Peasant class. Life and creative path of the ferent leaf Years of wanderings

Hungary is a country of rich artistic culture, in many respects different from the culture of other European countries. Since the second half of the 18th century, the ancient tradition of peasant songs in Hungarian music has been muted by a new style - recruit kosh. He dominated throughout 19th century. Hungarian composers wrote in this style, and all the so-called Hungarian elements in the works of Mozart, Beethoven, Schubert, Weber, Berlioz, Brahms come from it.

According to the modern Hungarian music historian Bence Szabolczy, “Among the still little studied origins of verbunkosh, one can clearly recognize: the traditions of ancient folk music-making (dance of haiduks, dance of swineherds), the influence of Muslim and some Middle Eastern, Balkan and Slavic styles, perceived, probably, through gypsies. In addition, there are elements of Viennese-Italian music in verbunkos.” Sabolchi considers the most characteristic features of verbunkosh: "bokazo" (to shuffle with one's foot), "gypsy", or "Hungarian", a scale with an increased second, characteristic figurations, garlands of triplets, alternation of tempos "lashu" (slowly) and "frishsh" (fast ), wide free melody “hallgato” (sad Hungarian song) and fiery rhythm “figure” (smart) (102, pp. 55, 57). The largest representatives of this style were F. Erkel in operatic music and F. Liszt in instrumental music.
The creative activity of Franz Liszt (1811-1886) was influenced by several artistic cultures, especially Hungarian, French, German and Italian. Although Liszt lived relatively little in Hungary, he passionately loved his native country and did much to develop its musical culture. In his work, he showed an increasing interest in the Hungarian national theme. Since 1861, Budapest has become one of the three cities (Budapest-Weimar-Rome), where his artistic activity mainly took place. In 1875, when the Academy of Music was founded in Hungary (the highest music school) List was solemnly elected its president.

List early encountered the dark sides of the bourgeois order and its corrupting influence on art. “Who do we usually see now,” he wrote in one of his articles, “sculptors? — No, statue makers. Painters? — No, the manufacturers of paintings. Musicians? — No, music manufacturers. Artisans are everywhere, and artists are nowhere to be found. Hence the most severe sufferings that fall to the lot of one who was born with pride and wild independence of a true son of art” (175, p. 137).
He dreamed of changing the social order. The ideals of utopian socialism were close to him, he was fond of the teachings of Saint-Simon. On copies of his biography, written by L. Raman, he inscribed significant words: “All social arrangements should aim at the moral and material uplift of the most numerous and poorest class. To each according to his ability, each ability according to its deeds. Idleness is forbidden” (184, p. 205).
Liszt ardently believed in the power of art, was convinced that it should serve the lofty ideals of the spiritual perfection of man. He dreamed of "spreading musical education" to the masses of the people. “Then,” Liszt wrote, “despite our prosaic bourgeois age, the wonderful myth of the lyre of Orpheus could at least partially come true. And despite the fact that all her ancient privileges have been taken from music, she could become a virtuous goddess-educator and be crowned by her children with the most noble of all crowns - the crown of the people's liberator, friend and prophet ”(175, p. 133).
The struggle for these lofty ideals was devoted to the activities of Liszt - a performer, composer, critic, and teacher. He supported everything that he considered valuable, advanced, “real” in art. How many musicians he helped at the beginning of their career! What huge amounts of money he received from concerts he spent on charitable purposes, on the needs of art!
If we try to define the very essence of Liszt's performing image in two words, we should say: a musician-educator. It is this feature that is particularly prominent in his art as a concert pianist and conductor.

Enlightenment views of Liszt did not take shape immediately. As a child, during his studies with Czerny, and in his early youth, during his brilliant successes in Vienna, Budapest, Paris, London and other cities, he attracted attention primarily for his virtuoso talent and exceptional artistry. But even then he showed a more serious attitude to art than most young pianists.
In the 1930s and 1940s, at the time of the maturation of his performing talent, Liszt acted as a promoter of outstanding works of world musical art. The scope of his educational activities was truly titanic. The history of musical culture has never known anything like this. Liszt played not only piano works, but also works of symphonic, opera, song-romance, violin, organ literature (in transcriptions). It seemed that he decided, by means of a single instrument, to reproduce much of what was best in music, the most significant and what was little performed - either because of its novelty, or because of the undeveloped tastes of a wide audience, often not understanding the values ​​​​of great art.
At first, Liszt to a large extent subordinated his composing talent to this task. He created many transcriptions of works by various authors. A particularly bold, truly innovative step was the arrangement of Beethoven's symphonies, which were still little known and seemed incomprehensible to many. The genius of the piano sorcerer was reflected in the fact that these transcriptions became a kind of piano scores that came to life under his fingers and sounded like truly symphonic works. With masterful transcriptions of Schubert's songs, he not only increased interest in the work of the great songwriter, but also developed a whole system of principles for arranging vocal compositions on the piano. Liszt's transcriptions of Bach's organ works (six preludes and fugues, Fantasia and fugue in g-moll) were one of the significant pages in the history of the renaissance of the music of the great polyphonist.

Liszt created a lot of operatic transcriptions of works by Mozart (“Memories of Don Giovanni”, Fantasy on The Marriage of Figaro), Verdi (from “Lombards”, “Ernani”, “Il trovatore”, “Rigoletto”, “Don Carlos", "Aida", "Simon Boccanegra"), Wagner (from "Rienzi", "Flying Dutchman", "Tanggeyser", "Lohengrin", "Tristan and Isolde", "Meistersinger", "Ring of the Nibelung", "Parsifal"), Weber, Rossini, Bellini, Donizetti, Aubert, Meyerbeer, Gounod and other composers. The best of these operatic arrangements differ radically from the transcriptions of the fashionable virtuosos of the time. Liszt sought in them primarily not to create spectacular concert numbers where he could show off his virtuosity, but to embody the main ideas and images of the opera. To this end, he chose the central episodes, dramatic denouements ("Rigoletto", "The Death of Isolde"), showed close-ups of the main characters and the dramatic conflict ("Don Juan"). Like transcriptions of Beethoven's symphonies, these transcriptions were a kind of piano equivalent of opera scores.
Liszt transcribed many works by Russian composers for the piano. It was the memory of friendly meetings in Russia and the desire to support the young national school, in which he saw a lot of fresh and advanced. Among the "Russian transcriptions" of Liszt, the most famous are: "The Nightingale" by Alyabyev, the March of Chernomor from "Ruslan and Lyudmila" by Glinka, Tarantella Dargomyzhsky and Polonaise from "Eugene Onegin" by Tchaikovsky.
Piano literature in Liszt's repertoire was represented by the compositions of many authors. He played works by Beethoven (sonatas of the middle and late periods, Third and Fifth concertos), Schubert (sonatas, Fantasia C-dur); Weber (Concert piece, Invitation to Dance, sonatas, Momento capriccioso), Chopin (many compositions), Schumann (Carnival, Fantasia, fis-moll Sonata), Mendelssohn and other authors. From the clavier music XVIII century, Liszt performed mainly Bach (almost all the preludes and fugues from the Well-Tempered Clavier).
There were contradictions in List's educational activities. His concert programs, along with first-class works, contained spectacular, brilliant pieces that had no true artistic value. This tribute to fashion was largely forced. If, from the point of view of modern ideas, Liszt's programs may seem motley and not sufficiently consistent in stylistic terms, then it must be borne in mind that another form of propaganda for serious music in those conditions was doomed to failure.
Liszt abandoned the practice of organizing concerts with the participation of several artists that existed in his time and began to perform the entire program alone. The first such performance, from which recitals of pianists trace their history, took place in Rome in 1839. Liszt himself jokingly called it a "musical monologue". This bold innovation was caused by the same desire to raise the artistic level of the concerts. Without sharing power over the audience with anyone, Liszt had a great opportunity to fulfill his musical and educational goals.
Sometimes Liszt improvised on stage. He used to fantasize about the themes of folk songs and compositions by composers of the country where he gave concerts. In Russia, these were the themes of Glinka's operas and gypsy songs. Visiting Valencia in 1845, he improvised to the tunes of Spanish songs. Many such facts from Liszt's biography could be cited. They testify to the extraordinary versatility of his talent and ability in the same concert to transform from a virtuoso-interpreter into a virtuoso composer and a composer-improviser. The choice of topics for fantasizing was influenced not only by the desire to win the favor of the local public. Liszt was sincerely interested in the national culture unfamiliar to him. Using Themes national composer, he was sometimes guided by the desire to support him with his authority.
Liszt is the brightest representative of the romantic style of performance. The game of the great artist was distinguished by an exceptional figurative and emotional power of influence. He seemed to radiate a continuous stream of poetic ideas that powerfully captured the imagination of his listeners. Already one view of Liszt on the stage attracted attention. He was a passionate, inspirational speaker. Contemporaries recall that it was as if a spirit had entered into him, transforming the appearance of the pianist: his eyes burned, his hair trembled, his face acquired an amazing expression.

Here is Stasov's review of Liszt's first concert in St. Petersburg, which vividly conveys many of the features of the artist's playing and the extraordinary enthusiasm of the audience: then they were in constant correspondence since I was still finishing my course at the School of Law) my impressions, my dreams, my delights. Here, by the way, we swore to each other that this day, April 8, 1842, from now on and forever will be sacred to us and we will not forget a single feature of it until the very gravestone. We were like lovers, like crazy. And not smart. We have never heard anything like it in our lifetime, and in general we have never met face to face with such a brilliant, passionate, demonic nature, now swept by a hurricane, now overflowing with streams of tender beauty and grace. In the second concerto, the most remarkable thing was one of Chopin's mazurkas (B-dur) and Franz Schubert's Erlko-nig ("Forest King") - this last in his own arrangement, but performed in a way that, probably, no one else has ever performed singer in the world.It was real picture, full of poetry, mystery, magic, colors, menacing horse stomp, alternating with desperate voice dying child” (109, pp. 413-414). In this review, in addition to characterizing Liszt's performance of some other compositions, many interesting details of the concertos are colorfully recreated. Stasov wrote how, before starting, he saw Liszt walking around the gallery “hand in hand with the fat-bellied Count Mikh. Yuriev. Vielgorsky”, as Liszt then, squeezing his way through the crowd, quickly jumped up to the side of the stage, “tore off his white kid gloves and threw them on the floor, under the piano, bowed low on all four sides with such a thunder of applause, which in St. Petersburg, probably , since 1703 has not yet happened *, and sat down. Instantly there was such silence in the hall, as if everyone had died at once, and Liszt began, without a single note of prelude, a cello phrase at the beginning of the William Tell overture. He finished his overture, and while the hall shook from thunderous applause, he quickly moved on to another piano (standing tail first) and so he changed the piano for each new piece” ** (109, pp. 412-413).
Liszt's play was striking in its brilliance. The pianist extracted unheard-of sonorities from the pianoforte. No one could compare with him in reproducing orchestral colors - massive tutti and timbres of individual instruments. It is characteristic that Stasov, mentioning in the above review about the no less brilliant performance of Chopin's mazurkas and The Forest Tsar by A. Rubinstein, adds: “But what Rubinstein never gave me. it is the kind of piano performance of Beethoven's symphonies that we heard in Liszt's concertos” (109, p. 414).
Liszt was amazed at the reproduction of various natural phenomena, such as the howling of the wind or the sound of waves. It was in these cases that the bold use of romantic pedaling techniques was especially noteworthy. “Sometimes,” Czerny wrote about Liszt’s playing, “he continuously holds the pedal during chromatic and some other passages in the bass, thereby creating a sound mass like a thick cloud, designed to affect the whole.” It is interesting that, having reported this, Czerny remarks: "Beethoven had something similar in mind several times" (142, I, p. 30) - and thus draws attention to the continuity of the art of the two musicians.
Liszt's performance was notable for its unusual rhythmic freedom. His deviations from the tempo seemed monstrous to the classical musicians and subsequently even served as a pretext for the fact that they declared Liszt a mediocre, useless conductor. Already in his youth, Liszt hated "timed" performance. Musical rhythm for him was determined by "the content of the music, just as the rhythm of a verse lies in its meaning, and not in the ponderous and measured underlining of the caesura." Liszt called for not giving the music "an evenly swaying motion". “It must be accelerated or slowed down properly,” he said, “depending on the content” (19, p. 26).

Apparently, it was in the area of ​​rhythm that Liszt, like Chopin, had the strongest effect national characteristics execution. Liszt loved and knew well the performing style of verbunkos based on the playing of Hungarian gypsies - rhythmically very free, with unexpected accents and fermata, captivating with its passion. It can be assumed that in the improvisational ™ of his own playing and the fiery temperament characteristic of it, there was something akin to this manner.
Liszt possessed phenomenal virtuosity. Its stunning impact on contemporaries is largely due to the novelty of the pianistic techniques of the brilliant artist. It was a close-up concert style, designed for impact in large audiences. If in the play of openwork passages and in the jewelry finishing of details, Liszt had rivals for himself in the person of such pianists as Field or Henselt, then in octaves, thirds, chords he stood at an unattainable height. Liszt, as it were, synthesized the "fresco style" of Beethoven's performance with the manner of playing the virtuosos of the "brilliant style". He used massive tones and pedal "flows", and at the same time achieved extraordinary power and brilliance in double notes, chords and finger passages. Excellent in legato technique, he truly dazzled with the skill of playing pop legato - from heavy portamento to sharp staccato, moreover, at the fastest pace.
In connection with these features of the game, Liszt's fingering principles were formed. Especially important is his development of a technique for distributing sound sequences between two hands. It was in this way that Liszt often achieved that strength, speed and brilliance that so amazed his contemporaries.
The method of distributing passages between two hands was also encountered by previous musicians - by Beethoven, even by J. S. Bach, but no one has yet attached such universal significance to it. Truly, it can be called a Lisztian fingering technique. Liszt's use of it in many compositions, especially his own, was justified and artistic. In the works of other composers, this technique sometimes did not correspond to the nature of the music, and then Liszt was accused of abusing the "chopped", "cutlet" style of playing.
Like Chopin, Liszt contributed to the revival of the finger-shifting technique and took a further step in this direction: in his compositions there are passages where entire five-sound complexes move and, thus, the 1st finger follows the 5th. In this way, a special swiftness of movement is achieved, as in the next passage from the Spanish Rhapsody (note 111).
Liszt also often "instrumented" his piano compositions taking into account the individual "timbre" capabilities of the fingers (for example, he liked to use the 1st finger in a row when playing the cantilena in the middle register).

Liszt's performing arts reflected the rapid development of his artistic personality. At first, the young musician could not yet overcome the subjectivist views on the tasks of the interpreter, which existed among virtuosos. “To my shame,” Liszt wrote in 1837, “I must confess: in order to earn the exclamations of“ bravo! ”from the public, always slowly perceiving sublime simplicity in beauty, I changed the size and idea in the composition without any remorse; my frivolity reached to the point that I added many passages and cadences, which, of course, ensured the approval of the ignorant, but carried me along the path that I, fortunately, soon abandoned. Meanwhile, a deep reverence for the masterful works of our great geniuses completely replaced the desire for originality and to my personal success in my youth, so close to childhood, now for me a work is inseparable from the tact prescribed for it, and the audacity of musicians who try to embellish or even rejuvenate the creations of the old schools seems to me as absurd as if any builder decided to crown the columns of the Egyptian temple with Corinthian capitals” (175, p. 129).

Subsequently, falling into conflict with his own words, Liszt nevertheless allowed himself to change the text of the performed compositions. True, he made all kinds of additions to the music of outstanding composers with greater caution. The practice of "retouching" the text as a manifestation of the romantic freedom of the interpreter's personality passed to some of Liszt's students.
Over time, other changes took place in Liszt's performing arts. The elemental beginning was gradually curbed by the intellect, in the nature of the game a great harmony was manifested between feeling and reason. Interest in frantic rages behind the instrument, a thunderous bra-vura, cooled down. More and more attracted to the lyrics, melodious manner of performance.
The pianist's artistic activity proceeded in many European cities. An important stage in it, he himself considered viennese concerts 1838. Their extraordinary success and enthusiastic responses to performances of Beethoven's compositions prompted Liszt to dedicate an entire decade to predominantly concert tours. In the 1940s he visited Russia several times. His virtuoso activity ended in 1847 in the city of Elizavetgrad (now Kirovograd).

Liszt's refusal from systematic concert performances in the prime of his life (he was not yet thirty-six years old) was unexpected for almost everyone. There were serious reasons that prompted him to take this decision. Two of them were the most important. He increasingly felt himself called to the serious occupation of composition. New creative ideas matured in him, which could not be realized while leading the hectic life of a wandering virtuoso. Along with this, a feeling of disappointment in concert activity grew, caused by a misunderstanding of his serious artistic aspirations.
Having stopped concert trips in 1847, Liszt continued to occasionally perform as a pianist, but in exceptional cases, mainly on the days of any memorable dates and solemn ceremonies.

Liszt made an outstanding contribution to piano pedagogy. True, he paid tribute to some of the fashionable delusions of his time (for example, he recommended the use of mechanical devices). But on the whole, his methodological views, already in his youth, were distinguished by an advanced orientation and considerable novelty.
Like Schumann, Liszt pursued educational goals in teaching. He considered his main task to be the introduction of students into the world of art, the awakening of thinking artists in them, aware of the high tasks of the artist, capable of appreciating beauty. Only on this basis, he considered it possible to teach how to play the instrument. Liszt owns wonderful words that could become a motto for a modern teacher: “For an artist, it is no longer enough just to special education, one-sided skill and knowledge - together with the artist, a person must rise and form” (174, p. 185). [A musician] must “first of all educate his spirit, learn to think and judge, in a word, he must have ideas in order to bring the strings of his lyre into line with the sound of time” (174, p. 204).
A lot of valuable information about the studies of the twenty-year-old Liszt is contained in the book of A. Boissier (19). It tells how exciting and meaningful the lessons were young musician. He touched on the most diverse issues of art, science, philosophy. In an effort to awaken the poetic feeling of his student, Liszt used various comparisons. While working on the sketch of Moscheles, he read her an ode to Hugo.
Demanding truth, natural expression of feelings, Liszt, according to Boissier, rejected as “outdated, limited, frozen” “conditional expressiveness” - “forte-piano answers, obligatory crescendo in certain, foreseen cases and all this systematic sensitivity to which he feeds disgust and which he never uses” (19, p. 27).
How sharply these methods differed from the usual practice of teaching in the 1930s! They were a true revelation, a new word in piano pedagogy.
L. Raman's work Liszt's Pedagogy (185) contains interesting material on the passage of Liszt's own works with his students. In it you can find a lot of valuable information regarding Liszt's pedagogical work and his interpretation of his works, for example, in the comments on the "Consolation" Des-dur No. 3. In this lyrical play, the idea of ​​which arose in the 30s on Lake Como during a trip Marie d "Agout, the feelings are captured when contemplating the evening landscape. Liszt paid much attention to the performance of the part of the left hand, to ensure that the individual sounds of the figuration "melt" in harmony, and the movement was fluid and thus, as it were, embodied the calmness of nature. He warned against in order to “row in triplets at the oars through the evening silence”, and did not tolerate “no rhythm a la Gunten” *.

Liszt likened the melody to the Italian bet canto. He recommended to feel its development even in long sounds, to imagine in them a dynamic increase and subsequent decline (see the shades indicated in brackets - note 112).
The sixteenths that conclude the phrases had to be played very tenderly.
Some of the thoughts in Liszt's Pedagogy are essential to solving important problems of performance. So, in “Consolation” No. 2, Liszt suggested hearing the line of the lower voice during the octave presentation of the melody in the reprise, and then by ear connecting the last of the basses with the first sound of the melody in the coda (see notes marked with a cross - note 113).
With this remark, Liszt opens the veil on the most complex problem of the activity of internal hearing during performance. Apparently, in the process of playing, Liszt's ear created a whole network of a kind of intonational arches within one voice and between different voices. Such connections and the degree of their intensity undoubtedly largely determine the nature of the pianist's performance and his ability to influence the audience. These questions, which are extremely interesting, have not yet been theoretically developed at all.
List's statements about the development of virtuosity are very important. He believed that technology is born "from the spirit", and not from "mechanics". The exercise process for him was largely based on the study of difficulties, their analysis. Liszt proposed to reduce textural difficulties to fundamental formulas. If the pianist masters them, he will have the keys to many works at his disposal.
Liszt distributed difficulties into four classes - octaves and chords; tremolo; double notes; scales and arpeggios. As you can see, contrary to the prevailing pedagogical principles, he began his classification with major technique, to which he paid great attention in his work on his own mastery *.
Liszt was especially active in pedagogy in late period life**. From different countries young pianists came to him, striving to complete their musical education under the guidance of the famous maestro. These classes were something like classes of higher artistic perfection. All the students gathered for them. Liszt did not take money from anyone, although his financial situation was by no means brilliant - he did not want to “trade” his art.
Among the students of Liszt stood out: G. Bulow, K. Tausig, E. d "Alber, A. Reisenauer, A. Siloti, E. Sauer, S. Menter, V. Timanova, M. Rosenthal, A. Friedheim, B. Stavenhagen Many Hungarian pianists also studied with Liszt: I. Toman (teacher of Bartok and Dokhnanyi), A. Sendy, K. Agkhazy and others.

Liszt's piano music reflected the versatile interests of its author. For the first time in this field of instrumental art, in the work of one composer, the artistic culture of Western Europe in its most important manifestations from the Middle Ages to the present, and the images of many peoples (Hungarian, Spanish, Italian, Swiss and others), and pictures of the nature of different countries* .
The disclosure of such a wide range of images was made possible through the use of a software method. He became the main one for Liszt. By applying it, the composer wanted to solve the problem of renewal of music, which was deeply disturbing to him, by means of its internal connection with poetry. The author usually revealed the poetic idea that determined the content of the work in the title and epigraphs.
Program method prompted Liszt to transform musical forms and further develop techniques for monothematic development. He usually used a group of themes and subjected them to bold transformations (the name monothematism in these cases should be understood as the unity of thematic material throughout the entire composition, and not as the creation of a work from one theme). Liszt was attracted by heroic images. In the 1930s, he was inspired by the theme of the uprising of the Lyon weavers (the play "Lyon" from the Traveler's Album, which has an epigraph-slogan: "Live working or die fighting") and the images of the heroes of the national liberation struggle (arrangement of "Rakoczi March", "William Tell Chapel" with an epigraph - the oath of the Swiss rebels: "One for all, all for one"). The sphere of heroism in those years was most clearly embodied in Liszt's concertos - the First Es-dur (composed from 1830 to 1849) ** and the Second A-dur (1839). They affirm the images of a heroic personality, the beauty of masculinity and valor, the triumph of the feelings of the winner. The personal, the individual is inextricably linked with the popular, the mass. If in the First Concerto the heroic image appears immediately in all the splendor of its power, then in the Second Concerto it is formed gradually, growing out of the lyrical theme of entering the solemn march-procession.
The most multifaceted and psychologically deep Liszt embodied the image of his hero in Sonata h-moll (1853). This hero evokes the idea of ​​a romantic artist, a passionate seeker of the truth of life, who is in the throes of disappointment.
Liszt created many wonderful lyrical images. This is mainly love lyrics (three "Sonnets of Petrarch", three nocturnes and others). She is characterized by a luxurious flood of feelings. The melody is distinguished by the juiciness of its tone, cantability. It rises to a high, enthusiastic climax. The use of altered chords and colorful juxtapositions of harmonies gives the music an even more passionate tone.
The state of ecstasy was sometimes caused by a religious feeling. Perhaps the most significant of these images in Liszt's piano music is the first theme of the side part of the Sonata in b-moll (note 115a). Chorality - this is what gives the theme a cult touch - is combined with the grandeur of sound and brilliance musical language(Tertz sequence of chords, typical for Liszt).
Heroism, love lyrics, religious enthusiasm are one pole of the composer's creativity. The other is the satanic principle, the infernal forces, Mephistopheles. This sphere of images appears in both sonatas - "After reading Dante" and in h-moll, in "Mephisto-Waltz" and other works. The popular "Mephisto Waltz" (first) reproduces the episode in the village tavern from Lenau's "Faust" - the bewitchment of the dancers with devilish charms.
In the Sonata "After reading Dante" the gloomy realm of infernal forces is picturesquely drawn. The satanic beginning is most deeply embodied in the h-moll Sonata. It appears in its various guises - sometimes in a terrible, terrifying, then in a seductively beautiful, hypnotizing the imagination with a dream of happiness, then in an ironic one, poisoning the soul with the poison of skepticism.
Music about nature Liszt, like Beethoven and Schumann, sought to humanize, embody the feelings that arise when contemplating its beauties. He paid much attention to the picturesque qualities of his musical landscapes. The palette of his colors is saturated with "air", "sun". He was attracted by the bright colors of nature - the Alps, Italy.
Taking the path of further romanticization of the genre musical landscape, Liszt at the same time prepared an impressionistic perception of nature. It is especially tangible in the "Third Year" of the "Wanderings" ("Fountains of the Villa d'Este").
As usual with all major musicians-playwrights, the images of Liszt's work are most fully revealed in the process of long development and comparison with other images. In this regard, it is interesting to dwell in more detail on the h-moll Sonata, which embodied the main figurative sphere of the composer's work. Acquaintance with her dramaturgy will also help to form a more concrete idea of ​​Liszt's transformation of the sonata form, of his use of the principle of monothematism.
The h-moll sonata is sometimes called "Faustian". The brilliant creation of Goethe undoubtedly had an impact on the idea of ​​the composition. However, the image of a passionate seeker of truth and happiness in the Sonata is typically Liszt. The dramatic conflict is based on the clash of this image with the satanic force that seduces the soul, poisons it with skepticism and fetters the bright aspirations of man.
The Sonata begins with a concise introduction. The very first descending scale and the deaf octaves that precede it create a feeling of alertness and the beginning of a narration about some significant events. The second scale outlines the Hungarian modal sphere, which makes itself felt in some subsequent sections of the work (approx. 114).

Dramatic conflict arises in main party. It is based on the juxtaposition of two antagonistic themes following the introduction.
The first one, the theme of the hero, with its wide throw and subsequent sharp drop in the melody, creates an idea of ​​a passionate spiritual impulse, the will to struggle in life. The second is the “mephisto-theme”, which appears in a low register, sounds like a sarcastic, “infernal” laugh, ironic over the search for a noble human soul. In this theme, it is not difficult to find connections with Beethoven's "motif of fate" from the Appassionata, but its expressive meaning is completely different.
Let's list highlights development of the dramatic conflict in the exposition. The connecting party is the struggle of two themes, leading to the triumph of the first and the strengthening of the heroic principle in it. The secondary part first evokes the idea of ​​the hero's religious quest (its first theme, note 115a).
His ^passionate spiritual impulse, however, remains unanswered. A state of reflection arises - the hero's monologue in the form of a declamatory warehouse typical of Liszt's recitative (note 1156) leading to the second theme of the side part. It opens up a new area of ​​research, the sphere of love lyrics. The “Mephi-hundred-theme” takes on a seductively beautiful appearance (this transformation in the second theme of the side part is sometimes called the theme of Margarita; approx. 115c). Then comes the chain colorful paintings, where the theme of the hero undergoes various transformations.
At the end of the exposition, the “mephisto-theme” (the final part) is activated again.
The main part of the development is occupied by a large episode - as if an oasis of light and happiness on the difficult path of the search for the hero. In the episode, a new theme appears and old themes pass. The episode is followed by a fugato of a scherzo character. This is an important stage in the development of the dramatic conflict: the "mephisto-theme" takes possession of the hero's theme, merges with it and poisons it with its skepticism (note 116a).
In the future, the hero finds the strength to escape from these deadly embraces. The culmination of his theme in the coda, like an explosion of joy, affirms the power of human daring (note 1166). An enthusiastic spiritual impulse is picked up by the first theme of the side part, which loses its former appearance and acquires the character of a grandiose apotheosis (note 116c). After a powerful dynamic increase, the sonority suddenly breaks off. A long pause ends the story of the hero's life. It is, as it were, brought to a certain stage, perhaps to the highest point on the path of the search for truth and happiness, and then it stops. The episode from the development following the pause gives the impression of a lyrical statement “from the author”. In the future, the themes of the hero and “mephisto” sound again, but already as echoes of the past. Gradually they disappear. At the end, there is an introductory theme. Bordering has a deep meaning. The entire poem about human life experienced by the listener begins to appear as only a brief episode in the eternal cycle of earthly existence.
Sonata h-moll is an autobiographical work. Her hero is to a large extent Liszt himself, with his passionate search for an ideal, his struggles, his disappointments, and the joys of victory. At the same time, the work goes far beyond the artistic confession of the author. This is an epic about the life of a whole generation of people of the era of romanticism.

Already from the musical examples given, one can get a general idea of ​​Liszt's skill in implementing the principle of monothematism. A more detailed analysis could show that the through development is carried out continuously from the first to the last bar: there is not a single non-thematic passage in the work. The author's desire for a continuous narrative and along with this the grandeur of the artistic concept led to the creation of a new type of sonata. It has elements of four movements - sonata allegro, middle slow movement (episode), scherzo (fugato) and finale, compressed into a single one-movement composition. The most significant and new in this form, which distinguishes it from previous compositions with a through thematic development (Beethoven's sonatas, Schubert's and Schumann's fantasies), was the interpenetration of parts of the cycle, more precisely, the introduction of a slow movement, a scherzo and a finale into a sonata allegro.
Like Chopin, Liszt played a huge role in the development of piano texture. His name, as already mentioned, is associated with the widest development of the method of distributing sounds between two hands. Example 117 gives examples of such a presentation from the Spanish Rhapsody, Mephisto Waltz, Fantasia Sonata After Dante's Reading, and the First Concerto. This texture has a pronounced individual imprint and is perceived as Liszt's piano style.
Liszt developed the "fresco" manner of piano presentation unusually strongly. He used not only a rich chordal texture, but also all sorts of fast sequences of sounds, designed for perception as a whole. It could be scales, and various passages, sweeping through the entire keyboard, performed on one pedal. In such cases, Liszt followed a path close to that followed by Chopin: let us recall the passages-frescoes from the First Ballad (scales in the coda, passages in the transition to the second theme), from the Second Ballad (second theme).

What was new was the use of throws of positional complexes on the keyboard: octaves (the theme of the hero in the main part of the Sonata in h-moll, note 114), more often than chords (the same composition, the first theme of the side part in the coda, note 116c). This is a further development of the method of quickly moving sound sequences around the keyboard, carried out in a typical Lisztian spirit: in the first of the above examples, a special swiftness, lightning-fast throw is achieved, in the second - monumentality, grandiosity of sound.
Along with the "fresco" manner of painting, Liszt widely used a transparent brilliant presentation. It is found in many compositions in the implementation of themes, usually varied, in the upper register, in all kinds of cadences. Some of the pieces are specially written with a “ringing” palette of colors, as if composed of the timbres of bells, celesta and “pearl” placers of piano passages (“Cam-panella”, concert etude in f-moll “Lightness”, “At the source”). The subtle use of register contrasts contributes to the brilliance and brilliance of the compositions (note 118a - the beginning of the Campanella). The combination of openwork passages in the upper register with a long-pedaling bass is also very impressive (approx. 1186).
Liszt extremely enriched the piano texture with orchestral means of expression. Like Beethoven, he often moved individual phrases into different octaves, masterfully reproducing the sounds of various groups of orchestral instruments. An example of such an "instrumentation" is the Fifth of Paganini's Caprices Etudes (note 119a).
The composer imitated the timbres of many instruments, including the sonority of bells, organ and national Hungarian instruments, especially cymbals (approx. 1196).
We have already spoken of some of Liszt's most important transformations of the genres and forms of instrumental music, of his development of one-movement cyclic forms of the concerto and sonata. Among the works for piano and orchestra, we also note the "Dance of Death" (paraphrases on "Dies irae"; inspired by the 14th-century fresco "The Triumph of Death", located in Campo Santo in Pisa). This work is a vivid example of variations for piano and orchestra of the symphonic type.
Fantasia on Hungarian Folk Themes (based on material from Hungarian Rhapsody No. 14) continued the line of original works on folk themes for piano and orchestra begun by Chopin.
Among Liszt's solo concert pieces, The Years of Wanderings stand out*. Three "years" of this huge cycle - "Swiss" and two "Italian" - were created throughout almost the entire creative life of Liszt. The first pieces were written in the 30s, the last in the 70s.
The novelty of the "Years of Wanderings" and their difference from contemporary cycles of piano pieces consisted primarily in the wide coverage of great phenomena of European life and culture - from images of art of the distant past to pictures of nature and modern folk life.
“First Year” is the earliest and so far unsurpassed experience of translating images of Switzerland into piano music. This is the first piano cycle where the images of nature are presented so richly and colorfully. True, The Thunderstorm is not free from external rhetoric. But other plays, especially The Bells of Geneva, At the Spring and On the Wallenstadt Lake, are imbued with genuine lyrical charm. It is significant that the First Year opens with the William Tell Chapel. Thus, Switzerland immediately appears as a country not only of a mighty nature, but also of a freedom-loving people.
"The Second Year" is the most significant artistically. It is also new in subject matter. Nobody before Liszt wrote a piano cycle recreating the images of the art of Raphael, Michelangelo, Salvator Rosa, Petrarch and Dante. Particularly successful are the "Betrothal" based on a painting by Raphael, the three Sonnets of Petrarch and the Fantasia-sonata "After reading Dante." Liszt embodied the main artistic content of the works of painting and poetry that inspired him: the sublime purity of Raphael's images, the passion and brilliance of Petrarch's poetry, the development of an all-consuming feeling of love against the backdrop of gloomy pictures of hell in the Fantasy Sonata. All this is conveyed vividly, with a vivid sense of the beauty of the art of the past. Everywhere, as it were, the spirit of the life-loving culture of the Renaissance is invisibly present. At the same time, the individuality of each of the great masters of the past is subtly captured. It suffices to compare the Fantasy Sonata with The Betrothal or the Sonnets for anyone who knows Dante, Raphael and Petrarch to clearly see the stylistic features of their work.

"Second Year" is supplemented by three pieces "Venice and Naples" (Gondoliera, Canzona, Tarantella). These are images of modern
Liszt of Italy, colorfully reproducing her song and dance art.
The "Third Year" is devoted mainly to Roman impressions - landscape sketches and images of religious content. There is no former vital plethora, juiciness of color and virtuoso brilliance here. But the composer's creative search does not stop. In addition to the development of impressionistic means of expression, new insights are outlined in the field of the Hungarian style. It is interesting that Liszt in his later plays, including those from the "Third Year" of "Wanderings", according to Sabolchi, "stretches his hand over the heads of a whole generation to the young revolutionary Bartok" (102, p. 78).
Liszt's creative heritage includes a large group of works on Hungarian themes. Most of them are written in authentic folk songs and dances. Liszt worked on these works for a long time. From the end of the 30s, he began to create a collection of "Hungarian National Melodies", from which the famous "Hungarian Rhapsodies" subsequently grew (almost all of them appeared in the first half of the 50s; the last - from the Sixteenth to the Nineteenth inclusive - in the 80s ).
"Hungarian Rhapsodies" are original national-romantic poems. Liszt managed to dress the themes used in a brilliant pianistic outfit and develop them in a stylish way. Both accompaniment to borrowed melodies, and introductions, and interludes, and cadenzas are sustained in the nature of the improvisational art of folk performers.
From folk music-making, mainly from gypsy instrumental ensembles - the main bearers of the traditions of verbunkosha - the form of rhapsodies also originates. It is a free alternation of contrasting episodes. At first, the music is mostly slow, then fast sections of a dance character appear. A typical example of such a development is the Second Rhapsody with its contrast of episodes: lashshu (slowly) - frishsh (quickly)*. This play belongs to the number of rhapsodies in which the links with the romantic poem are most clearly manifested. They are underlined by the heroic-epic introduction. Some rhapsodies are characterized by programmatic features, as evidenced by the titles (Rhapsody 5 - "Heroic Elegy", Ninth - "Pest Carnival", Fifteenth - "Rakopi March").
Liszt is credited with great merit in the development of etude literature.
He wrote "Etudes of Transcendental Performance", six "Great Etudes of Paganini" (based on caprices), among them - "Campanella" and Variations a-moll, as well as several original studies: "Three Concert Etudes" ("Complaint", "Lightness" , "Sigh"), "Two concert etudes" ("Noise of the Forest", "Round Dance of the Dwarves") and others.

In his work, with the greatest brightness, the tendency to create characteristic, program etudes, which was found in many composers of the first half of XIX century. "Etudes of transcendental performance" (of the highest performing skill) are the first of many examples of this genre that have become firmly established in the repertoire of pianists.
The three editions of Transcendental Etudes are an instructive example of the composer's many years of work on the realization of his creative ideas. A comparison of the three versions of the etudes makes it possible to visually trace the evolution of Liszt's piano style.
The first edition dates back to 1826. This is a "Study for piano in forty-eight exercises in all major and minor keys. young Liszt(in fact, only twelve "exercises" were written). Creating it, the author clearly followed the patterns of Czerny's instructive etudes of the type op. 740.
In the second edition, completed twelve years later, the etudes were transformed into extremely difficult pieces, reflecting Liszt's fascination with new techniques of virtuosity. In this version of his work is entitled: "24 large etudes for piano" (in fact, there were again twelve).
Finally, in 1851, the last edition appeared. Having retained the appearance of the sketches in their second version, the author removed some of the "virtuoso excesses". He managed to facilitate the exposition and at the same time preserve, and sometimes enhance the intended virtuosic effect. In the third edition, many sketches received program titles: "Mazepa" (after Hugo), "Wandering Lights", "Wild Hunt", "Remembrance", "Snowstorm", etc.
We give the beginning of the Etude in f minor in three versions, explaining what has been said about the difference in editions and about the evolution of Liszt's piano writing (note 120).

When studying Liszt's works, it is important to remember that their author is a muse-thinker who responded in his work to many fundamental themes of human existence and art. In order to penetrate deeply into the content of the "Years of Wanderings" cycle or the H-moll Sonata, one must know literature, poetry, painting, and sculpture. Only a performer with a broad artistic outlook will be able to cover the whole complex of aesthetic problems associated with the interpretation of these compositions.
It is important to be transported to the world of romantic poetry, consonant with the music of the composer. It must be remembered that any of his compositions contains the features of a poem, and the more fully they are revealed, the more spiritualized the whole luxurious attire of Liszt's pianism will become.
It is often said that Liszt's performance should be elevated and contain, as it were, elements of theatricality. This is true in the sense that his music has a pronounced concert character. It is designed for impact from the stage, and even in small-form plays one can feel the manner of a speaker who is used to speaking out in front of a large audience. But it would be a mistake, as some pianists do, to convey this oratory with feigned temperament and posturing.
The more sincere inspiration there is in the performance, born of the artistic experience of the poetic idea of ​​​​the composition, and not the desire to stun the audience and show one's emotionality, the more artistic the impression of the game will be. We must also remember that Liszt's "demonism" is alien to the "bestial", "barbarian" guise. Refined intellectualism is more characteristic of him than brute force. Finally, we must not forget the characteristic evolution of Liszt as a composer and performer, that he himself, in his mature years, abandoned many of the exaggerations of his youth in the name of higher artistic goals in art.

It is necessary to be able to convey the brilliance of Liszt's piano style. For this, it is especially important to hear well the difference between register comparisons and the nature of harmonic development. An obstacle to this is sometimes the passion for excessively fast pace, at which an undesirable "mixing of colors" of the performer's sound palette occurs. It is possible, of course, to find the necessary correspondence of all elements of expressiveness only on the basis of a holistic perception of the artistic image.
The most extensive area of ​​work in the study of Liszt's compositions is overcoming their virtuoso difficulties. Liszt's interpreter must be fluent in the most varied formulas of pianistic technique, especially octaves, thirds, chords, arpeggios, scales, and leaps. The difficulty lies in the fact that all possible sequences of sounds based on these formulas often need to be performed at the fastest pace, with great force and distinctness.
Nowadays, Liszt is one of the most popular composers. However, not all of his compositions received recognition at the first performance. To arouse interest in them among the general public, it took effort, and considerable, on the part of many artists. They were mostly students of Liszt, led by Bülow. But not only. Two Russian pianists, N. Rubinstein and M. Balakirev, should also be mentioned among the first outstanding propagandists of the composer's work. The merit of introducing the Dance of Death into the pianistic repertoire belongs to the first of them. N. Rubinshtein, according to the author himself, was the best interpreter of this play, and only in his performance did it win success. Balakirev paved the way to the stage for some of Liszt's excellent compositions from the Years of Wanderings, which for a long time did not receive recognition. "He played such, for example, highly poetic and therefore, probably, never performed by anyone works, such as "Sonetto di Pet-gacsa", "Sposalizio" ["Betrothal"]. "II Penseroso" ["The Thinker"]" ( 93), wrote a reviewer in 1890 about Balakirev's concerto (our détente. —L.A.).
During the performance of Liszt's works, the manner of improvisational changes in the text was widespread and preserved for a long time. It originated from the practice of the author, who allowed himself, however, as already mentioned, mainly in his youth, to freely handle the text of the compositions he performed and allowed his best students to do the same with their own works. Siloti belonged to such “chosen ones”, who passed this tradition on to his student Rachmaninov (there is a recording of Rachmaninov’s Second Rhapsody with his own cadenza). Paderewski introduces his cadence at the Concert etude f-moll("Ease"). The pianist's performance of this piece was distinguished by exceptional skill. He directly enchanted with the graceful play of "pearls" that crumbled into bizarre garlands and in the end, as if by magic, forming a "crystal" sphere of sonority around the listener.
Busoni was in "co-authorship" with Liszt. He was one of the greatest interpreters of the Hungarian composer's work, performing all his piano compositions, sometimes, however, controversially, excessively subjective, but bright, unusually colorful and phenomenally virtuoso. Among Liszt's recordings of the pianist, one of the best is a performance of Campanella. Busoni plays it in his edition, which gives an idea of ​​the very free attitude of the interpreter to the text of the work. In fact, Busoni creates a new version of transcription based on Liszt's processing. The performance is distinguished by energy, imperious "forged" rhythm, amazing finger strength in passages and trills. The contrast of the sound palette and the special "metallic" sonority of some timbres are characteristic.
Soviet pianists made a great contribution to the history of the interpretation of Liszt's music. Some of the outstanding achievements of young Soviet pianists in the 1930s are associated with Liszt's work. A strong impression was made at the First All-Union Competition of Performing Musicians by the young Gilels with the “Wedding of Figaro”. He captivated with powerful dynamism and full-blooded cheerfulness of the game.
At the Second Competition, Flier stood out with his performance of the Sonata in h-moll, captivating with its passion, romantic pathos, and the swiftness of the dramatic action. In the pianist's playing, one could also feel such magnificent qualities of the Igumnov school as deep content, integrity of the artistic conception, beauty and nobility of sound.
Brilliantly performed many of Liszt's compositions - concertos, rhapsodies, etudes - G. Ginzburg. A clever, subtle interpreter was combined in it with a virtuoso, who especially attracted the filigree finishing of the pieces, the elegance of the "beaded" passages and the incomparable lightness of the octave technique. One of the pianist's best achievements was the performance of Campanella. He played it in a completely different way than Busoni - softly, poetically, "just like a song."
In the 1940s, S. Richter's interpretation of Liszt attracted attention. Beginning with the "demonic" performance of "Transcendental Etudes" at the All-Union Competition, a chain of vivid interpretations of Liszt arose - the Second Concerto, the Hungarian Fantasy for Piano and Orchestra, the Sonata in h-moll and other compositions. Of all modern pianists, Richter, perhaps, most closely approached the manner of playing Liszt himself at the time of his virtuoso activity. Listening to Richter in the 1950s and 1960s, it seemed that he was in the grip of a passionate spontaneous impulse and that it was not the pianist playing the piano, but the conductor bringing to life the sound of some unknown orchestra.
For several decades, Soviet listeners enjoyed the inspired performance of Liszt by V. Sofronitsky. Over the years, it became more and more profound, courageous, masterful. The sonata in h-moll was performed by the artist as a sublime poem about the life of a romantic artist and his passionate search for an ideal. A tragic pathos emanated from the picturesquely embodied images of the "Funeral Procession". The Stray Lights lit up with bizarre, fantastic colors. And how much poetry was in the subtlest visions of the "Forgotten Waltz"!

With his many-sided and unusually productive activity, Liszt had a great influence on the fate of the piano art. The ideas of updating music with poetry, expanding in this way the figurative sphere of instrumental literature and transforming old forms were picked up and developed by subsequent generations of composers. A new type of one-movement cyclic sonatas and concertos was firmly entrenched in their creative practice.
Liszt's intensive work on the program etude, rhapsody on national themes and other instrumental genres also had a noticeable influence. The composer's piano style became one of the leading in European music of the 19th century.
Liszt's performing activity gave impetus to the musical and educational movement, contributed to the spread of the conquests of romantic pianism and the establishment of a new view of the piano as a universal instrument, a rival to the orchestra.
Liszt's piano-pedagogical activity played an outstanding role in the fight against backward methodological views and in the development of advanced teaching principles.
The significance of Liszt for the musical culture of his native country is very great. He became the founder of the Hungarian school of piano art in the field of creativity, performance and pedagogy.

Ferenc (Franz) (From childhood until the end of his days, Liszt called himself Franz; in Paris he was called François; in the official baptismal certificate, made in Latin, he is called Francis (as he was often called in Russia). But, based on the national essence the genius of Liszt, now the Hungarian transcription of his name is given - Ferenc.) Liszt was born on October 22, 1811, on the estate of the Hungarian princes Esterhazy, called Riding in German and Doboryan in Hungarian. His ancestors were peasants and artisans, his grandfather and father were in the service of the Esterhazy princes for many years. The cramped financial situation did not allow the father of the future composer to devote himself to his beloved work - music. He could give her only free hours, but, despite this, he achieved significant success in playing the piano and cello, and tried his hand at composition. Life in Eisenstadt - the main princely residence - gave him rich musical impressions; he met Haydn there, who had led the prince's orchestra for thirty years, and was friendly with the famous pianist Hummel (also a native of Hungary). However, a few years before the birth of his son, List received a promotion - the position of a shepherd caretaker on a remote estate in western Hungary and was forced to leave Eisenstadt. In Riding he married a young Austrian, the daughter of a baker.

Father's ardent love for music was passed on to his son. Ferenc's amazing musical abilities manifested themselves very early - he grew up as a child prodigy. At the age of six, when asked by his elders who he wanted to be, Liszt answered, pointing to a portrait of Beethoven: "Just like him." His first piano teacher was his father, who marveled at the boy's extraordinary ability to sight-read and improvise. Liszt was not yet nine years old when he took part in a charity concert, performing with a symphony orchestra, and in October 1820 gave solo concert. A month later, after the resounding success in Pressburg (Pozsony), the first printed review appeared about Liszt in the newspaper (belonging to the pen of Professor Klein, Erkel's teacher). This concert was of decisive importance in the fate of Liszt: five rich Hungarian magnates decided to patronize the brilliant child and pay his father a certain amount of money so that Liszt could receive a professional musical education. The father, afraid to let his son go alone, left the service with Esterhazy and moved to Vienna with his family at the end of 1820.

Liszt's first musical impression of the capital of Austria was the famous gypsy violinist Janos Bihari. Here, in Vienna, he met with Beethoven (1823), which Liszt was proud of all his life: Beethoven, already deaf, was at one of Liszt's concerts; without hearing his playing, he was able to guess a great talent in him and, going up to the piano, in front of everyone he hugged and kissed the boy. Liszt's teacher in piano was Carl Czerny in Vienna, and in composition theory Antonio Salieri.

During these years, the biggest success fell to Liszt in the capital of Hungary - Pest. This was followed by performances in German cities, where newspapers compared Liszt to the young Mozart. Encouraged by widespread success, the father dreams of continuing his son's musical education in Paris, at the illustrious conservatory headed by Luigi Cherubini.

Liszt in Paris

In December 1823 Liszt arrived in Paris. The years spent in France were the period of formation of the young artist. It was here that his performing talent unfolded, here, under the influence of turbulent revolutionary events, in communication with outstanding poets, musicians, philosophers, his aesthetic views were formed, here he learned from his own experience the lies and hypocrisy of an outwardly brilliant, but empty bourgeois society.

Immediately upon arrival in Paris, Liszt suffered a severe life blow: as a foreigner, he was not accepted into the conservatory. I had to be content with private lessons from the composer and conductor of the Italian opera Ferdinando Paer and the conservatory professor Antonin Reicha (Liszt did not have a piano teacher after Czerny). A Czech by birth, a friend of Beethoven and a teacher of many French musicians, Reich was the first to draw Liszt's attention to the treasury of folk songs. During the years of his studies, Liszt wrote a large number of works in various genres, of which the largest is the one-act opera Don Sancho, or the Castle of Love, staged in 1825.

Despite the abundance of outstanding virtuosos in Paris, the performances of Liszt as a pianist were accompanied by more and more noisy enthusiasm of the public. Within three years after his arrival in Paris, he gave concerts in England three times, made two trips to the cities of France, and performed in Switzerland. Numerous concerts, strenuous studies, composing music, reading a wide variety of books, which Liszt eagerly devoured one after another - all this exhausted the young man beyond measure. The father, concerned about the state of his son's health, in the summer of 1827 took him to rest by the sea, in Boulogne. But here another, even more terrible blow awaited Liszt: his father fell seriously ill and soon died in his arms.

Subsequently, Liszt recalled his life in Paris in the following way: “Two periods of my life passed here. The first was when my father's will pulled me out of the steppes of Hungary, where I grew up freely and freely among the wild hordes, and threw me, an unfortunate child, into the salons of a brilliant society, which marked me with the shamefully flattering nickname of a "little miracle." Since then, early melancholy has taken possession of me, and only with disgust did I endure the ill-concealed disdain for the artist, reducing him to the position of a lackey. Later, when death stole my father from me... I felt a bitter disgust for art as I saw it before me: degraded to the level of a more or less tolerable craft, destined to serve as a source of entertainment for the chosen society. I would rather be anything in the world, but not a musician supported by rich people, patronized and paid as a juggler or a learned dog ... ".

In these years of disappointment, Liszt (as will happen more than once throughout his career) turns to religion, but even in it he does not find an answer to his questions. Liszt reads a lot, striving to independently supplement the meager education received in childhood. In those years, he spoke to one of his acquaintances about his desire to study all French literature. His philosophical works were especially attractive, and he indiscriminately read both the French enlighteners and modern clerical philosophers. Sometimes Liszt was seized by apathy, he did not leave his room for whole months, and a rumor even spread in Paris about his death (one of the newspapers dedicated an obituary to Liszt in the winter of 1828).

The Revolution of 1830 brought Liszt out of this crisis. In the words of his mother, "the guns cured him." Like Berlioz, who at that time was writing the Fantastic Symphony and reworking the Marseillaise, Liszt was captured by the general upsurge. He came up with the idea of ​​the "Revolutionary Symphony", which is designed to sing the historical struggle of peoples for liberation. Liszt thought of putting three heroic themes at the heart of the symphony: the Hussite song “Let the blessed hope be a consolation to us”, the Protestant chant “The Lord is our stronghold” and “La Marseillaise”. The symphony remained only in outline; Part musical material was used in the symphonic poem "Lament for the Heroes", written under the influence of the revolutionary events of 1848, and the mentioned themes are processed in various works for piano and organ.

Awakened by the July Revolution, Liszt emerges from his loneliness, diligently attends lectures, theaters, concerts, art salons, is fond of various socialist teachings - the utopian socialism of Saint-Simon, the "Christian socialism" of Abbé Lamenne. Without fully understanding the essence of these theories, he enthusiastically accepts in them a sharp criticism of capitalism, the official Catholic Church and the affirmation of the noble mission of art, the role of the artist in society as a priest, a prophet, passionately calling people to affirm bright ideals.

Liszt's connections with outstanding writers and musicians living in Paris are expanding. In the late 20s - early 30s, he often met with Hugo, George Sand, Lamartine. Their work aroused Liszt's admiration and subsequently inspired the creation of program works more than once.

Three of his contemporary musicians - Berlioz, Paganini, Chopin - played an important role in the maturation of Liszt's talent.

Liszt met Berlioz on the eve of the premiere of the Fantastic Symphony. At the concert, he defiantly expressed noisy enthusiasm, emphasizing his solidarity with the bold, innovative searches of the French romantic. The Fantastic Symphony was the first score transcribed by Liszt (in 1833) for piano; it was followed by a number of other works by Berlioz - his work opened up new horizons for Liszt.

In March 1831 Liszt heard Paganini; the concerts of the brilliant violinist made on Liszt, in his own words, "the impression of an unheard-of miracle." Before him opened a new path of a true virtuoso performer. Having locked himself at home, Liszt began to work hard on his technique and, at the same time, write a fantasy on the theme of Paganini's Campanella; Liszt later made transcriptions of his Caprices.

Liszt's meeting with Chopin took place shortly after the latter's arrival in Paris, at the end of 1831. Liszt admired both the extraordinary subtlety and poetry of Chopin as a performer and the originality of Chopin as a composer. They often performed together in concerts, Liszt played Chopin's works, and Chopin himself admitted that he would like to learn how to convey his etudes the way Liszt does.

After Chopin's death, Liszt dedicated a book imbued with ardent love to him, in which he gave an insightful assessment of the work of the great Polish composer, emphasizing (like Schumann) his patriotic orientation, connection with his native land.

All these impressions of the Parisian years especially affected Liszt's performance. His work during this period is insignificant. The leaf is still only looking for its way; after the immature youthful things, bravura virtuoso pieces appear, which he successfully performed in concerts, and serious works (like the Revolutionary Symphony) remain only in outline.

Liszt grew increasingly dissatisfied with his life in Paris. He wrote to one of his students: “For more than four months I had neither sleep nor rest: aristocrats by birth, aristocrats by talent, aristocrats by happiness, the elegant coquetry of boudoirs, the heavy, suffocating atmosphere of diplomatic salons, the senseless noise of receptions, yawning and shouting” bravo" at all literary and artistic evenings, selfish and wounded friends at balls, chatter and stupidity in society, at evening tea, shame and pangs of conscience the next morning, triumphs in the salon, overzealous criticism and praise in newspapers of all trends, disappointment in art , success with the public - all this fell to my lot, I experienced all this, felt it, despised it, cursed it and mourned it.

The decision to leave Paris was accelerated by an event in Liszt's personal life: he fell in love with Countess Maria d'Agout, who wrote stories and novels under the pseudonym Daniel Stern. In the spring of 1835, they left for Switzerland.

Traveling years. Trips to Hungary and Russia

Has begun new period in Liszt's creative path - the years of wanderings (1835-1847). This is the time of Liszt's maturity as a pianist: the years of study are over, they are replaced by endless concert trips to all European countries, which brought him world fame. And at the same time, this is the first fruitful period of creativity: the composer creates innovative program works for the piano, widely develops national Hungarian themes, writes collections of songs, and conceives a number of major symphonic works. Gradually, creativity acquires no less importance for him than performance.

For four years (1835-1839) Liszt led a solitary life mainly in Switzerland and Italy, eagerly absorbing new impressions from the majestic nature, from the works of art of the old Italian masters. These new impressions contributed to the creation of a large number of compositions. They later composed the piano cycle "Years of Wanderings", where pictures of mountain nature, sketches of the serene life of Swiss shepherds are replaced by the musical embodiment of masterpieces Italian painting, sculpture, poetry. At the same time, Liszt continued to work on piano arrangements of works in other genres, both symphonic (Beethoven) and song (Schubert).

Another sphere of Liszt's multifaceted activity opened up in Geneva - he acted as a music writer (together with Countess d "Agout"). The first series of his articles was written on a topic that worried Liszt throughout his life - “On the position of artists and the conditions for their existence in society". Then another series of articles followed - "Letters of the Bachelor of Music", where he continued to develop important thoughts about the position of the artist in bourgeois society, about virtuosity, about the possibilities of the piano, about the relationship of all types of art, etc.

Did not leave Liszt and performance. He worked a lot on technique, stubbornly searched for new expressive possibilities embedded in the piano, and conceived the work "Method of Piano Playing". These searches increased his interest in pedagogy - in addition to studying with private students, he taught a class at the recently opened conservatory in Geneva. But during these years he performed rarely and mostly for charitable purposes.

Of the concerts of these years, it should be noted the competition with Thalberg at the beginning of 1837 in Paris, where Liszt returned annually for several months. Performances in Paris demonstrated the rapid growth of his performing talent. Berlioz in one of his articles called him "the pianist of the future". Unprecedented success waited for Liszt next spring in Vienna. He gave a series of concerts here to help victims of the floods in Hungary. After the concerts, he dreamed of "with a bundle behind his shoulders on foot to visit the most secluded regions of Hungary." But then he did not manage to see his homeland: Liszt spent another year and a half in Italy. In Rome in 1839, he gave one of the first "clavirabends" in the history of music - a solo concert without the participation of other performers. Then there were plans major works- symphonies "Dante" and "Faust", "Dance of Death", carried out many years later.

In November 1839, Liszt again gave concerts in Vienna and over the next eight years made a triumphant tour of Europe.

First, he fulfilled his dream and visited his homeland. The first concert took place in Pozsony, where Liszt performed as a nine-year-old child. Now he was hailed as a national hero. Crowds of people met Liszt on the banks of the Danube. The Hungarian Sejm interrupted its work so that its representatives could listen to the famous pianist play. At the concert, the performance of the Rakoczi March, which had just been processed by Liszt, caused an explosion of enthusiasm and shouts of “Elien!” ("Long live!"). In the capital of Hungary, Pest, on the day of Liszt's arrival, a celebration was held and a cantata specially written for this occasion was performed, ending with the words: "Franz Liszt, your homeland is proud of you!" January 4, 1840 in National theater a solemn honoring of the composer took place, during which he was presented with a precious saber - a symbol of valor and honor. Then huge crowds of people took part in a torchlight procession through the streets with exclamations of "Long live List!" The capital of Hungary elected him its honorary citizen, Vörösmarty dedicated a long poem to him. One of Liszt's concerts was attended by Petofi, who later, in his speech on the anniversary of the composer's birth, recalled this day with delight.

While in Hungary, Liszt was keenly interested in folk music, listened to the play of gypsy orchestras, recorded songs, and studied folklore collections. All this served as the basis for the creation of the "Hungarian national melodies and rhapsodies". In an effort to promote the development of musical culture in Hungary, Liszt initiated the founding of a conservatory in the capital. After visiting his native village, the composer again parted with Hungary for many years.

From here he went to Prague, then performed in the cities of Germany, England, Belgium, Denmark, sometimes going to Paris. Moreover, he performed not only as a pianist, but also as a conductor (for the first time, Liszt conducted in 1840 in Pest). In March 1842, his concerts began in Russia.

Liszt came to Russia three times - in 1842, 1843 and 1847. He gave many concerts in various cities, became close friends with many Russian musicians, often visited the house of Mikhail Vielgorsky (whom he had met back in 1839 in Rome). Already on his first visit, he met with Glinka and appreciated his genius. In the atmosphere of hostility that surrounded the great Russian composer in secular circles, Liszt persistently promoted the music of the just completed opera Ruslan and Lyudmila, which aroused his sincere admiration. He made a transcription of the Chernomor march and constantly performed it in concerts; later, in Weimar, he repeatedly conducted Glinka's orchestral works. Liszt also met Verstovsky and Varlamov, whose romances he really liked, made a brilliant transcription of Alyabyev's The Nightingale. And everywhere he went, he asked me to perform Russian songs for him. Often Liszt also listened to gypsy choirs, which brought him to the same admiration in Russia as gypsy orchestras in Hungary. Under these impressions, fantasies were born on the themes of Russian and Ukrainian folk songs.

Liszt's concerts in Russia enjoyed extraordinary success. Serov and Stasov in enthusiastic words, as the greatest event of their lives, recalled Liszt's first concert in St. Petersburg. He maintained friendly relations with them for many years.

But if the progressive people of Russia met Liszt enthusiastically, then in the court spheres he often ran into hidden hostility. The independent behavior of the composer, full of inner dignity, his bold, ironic speeches, sympathy for Poland enslaved by tsarism and freedom-loving Hungary displeased Nicholas I. According to Liszt himself, this was the reason for his sudden departure from Russia in 1843.

After leaving Russia, Liszt continued his triumphal trips to European countries. He spends a lot of time in Germany. Back in November 1842, Liszt was invited to Weimar to the post of court bandmaster, but only in January 1844 did he take up his duties (for the first performance, he chose the symphonies of Beethoven and Schubert and the Berlioz overture). Then he gave concerts in the cities of France, performed in Spain and Portugal, and in August 1845 arrived in Bonn.

Here, at the initiative of Liszt, musical celebrations were organized in connection with the opening of a monument to Beethoven. For the construction of this monument, funds were collected over a number of years by subscription; collection went badly. Liszt wrote indignantly to Berlioz in October 1839: “What a shame for everyone! What a pain for us! This state of affairs must change - you agree with me: it is unacceptable that a monument to our Beethoven be built on this barely knocked together stingy alms! It shouldn't be! It will not happen!".

Liszt made up for the missing amount with fees from his concerts, and only thanks to his disinterestedness and perseverance, the monument to Beethoven was finally built. At the musical celebrations in Bonn, Liszt performed as a pianist, conductor and composer - following the works of Beethoven, Liszt's cantata dedicated to the great composer, who once blessed him on the path of a musician, was performed.

After a new visit to Hungary (in April 1846), Liszt came to Russia for the third time, where he performed in the cities of Ukraine and in September 1847 finished his work as a concert virtuoso with a concert in Elisavetgrad.

Such an unexpected termination of a brilliant career in the midst of noisy successes amazed many. But the decision had matured in Liszt for a long time. From his youth, he was weary of the role of a virtuoso and, despite the enthusiasm of the public, often did not experience complete satisfaction from his performances due to the constant misunderstanding and limitations of the bourgeois listener. Often, in order to please this listener, Liszt had to perform empty, meaningless, but spectacular plays, and his propaganda was serious. classical music and the works of leading contemporary composers did not always meet with sympathy and support: “I often performed both publicly and in salons the works of Beethoven, Weber and Hummel, and there was never a lack of remarks that my pieces were “very badly chosen”. To my shame, I must confess: in order to deserve exclamations of “bravo!” with the public, always slowly perceiving the sublime beauty in the beautiful, without any remorse, I added many passages and doublings, which, of course, ensured the approval of the ignoramuses ... ". And although this recognition refers to the years of his youth and Liszt bitterly regrets “the concessions made in those days to bad taste,” he later had to obey the demands of the public more than once.

It seemed to Liszt that the role of a buffoon, a jester who entertained the cold and jaded rich, which resented him, affects only the activities of a fashionable virtuoso, and the composer and conductor are freer from the tastes of the public, they have more opportunities to promote the high ideals of art. Abandoning a lucrative career as a wandering virtuoso, Liszt dreamed of settling in his homeland, in Hungary, but in those years he did not manage to achieve this. I had to be content with the place of the court bandmaster in the capital of a small German principality - Weimar.

Weimar period

The Weimar period (1848-1861) is central to Liszt's work. Here he creates his main innovative works, expounds aesthetic views in numerous literary works, acts as a conductor and critic-educator, actively promoting all the best in the heritage of the past and the music of the present; flourishes his pedagogical activity, which gave the world outstanding pianists and conductors.

During these years, the city of Weimar becomes the musical center of Germany. Liszt sought to revive the former glory of this city, in which Goethe and Schiller once worked. Difficulties in achieving this goal did not bother him. And there were many difficulties. The possibilities of the theater which Liszt directed are very limited; the public, accustomed to a certain repertoire, was reluctant to listen to new works; routine reigned in the productions; the programs were composed in such a way that serious compositions alternated with entertaining comedies and even circus numbers.

Unable to increase the composition of the orchestra, Liszt, through hard work, achieved unprecedented results from him. In an effort to develop the taste of the public, he performed modern operas (Wagner, Berlioz, Schumann, Verdi, A. Rubinstein) and works of the classics (Gluck, Mozart, Beethoven). The energy of Leaf is amazing. Over the course of eleven years, under his leadership, forty-three operas were staged at the Weimar Theater (of which twenty-six were staged in Weimar for the first time, and eight had never been performed before).

Liszt adhered to the same principles and how symphony conductor. Under his direction, all Beethoven's symphonies, Schubert's symphonies, numerous works by Schumann and Berlioz, works by Glinka and A. Rubinstein were performed in Weimar. Liszt arranged special "musical weeks" dedicated to the promotion of the work of one or another contemporary composer (Berlioz's week, Wagner's week).

In order to make complex and little-known compositions understandable to a wide range of listeners, Liszt devoted extensive critical articles to them, explaining the main ideas of these works and at the same time expounding his own aesthetic views on the development of modern music (articles on Wagner's operas, "Berlioz and his symphony" Harold "", Gluck's Orpheus, Beethoven's Fidelio and many others).

However, the intense social and educational activities did not completely absorb Liszt. The results of his work are no less striking - in the Weimar period, Liszt wrote (or thoroughly revised) the main works in a variety of genres. Closing himself in quiet Weimar, Liszt outwardly seems to be moving away from the turbulent revolutionary events that shook various countries in those years (contemporaries reproached him for indifference to the fate of his homeland and even betrayal of democratic ideals). But his creativity responds to them.

In the revolutionary years of 1848-1849, Liszt created the Chorus of Workers, the vocal quartet The Jolly Legion, dedicated to the participants in the battles in Vienna, and under the direct impression of the defeat of the revolution and mass executions in Hungary, he wrote the tragic Funeral Procession for piano. The same events inspired the new idea of ​​the "Revolutionary Symphony": now the fate of Hungary should be at the center of it. In the first two parts, grief for the fallen heroes was conveyed, in the third, the theme of the Rakoczi March was developed; the symphony was again not completed, Liszt published its first part as a symphonic poem Lament for the Heroes.

In the Weimar period, numerous works of Liszt appear one after another - some of them were conceived and started in previous years. Within fourteen years, twelve symphonic poems (out of thirteen), fifteen Hungarian Rhapsodies (out of nineteen), new editions of piano concertos, Etudes superior craftsmanship” and “Etudes on the Caprices of Paganini”, two notebooks of “Years of Wanderings” (out of three), as well as an h-moll sonata, symphonies “Faust” and “Dante”, “Grand Mass”, songs and much more. These works affirmed creative principles Liszt, his talent as a composer was fully revealed - the compositions of these years were Liszt's main contribution to the treasury of world musical art.

However, neither creativity nor conducting activities bring Liszt recognition in Weimar. His bold undertakings constantly ran into opposition from both the ruling circles and conservative musicians. Around Liszt, only a small circle of friends and students was grouped - pianists, conductors, composers, music critics, who opposed themselves to the most powerful and influential musical direction in Germany - the Leipzig school. In the epigones of this "school" Liszt saw the embodiment of the musical philistinism he hated. Surrounded by students who idolized him, and a small group of like-minded composers and critics, Liszt still felt lonely. Germany, for the development of the musical culture of which he devoted so much effort, did not become his second home. People close to Liszt understood this. Wagner wrote: "You are too great, noble and beautiful for our bearish corner - Germany."

The contradictions between List and his environment became more and more aggravated. The explosion occurred at the premiere of the comic opera The Barber of Baghdad by the young composer Peter Cornelius, staged at the urging and under the direction of Liszt (1858). The opera failed with a scandal to the loud whistle of a hostile audience. Liszt left the theatre. Life in Weimar became unbearable for him.

Added to this were personal circumstances. During his last visit to Russia, Liszt met Princess Caroline Wittgenstein, the wife of a famous Russian general close to Nicholas I. The acquaintance gave rise to an ardent love. (By that time, Liszt had broken up with Maria d "Agout). Wittgenstein moved to Weimar, where during for long years in vain she sought a divorce, which the king refused her. As a result family life Liszt was the subject of constant gossip and gossip, which hastened his decision to leave Weimar. He completed his stay in Germany with another great cultural act: in August 1861, at a musical festival organized by Liszt, the creation of the "General German Musical Union" was proclaimed.

In Rome. Last years. Active social activity in Hungary

Tired of the fruitless struggle, Liszt retired to Rome. The stormy tension of creative forces, the greatest vital activity gave way to fatigue and disappointment. During these years of crisis (1861-1869), as in his youth in Paris, Liszt sought support and consolation in religion. The collapse of hopes for personal happiness, the death of his son, and three years later - of his eldest daughter, aggravated his difficult mental state. Under these conditions, the influence of Wittgenstein, a staunch, fanatical Catholic, found fertile ground (this influence had also been felt before, which, in particular, was reflected in some of List's articles of the Weimar period). Yielding to her convictions, Liszt in 1865 received the rank of abbot. However, having overcome the crisis, he again returned to creativity and social activities. But without the former energy and enthusiasm - after the collapse in Weimar, his strength was broken.

In the last period (it is sometimes called the second Weimar period)(1869-1886) Liszt lives now in Weimar, now in Rome and annually spends several months in Hungary, in Budapest. He is still disinterested, generous, giving free lessons in Weimar to many students, but this activity is much at on the same scale as in the 1950s. Then among his students were not only pianists - Liszt brought up equally versatile musicians and public figures what he was. These are Hans Bülow, pianist and major conductor, active promoter of modern music (in particular, Wagner and Brahms), composers Peter Cornelius, Joachim Raff, Felix Dreseke, pianists Karl Klindworth and Karl Tausig, who worked a lot on transcriptions, and others. And in the last period, among the students of Liszt, there are many musicians who have shown themselves to be versatile (for example, E. d "Albert or A. Siloti), but nevertheless they are primarily pianists. Some of these pianists have achieved worldwide fame (M. Rosenthal, A. Reisenauer, E. Sauer, among the Russians - the already mentioned Alexander Siloti, Vera Timanova and others.) In total, during his life, Liszt brought up three hundred and thirty-seven students.

He also provided active support to leading composers of various national schools. Back in the 1950s, Liszt reacted with warm sympathy to Smetana; at the same time, Moniuszko came to see him in Weimar. In 1870, Grieg met him, full of gratitude for the friendly attention to his compositions. In 1878-1880, Liszt was accompanied everywhere by Albeniz, which broadened his horizons and strengthened the national aspirations of the young Spanish musician. A friendship is also established with Saint-Saens: Liszt highly appreciated his talent and helped promote the opera Samson and Delilah, which premiered in Weimar (1877); Liszt actively promoted the "Dance of Death" by Saint-Saens, making it a piano arrangement, despite the fact that he himself wrote a work on a similar theme. There are also meetings with young French composers Duparc, d "Andy, Fauré.

Liszt is getting closer and closer to Russian composers. Back in the 40s, he became acquainted with the works of Glinka, whom he called "the patriarch-prophet of Russian music", and became his enthusiastic admirer. Liszt was equally warm towards the composers of The Mighty Handful. In 1876, Cui visited him in Weimar, in 1882 - Borodin, in 1884 - Glazunov. Borodin left the most interesting memoirs about Liszt, in which he wrote: “It is difficult to imagine how this venerable old man is young in spirit, deeply and broadly looks at art; how much in the assessment of artistic requirements he was ahead of not only most of his peers, but also people of the younger generation; how greedy and sensitive he is to everything new, fresh, vital; the enemy of everything conventional, walking, routine; alien to prejudices, prejudices and traditions - national, conservative and any other.

The work of Russian composers aroused Liszt's constant admiration. He corresponded with many of them and constantly asked to send his new works (especially appreciated Balakirev's "Islamey", Mussorgsky's "Children's"). Liszt even wished to take part in the comic Paraphrases on an Unchanging Theme by Borodin, Cui, Lyadov and Rimsky-Korsakov. It was in the work of Russian composers that he saw the highest achievement of all modern music. Liszt said to Borodin: “Do you know Germany? A lot is written here; I'm drowning in a sea of ​​music that fills me up, but, God! how flat it is! Not a single fresh thought! You have a living stream flowing; sooner or later (or rather, later) it will make its way with us too.

Disillusioned with modern German music, Liszt further strengthens ties with his homeland. He becomes at the head of the musical life of Hungary, performs a lot in Budapest as a conductor and pianist, and always with a charitable purpose: he especially often performs Beethoven, as well as his own compositions. Ties with Hungarian musical figures are growing stronger, which began even in previous visits to their homeland (in 1839-1840, 1846, 1856, 1862, 1867) - with Erkel, Mosonyi and others, the number of students at the Academy of Music, opened at the initiative of Liszt (1875) is growing. ).

Living for a long time in Hungary, Liszt was interested not only in her music, but also in literature and painting. He became close to the artist Munkacsy, often visited him and dedicated his Sixteenth Rhapsody to him. Liszt's attention was attracted by the tragic fate of Petofi, and he captured his image in a number of works of the last period; and on the text of the great poet he wrote the song "God of the Hungarians." In his last major work - the piano cycle "Hungarian Historical Portraits" (1886) - Liszt embodied the images of prominent public figures, writers, composers of his homeland (Petőfi, Vörösmarty, Eötvös, Mossonyi, Szechenyi and others). Liszt's last, thirteenth symphonic poem, "From the Cradle to the Grave" (1882), was inspired by a drawing by the Hungarian artist Mihaly Zichy. In general, during this creative period, not very rich in quantitative works (two piano cycles, the 3rd notebook of the Years of Wanderings, four Hungarian rhapsodies and a number of small pieces for piano, several spiritual choral works, songs), the Hungarian theme occupies a leading place.

And Hungary highly appreciated List's merits. The celebration of the fiftieth anniversary of his creative activity in 1873 turned into a national celebration. The Jubilee Committee addressed its greetings to the entire Hungarian nation. The city of Budapest established three annual Liszt scholarships for Hungarian musicians, the choice of which was left to the composer himself. Deeply moved, Liszt said: "I am all yours - my talent is yours - I belong to Hungary as long as I live."

His fate in Germany was different. Of course, the name of Liszt is surrounded by fame, and the "General German Musical Union" even elected him as its honorary president. But Liszt's music, especially symphonic music, is almost never performed. When it comes to the innovators of musical art, another name appears on everyone's lips: Wagner supplanted him.

But alien to envy, Liszt continued to promote Wagner's work until the end of his days. Sick, he came to the Bayreuth celebrations to emphasize with his presence the significance of the Wagner case, whom he considered the most brilliant composer of his time. Here, in Bayreuth, Liszt caught a cold and died on July 31, 1886.

The publication was prepared on the basis of the textbook by M. Druskin

The features of idealistic abstraction, rhetoric, outwardly oratorical pathos break through. At the same time, the fundamental significance of Liszt's symphonic work is great: consistently pursuing his idea of ​​"renovating music through its connection with poetry", he achieved remarkable artistic perfection in a number of compositions.

Programming underlies the vast majority of Liszt's symphonic works. The chosen plot suggested new means of expression, inspired bold searches in the field of form and orchestration, which Liszt always marked with brilliant sonority and brilliance. The composer usually clearly distinguished the three main groups of the orchestra - strings, woodwinds and brass - and inventively used solo voices. In tutti, the orchestra sounds harmonious and balanced, and at the moments of climax, like Wagner, he often used powerful brass unisons against the background of string figurations.

Liszt entered the history of music as the creator of a new romantic genre - " symphonic poem": for the first time he named nine works completed by 1854 and published in 1856-1857; four more poems were later written.

Liszt's symphonic poems are major program works in free single-movement form. (Only the last symphonic poem - From the Cradle to the Grave (1882) - is divided into three small parts that go without interruption.), where different principles of shaping are often combined (sonata, variation, rondo); sometimes this one-partness "absorbs" the elements of a four-part symphonic cycle. The emergence of this genre was prepared by the entire course of the development of romantic symphonism.

On the one hand, there was a tendency towards the unity of the multi-part cycle, its unification by cross-cutting themes, the merging of parts (Mendelssohn's Scottish Symphony, Schumann's symphony in d-moll and others). On the other hand, the predecessor of the symphonic poem was the program concert overture, freely interpreting the sonata form (Mendelssohn's overtures, and earlier Beethoven's Leonore No. 2 and Coriolanus). Emphasizing this relationship, Liszt called many of his future symphonic poems in the first versions concert overtures. Prepared the birth of a new genre and large single-movement works for piano, devoid of a detailed program - fantasies, ballads, etc. (Schubert, Schumann, Chopin).

The circle of images embodied by Liszt in symphonic poems is very wide. He was inspired world literature of all ages and peoples - from ancient myth (“Orpheus”, “Prometheus”), English and German tragedies of the XVII-XVIII centuries (“Hamlet” by Shakespeare, “Tasso” by Goethe) to the poems of French and Hungarian contemporaries (“What is heard on the mountain” and "Mazeppa" by Hugo, "Preludes" by Lamartine, "To Franz Liszt" by Vörösmarty). As in piano work, Liszt often embodied images of painting in his poems (“Battle of the Huns” based on a painting by the German artist Kaulbach, “From the Cradle to the Grave” based on a drawing by the Hungarian artist Zichy), etc.

But among the motley variety of plots, the attraction to the heroic theme clearly emerges. Liszt was attracted by subjects depicting strong-willed people, pictures of great popular movements, battles and victories. He embodied in his music the image of the ancient hero Prometheus, who became a symbol of courage and unbending will. Like the romantic poets of different countries (Byron, Hugo, Slovak), Liszt was worried about the fate of the young Mazepa, a man who overcame unheard of suffering and achieved great fame. (Such attention to Mazepa's youth (according to legend, he was tied to the rump of a horse that ran across the steppe for many days and nights), and not to the historical fate of the hetman of Ukraine - a traitor to the motherland - is typical, unlike Pushkin, for foreign romantics.). In "Hamlet", "Tasso", "Preludes" the composer glorified the human feat of life, his eternal impulses towards light, happiness, freedom; in "Hungary" he sang the glorious past of his country, its heroic struggle for liberation; "Lament for Heroes" dedicated to the revolutionary fighters who fell for the freedom of their homeland; in the “Battle of the Huns” he painted a picture of a gigantic clash of peoples (the battle of the Christian army with the hordes of Attila in 451).

Liszt has a peculiar approach to the literary works that formed the basis of the program of the symphonic poem. Like Berlioz, he usually prefaces the score with a detailed presentation of the plot (often very extensive, including both the history of the origin of the idea and abstract philosophical reasoning); sometimes - excerpts from a poem and very rarely limited to only a general heading ("Hamlet", "Festive bells"). But, unlike Berlioz, Liszt interprets the detailed program in a generalized way, not conveying the consistent development of the plot through music. He usually strives to create a bright, convex image of the central character and focus all the attention of the listener on his experiences. This central image is also interpreted not in a concrete everyday, but in a generalized elevated way, as a carrier of a great philosophical idea.

In the best symphonic poems, Liszt managed to create memorable musical images and show them in various life situations. And the more multifaceted the circumstances in which the hero fights and under the influence of which different aspects of his character are revealed are outlined, the brighter his appearance is revealed, the richer the content of the work as a whole.

The characteristics of these living conditions are created by a number of musical expressive means. Generalization through the genre plays an important role: Liszt uses certain, historically established genres of march, chorale, minuet, pastoral and others, which contribute to the concretization of musical images and facilitate their perception. Often he also uses visual techniques to create pictures of storms, battles, races, etc.

The primacy of the central image gives rise to the principle of monothematism - the whole work is based on the modification of one leading theme. This is how many of List's heroic poems are constructed (“Tasso”, “Preludes”, “Mazeppa”.) Monothematism is a further development of the variational principle: instead of gradually revealing the possibilities of the theme, a direct comparison of its far-away, often contrasting variants is given. Thanks to this, a single and at the same time multifaceted, changeable image of the hero is created. The transformation of the main theme is perceived as showing various aspects of his character - as changes that arise as a result of certain life circumstances. Depending on the specific situation in which the hero acts, the structure of his theme also changes.

Lesson Objectives: repeat the basic information about the noun as a part of speech;

improve the spelling skills of nouns, consolidate the skills of analytical work with the word as part of speech;

develop the ability to work with various sources;

bring up respectful attitude by the way.

Lexico-grammatical categories; gender and number of nouns; declination; spelling of case endings.

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Russian language lesson in grade 10 on the topic:The noun is a part of speech. Spelling of case endings "

Teacher of Russian language

And literature Baryshnikova N.V.

2010

Lesson Objectives: repeat the basic information about the noun as a part of speech;

improve the spelling skills of nouns, consolidate the skills of analytical work with the word as part of speech;

develop the ability to work with various sources;

cultivate respect for the word.

The range of issues under consideration:lexical and grammatical categories; gender and number of nouns; declination; spelling of case endings.

During the classes:

I. Organizational moment.

II. Vocabulary dictation(students work in notebooks, one student at the blackboard)/ Individual work on cards / Performing test tasks on a computer.

Vary, lotion, reality, announcement, duty, four-celled, four-story, save, ultra-refined, supernatural, weeds, overeat, lunch, broth, bilingual, two-story, two-tiered, Kashchei the Deathless, May 9, Lomonosov Readings, Hero of the Russian Federation, National artist Russia, Ursa Major, USA, Red Cross, Middle East, Actor's House, Yasnaya Polyana.

Correct the mistakes. Explain the main spellings found in the dictation.

(use ъ and ь as separators, b to denote softness, to denote the form of a word; spelling and, s after prefixes, the use of capital letters).

1. Introduction to new material.

1. Problem setting of the topic.

What grammatical class of words do the words presented in the dictation belong to? (Independent. Ch. R.)

What characterizes them? (They serve to designate objects, signs, actions and other phenomena of the surrounding reality. Such words are usually independent members of the sentence, carry verbal stress.)

What is the meaning of the words:announcement, obligation, broth? (subject)

What part of speech do the words with objective meaning belong to? (Noun)

Given the above, explain what part of speech will be devoted to our lesson? (A noun.)

Let's write the topic of the lesson.

The noun is a part of speech.

2. Independent work with the textbook.

Study the material §32, make a plan for it.

Individual task:present the material of the paragraph in a generalized form, fill in the diagram.

Checking individual assignments.

The scheme is projected onto the screen

Do you agree with a brief schematic reflection of the material of the paragraph?

3. Historical comment.The noun as a part of speech had a long way of development, but in general it retained both the categorical feature, the main grammatical features, and the system of inflection and form formation of the Indo-European period of development (3rd millennium BC). The name as a lexical and grammatical category also included adjectives, words with a numerical value, some verb forms (an indefinite form of the verb). In the Proto-Slavic period of the development of the language (until the 6th century AD), the noun stood out as a special part of speech with an objective meaning(earth, sun, father).There were three genera(table, wife, eye); three numbers - singular, plural and dual (this form was used with the words two and both and also had paired nouns -eyes, ears, sides, eyes).There were seven cases - nominative, genitive, dative, accusative, instrumental, local (meaning of place, often used without a preposition:be a big fire in Kiev city),vocative (used when addressing:old! woman! son/).The category of animate-inanimate was lexical: animate nouns differed from inanimate nouns only in lexical meaning, and their case forms coincided (I. husband, so; R. husband, table; V. husband, so). IN Old Russian to the XIV century. the category of animate-inanimate becomes lexico-grammatical: animate and inanimate nouns already differ in case forms (I. husband, table; R. husband, table; V. husband, table).

Modern three types of declension of nouns were formed on the basis of six types of declension in the Old Russian language. Words path, child and ten nouns-me retained the case forms of the ancient declension type on-i (and short). Nouns in-me were originally included in the declension into a consonant (other Russian.name, name, name, name, name, name)then changed to declination-i and just like a noun path, to this day, the case forms of this type of declension have been preserved (other Russian.way, way, way, way, way, way).In modern Russian, they are heterogeneous, since in the instrumental case they have the ending of nouns of the II declension(path, name) and in all other "cases - III declension(path, name, etc.)

4. Tasks for perception:

1) Individual task: work with an explanatory dictionaryS. I. Ozhegova according to exercise. 168 - make phrases with the type of connection with the given words - agreement.

2) Set to which lexico-grammatical category (concrete, abstract, collective, real) nouns belong: leaf (conc.), foliage (collect.) , symphony (concrete),small town (concrete), division (ex.) , millet (subs.), milk (subs.),shoe (concrete), children (collected), poetry (ext.), apprentice (concrete), hands (concrete).

3) What types of declension do the underlined words belong to?

Foliage(1)

Gorodishko(2)

Division(2)

Boot(2)

Kids(1)

Apprentice(2)

hands (1)

1. Prove that the word doll - animated. (The form of the genitive plural coincides with the form of vin n. - a sign of animation.)

Give your examples of animate nouns that do not serve as the names of living beings, and the category of animation is determined by the forms of I., R., V. cases. List the types of such nouns.

IV. Primary fastening.

1. Read the text of exercise 166. From what literary work snippet taken? What type of speech is this text? Give examples of animate and inanimate nouns.

2. Prove that the word passing through this text is used in the meaning of a noun, how does this noun change in cases? (Word passing in this sentence it is a noun, since it has acquired the meaning of objectivity, in the sentence it performs the function of an addition. The method of formation of this word is morphological-syntactic, declined according to the type of adjective)

3. Find nouns in the text that do not change in numbers. What lexico-grammatical category do they belong to? (Chi, brains - real)

V. Checking an individual task. (ex. 168) How is the gender of indeclinable nouns determined?

VI. Performance morphological analysis nouns by variants.

1c. (B) taverns (in what? Where?) - noun, n. f. - a tavern; nat., inanimate, conc., m. ,2 fold; used in the form of pr. p., pl. h..; in the preposition yavl. the circumstances of the place.

2c. (In Europe (in what? Where?) - noun, n. f. – Europe; own, inanimate, conc., f. r., 1 fold.; used in the form of pr. p., units. hours; in the preposition yavl. the situation places.

Summary of the first topic of the lesson.

What concepts from the lesson were new to you? (Concrete, abstract, collective and real nouns.)

What difficulties do you have in learning new material?

VII. Problem statement of the second theme.

Put the words: Daria, love, Love, Julia, - in the dative case, Borodino, daughters, doors, Tsaritsyn - in the instrumental case.

The student works at the blackboard. Errors are not corrected.

What difficulties are you experiencing?(In choosing the ending when changing by cases)

How do we define the second topic?

Spelling of case endings.

Study the textbook material and correct the mistakes.

(Daria, love, Lyubov, Yulia, Borodin, daughters, doors, Tsaritsyn)

VIII. Fixing the material.

Differentiated task by options.

1c. ex. 170. Weaker students are invited to rewrite words, highlight the stem, ending, determine the type of declension.

2c. ex. 173. Stronger students are invited to write out sentences where it is required to use nouns in the form D.p. and P. p.

3c. ex. 172. The weakest are invited to rewrite the words, explain the spelling of the endings. How to do it? (Indicate the type of declension, case.)

A task for everyone.Stylistic work. (Oral) Exercise 181 - explain the choice of endings.

IX. Summary of the lesson.

What difficulties can arise when writing the endings of nouns? (Choosing a vowel)

What determines the choice of vowel in the endings of nouns? (From declension, case, animation - inanimateness, for example, uncle and town, stress: family - families, but estate - estates and other features)

What stylistic rules for writing noun endings do you know? (P.112 - 114)

What writing patterns did you find the most difficult?

IX. Homework. §32,33;ex. 176, exercise 175 or 177 (optional).

Preview:

leaf, foliage, symphony, small town, division, millet, milk, shoe, children, poetry, apprentice, hands.

Foliage(1) Town(2) Division(2) Boot(2) Children(1) Journeyman(2) hands (1)

Homework. §32,33; ex. 176, exercise 175 or 177 (optional).

Spelling of case endings of nouns Daria, love, Love, Julia - in the dative case, Borodino, daughters, doors, Tsaritsyn - in the instrumental case.

Daria, love, Lyubov, Yulia, near Borodino, daughters, doors, near Tsaritsyn

The result of the lesson - What concepts sounded at the lesson turned out to be new to you? - What difficulties can arise when writing the endings of nouns? - What determines the choice of a vowel in the endings of nouns? - What stylistic rules for writing noun endings do you know? - Which cases of writing seemed to you the most difficult?

While the servants were managing and fussing, the master went to the general
hall. What these common halls are - everyone passing by knows very well:
the same walls, painted with oil paint, darkened at the top from the pipe
of smoke and covered from below by the backs of various passers-by, and even more native
merchant, for merchants on trading days came here by themselves-pole and by themselves-sem
drink your famous pair of tea; the same sooty ceiling; is the same
a smoked chandelier with many hanging pieces of glass that jumped and jingled
every time the sexton ran over the worn-out oilcloths, waving briskly
tray, on which sat the same abyss of teacups as the birds on
sea ​​shore; the same paintings on the wall, painted with oil paints -
in a word, everything is the same as everywhere else; the only difference is that in one picture
a nymph was depicted with such huge breasts, which reader, right,
never seen. A similar game of nature, however, happens on different
historical paintings, it is not known at what time, from where and by whom brought to
us to Russia, sometimes even by our nobles, art lovers,
bought them in Italy on the advice of the couriers who carried them. The master threw off
his cap and unwound from his neck a woolen, iridescent-colored scarf, which
the married wife cooks with her own hands, supplying decent
instructions on how to wrap up, and single - probably I can’t say who
does, God knows them, I never wore such headscarves. Having unwound the scarf,
The gentleman ordered dinner to be served. While he was served various ordinary
taverns dishes, such as: cabbage soup with puff pastry, specially saved for
passing for weeks, brains with peas, sausages with
cabbage, fried poulard, pickled cucumber and eternal puff sweet pie,
always ready for service; for the time being, all this was served to him both warmed up and
just cold, he made the servant, or sex, tell all sorts of nonsense
- about who kept the tavern before and who now, and how much income it gives,
and whether their master is a big scoundrel; to which the sexual, as usual, answered: "Oh,
big, sir, swindler." Both in enlightened Europe and in enlightened
There are now quite a lot of respectable people in Russia who, without that, cannot
to eat in a tavern so as not to talk with a servant, and sometimes it’s even funny
make fun of him. However, the newcomer did not ask all empty questions; he is with
with extreme precision asked who the governor of the city was, who
the chairman of the chamber, who is the prosecutor - in a word, he did not miss a single
significant official; but with even greater accuracy, if not even with
participation, asked about all the significant landowners: how many people have showers
peasants, how far he lives from the city, even what character and how often
comes to town; asked carefully about the state of the region: was there any
what diseases in their province - epidemic fevers, any murderous
fevers, smallpox, and the like, and everything is so detailed and with such
an accuracy that showed more than one mere curiosity. IN
in his receptions, the gentleman had something solid and blew his nose extremely
loud. It is not known how he did it, but only his nose sounded like a pipe.
This, in my opinion, quite innocent dignity acquired, however, to him
much respect on the part of the tavern servant, so that whenever he
heard this sound, shook his hair, drew himself up more respectfully, and,
bending his head from on high, he asked: do you need anything? After lunch
the gentleman drank a cup of coffee and sat down on the sofa, placing his
pillow, which in Russian taverns is stuffed instead of elastic wool
something extremely similar to brick and cobblestone. Then he began to yawn and
ordered to take himself to his room, where, lying down, he fell asleep for two hours.
After resting, he wrote on a piece of paper, at the request of the tavern servant,
rank, name and surname for reporting where it should be, to the police. On a piece of paper
the floor, going down the stairs, read the following in warehouses: "College
adviser Pavel Ivanovich Chichikov, landowner, according to his own needs. "When
the sex officer was still sorting through the note, Pavel Ivanovich Chichikov himself
went to see the city, with which he seemed to be satisfied, for
found that the city was in no way inferior to other provincial cities: it hit hard in
eyes yellow paint on stone houses and gray modestly darkened on
wooden. The houses were one, two and one and a half stories high, with an eternal mezzanine,
very beautiful, according to provincial architects. In places these houses
seemed lost among the wide, like a field, streets and endless
wooden fences; in some places huddled together, and here it was noticeably more
movement of the people and liveliness. There were signs almost washed away by rain with
pretzels and boots, in some places with painted blue trousers and a signature
some Arshavian tailor; where is the store with caps, caps and
the inscription: "Foreigner Vasily Fedorov"; where a billiard table was drawn with two
players in tailcoats, which are dressed in our theaters by guests entering the
the last act on the stage. The players were depicted with cues aimed,
arms slightly twisted back and slanting legs, having just made
anthrax in the air. Underneath it was written: "And here is the establishment." somewhere
just on the street there were tables with nuts, soap and gingerbread, similar to
soap; where is a tavern with a painted fat fish and a fork stuck in it.
Most often, darkened double-headed state eagles were noticeable,
which have now been replaced by a laconic inscription: "Drinking House". pavement
everywhere was bad. He also looked into the city garden, which consisted of
thin trees, badly taken, with props below, in the form of
triangles, very beautifully painted green oil paint. However,
although these trees were no taller than reeds, they were mentioned in the newspapers at
description of the illumination that "our city was adorned, thanks to the care
civil ruler, a garden consisting of shady, broad-branched
trees, giving coolness on a hot day, "and that at the same time" it was very
it is touching to look at how the hearts of citizens trembled in excess of gratitude and
streams of tears flowed in gratitude to the mayor."
After asking the guard in detail where you can go closer, if necessary,
to the cathedral, to the offices, to the governor, he went to look
on the river flowing in the middle of the city, along the way he tore off the one nailed to a post
poster, so that when you come home, read it carefully, look
intently at a lady of not bad appearance who was passing along the wooden sidewalk,
followed by a boy in military livery, with a bundle in his hand, and, once more
looking over everything with his eyes, as if in order to remember well the situation
places, went straight home to his room, supported lightly on
stairs by a tavern servant. After drinking tea, he sat down at the table, ordered
give himself a candle, took out a poster from his pocket, brought it to the candle and began to read,
narrowing his right eye slightly. However, there was a little remarkable in the poster:
a drama was given by Mr. Kotzebue, in which Roll was played by Mr. Poplevin, Cora was a girl
Zyablov, other faces were even less remarkable; however, he read them
everyone, even got to the price of the stalls and found out that the poster was printed in
printing houses of the provincial government, then turned over to the other side:
to find out if there was something there, but not finding anything, he rubbed his eyes,
neatly rolled up and put in his chest, where he used to put
everything that came across. The day seems to have been concluded by a portion of cold
veal, a bottle of sour cabbage soup and a sound sleep in the whole pump wrap, like
are expressed in other places of the vast Russian state.