The bicentenary of Franz Liszt (1811–1886) follows hard upon those of Berlioz, Mendelssohn, Chopin, and Schumann, and he has conserved his place as one of the supreme Romantic composers. Nevertheless, his career as a composer was always cursed by the fact that he was also, it is generally agreed, the greatest pianist who ever lived. The major part of his work was for piano, much of it tailored for himself to perform, many of the pieces presenting a difficulty of execution almost never before seen. As a result, even today most performances of Liszt are generally intended not as a specifically musical experience, but chiefly to display the pianist’s technique.
This article is available to subscribers only.
Please choose from one of the options below to access this article:
Purchase a print subscription (20 issues per year) and also receive online access to all articles published within the last five years.
Purchase an Online Edition subscription and receive full access to all articles published by the Review since 1963.