For as much as I've been exposed to classical music, I just have never studied it or even read much about the leading composers, etc. So I'm trying to correct this situation. This author has done a three-part biography of Franz Liszt - who I certainly knew by name, and possibly would have associated with Hungary. But no more than that.Anyway, the first volume of this biography was thoroughly interesting. At the beginning I was concerned that this was the kind of biography where the author is mostly interested in showing off how much research was done and why his work exceeds the efforts of previous biographers. There was some of that, but it ended up not being a problem.
Some things I took away:
1. Persons like Liszt leave no room for doubt that something like "genius," for want of a different term, absolutely exists in a small number of people. These folks simply have something the rest of us can never have. Liszt was able to learn music, perform in concerts at a ridiculously young age (~11), memorize, sight read, etc., in a way that simply was not normal. It's fascinating to think about.
2. Sort of like in the Goethe biography, Liszt came to the fore as a celebrity - there was a sufficient media machine to make him famous. Supposedly there was genuine Liszt-mania in many places he appeared during this period.
3. Carl Czerny was one of his earliest instructors. That's a name familiar to anyone who has done any piano practicing, his various exercises have endured.
4. Liszt's father took him around Europe on concert tours at an early age. I never had thought about the logistical difficulties - the concert industry didn't exist in anything approaching the format we know it. Not to mention difficult travels; this started shortly after the Napoleonic era.
5. The way this author tells it, large-scale piano recitals didn't exist prior to Liszt - one reason being that the piano technology wouldn't have permitted it. Piano performances were done in salon settings, probably building on from the harpsichord traditions. Liszt and his father ran across a piano manufacturer (Erard) in Paris who had an instrument that permitted much more difficult technical achievements at the keyboard, plus had the sound-generating capacity to fill large halls. Other manufacturers were making similar progress. I had no idea about this sequence.
6. And the description of a piano program as a "recital" - where did that come from? Of course, it was Liszt. Not clear exactly why he used it, but the term certainly caught on. His approach to programming also became a model.
7. It also was interesting to me that the early recitals so often ended with the performer doing "improvisations," often on themes submitted by the audience. Liszt supposedly was the master of this. Contrast to today's programs which - as much as I like them - are dominated by faithful renderings of whatever has become the accepted presentation of a work. I would believe the composers didn't intend for performances to be limited in this way.
8. Many of the commercial arrangements sound familiar. Erard shipped pianos wherever Liszt performed around Europe, gratis. And sold pianos everywhere - no possibility of better advertising than having Liszt demonstrate the product. Like today's "Steinway artists."
9. It was most interesting to read about Lizst's interactions with other 19th century luminaries, such as Balzac, Victor Hugo, George Sand, Chopin (Polish refugees were in Paris following yet another Russian sack of Warsaw), Robert & Clara Schumann, Hector Berlioz. Even a brief exposure to Beethoven in the early going.
10. There is a character in "Les Miserables" named Cosette - which is an unusual name. Turns out it is a diminutive for Cosima, Liszt's daughter - for whom Victor Hugo named the character.
11. These 19th century folks so often are involved in the 1848 revolutions - in Liszt's case, Hungarian nationalism was rampant as they sought a better deal with their Austrian overlords. Liszt lived mostly in Paris during these years, but was enthusiastically supportive of Hungary, did tours there, etc.
