverence. When Liszt realized the mistake he got up from the piano and made an impromptu speech, asking the audience not to confuse the mysterious idea of the Trinity with Schubert’s trout, a helpful interjection which caused great hilarity.

Pavane for a Dead Princess by Maurice Ravel Ave Maria S. 558 by Franz Liszt Carnival of the Animals by Camille Saint-Saens Guitar Concerto in D Major by Antonio Vivaldi

Adagio for Strings by Samuel Barber Symphony Number 5 by Gustav Mahler “O mio babbino caro” from Giannia Schicchi by Puccini The Spruce, Op. 75 by Jean Sibelius Appalachian Spring by Aaron Copeland New World Symphony by Antonin Dvorak Piano Concerto in A Minor by Edvard Grieg Mephisto Waltz by Franz Liszt Cello Suite No. 1 in G Major by Johann Sebastian Bach Cello Sonata in G Minor, Op. 65 by Frederic Chopin

Franz Liszt’s ‘Le mal du pays.

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