Piano World Home Page Forums Our Most Popular Forums Pianist Corner Liszt: on being a virtuoso

The virtuoso is not a mason who, chisel in hand, faithfully and conscientiously whittles stone after the design of an architect. He is not a passive tool reproducing feeling and thought and adding nothing of himself. He is not the (more or less) experienced reader of works which have no margins for his notes, which allow for no paragraphing between the lines.

Spiritedly-written musical works are in reality, for the virtuoso, only the tragic and moving mise-en-scene for feelings. He is called upon to make emotion speak, and weep, and sing, and sigh--to bring it to life in his consciousness. He creates as the composer himself created, for he himself must live the passions he will call to ligiht in all their brilliance. He breathes life into the lethargic body, infuses it with fire, enlivens it with the pulse of grace and charm. He changes the earthly form into a living being, penetrating it with the spark which Prometheus snatched from Jupiter's flesh. He must send the form he has created soaring into transparent ether: he must arm it with a thousand winged weapons: he must call up scent and blossom, and breath of life

Didn't know he was a member here. I think I'll message him sometime.

Just in general, I am always amazed by the eloquence of your average educated individual in earlier times compared with today. This is my favorite piano book, which is the A-list of early 20th century pianists opining on pianism:

http://www.gutenberg.org/files/28026/28026-h/28026-h.htm

I wonder how many young pianists today can speak or even think like this.

"They never float, and the one who would have his scales shine with the beauty of splendid gems must first dive deep for the gems.

Liszt also touches a highly disputed topic. I don't think it really benefits your playing if you have the kind of emotions he is suggesting. But maybe that works for him ?

>Liszt's style of playing work for him

Yes sure.

But the question is: did he indeed do what he said, or was that just selling pitch

Well he is known to be a show man. So I guess nothing of this "life in consciousness " and "live the passions", but lot of exaggerated motions to give impression of emotions.

One day a rather assertive young lady called with an introductory card.....she began to play the F major etude (No 8) of Chopin. Her lackadaisical playing was startling, if anything so mild could be, when contrasted with her appearance and manner. It lacked every quality that could have made it adequate to her chosen task. Liszt could endure but a half dozen measures and then shouted "No! No!" rushed to the piano, nudged her off the chair and seated himself gave vent to his feelings in the most impetuous performance of this piece that I have ever heard. It relieved the master and did no violence to Chopin. As he turned from the piano, he said, "It should be something like that. Now go home, forget your dawdling, and come again later if you see fit."

It's always good to look at data, and all we have here to work with are contemporary reports.

Interesting comment from Otis B. Boise. Where did you find that?

Here you go. I believe that contains the account Schonberg referred to, as well, so hope you can enjoy.

It is also interesting to see how Liszt arranged his household like a royal court, but with kindness to all.

Apparent from the Walker bio. Hopefully you read all three volumes

With the exception of Paganini no artist to a like degree possesses this power of subjecting the public, of lifting it, sustaining it, and letting it fall again....Within a few seconds tenderness, boldness exquisiteness, wildness succeed one another; the instrument glows and flashes under the master's hands. All this has already been described a hundred times....

All playing sounds barren by the side of Liszt, for his is the living, breathing impersonation of poetry, passion, grace, wit coquetry, daring, tenderness, and every other fascinating attribute that you can think of!...He is a many-sided prism, and reflects back the light in all colours, no matter how you look at him.

...but it seems strange to me that anyone could read contemporary reports of Liszt's playing and not think his own explanation of what he tried to do was accurate.

This brings me to his playing: in spite of all that I had heard about it I was struck by the extreme simplicity, sobriety and discipline of his playing and the complete absence of pretentiousness, affectation and any striving for extraneous effect. He adopts moderate tempi, never rushes or gets carried away, and yet in spite of his age the power, energy, passion, enthusiasm and fire are boundless. His tone is round, full and firm; the clarity, richness and variety of nuance are amazing.