Harmonies poetiques et religieuses, S173/R14: IX. Andante lagrimoso
Franz Liszt (October 22, 1811 – July 31, 1886) was a Hungarian composer, vi… Read Full Bio ↴Franz Liszt (October 22, 1811 – July 31, 1886) was a Hungarian composer, virtuoso pianist, and teacher.
He was born in Doborján, Sopron County, Hungary. His father, Ádám Liszt, clerk to Duke Esterházy, recognized his son's exceptional musical talent early on and seized every opportunity to develop it. At the age of nine, Liszt was already playing the piano in public in Sopron and Bratislava, and soon, with the support of art patrons, he was able to continue his studies in Vienna as a student of Czerny and Salieri. He presented himself in Vienna on December 1, 1822
In 1920/1921, a strip of Hungarian territory was transferred to Austria and Doborján was renamed to Raiding, in the district of Oberpullendorf. Around that period, the strip of transferred land became known as Burgenland.
Liszt became renowned throughout Europe for his great skill as a performer during the 1800s. He is said to have been the most technically advanced and perhaps greatest pianist of all time. He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner and Hector Berlioz.
As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind a huge and diverse body of work, in which he influenced his forward-looking contemporaries and anticipated some twentieth-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.
He was born in Doborján, Sopron County, Hungary. His father, Ádám Liszt, clerk to Duke Esterházy, recognized his son's exceptional musical talent early on and seized every opportunity to develop it. At the age of nine, Liszt was already playing the piano in public in Sopron and Bratislava, and soon, with the support of art patrons, he was able to continue his studies in Vienna as a student of Czerny and Salieri. He presented himself in Vienna on December 1, 1822
In 1920/1921, a strip of Hungarian territory was transferred to Austria and Doborján was renamed to Raiding, in the district of Oberpullendorf. Around that period, the strip of transferred land became known as Burgenland.
Liszt became renowned throughout Europe for his great skill as a performer during the 1800s. He is said to have been the most technically advanced and perhaps greatest pianist of all time. He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner and Hector Berlioz.
As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind a huge and diverse body of work, in which he influenced his forward-looking contemporaries and anticipated some twentieth-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.
Harmonies poetiques et religieuses S173/R14: IX. Andante lagrimoso
Franz Liszt Lyrics
We have lyrics for these tracks by Franz Liszt:
ラ・カンパネラ 愛の鐘が鳴る 湧き起こる叢雲(むらくも)の響き たなびくプライド 虚ろな微笑み砕く 愛の無い欲望 見せかけの情熱 手を…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@AshishXiangyiKumar
00:00 – 1. Invocation
07:46 – 2. Ave Maria
15:59 – 3. Bénédiction de Dieu dans la solitude
35:52 – 4. Pensée des morts
53:18 – 5. Pater Noster
56:47 – 6. Hymne de l’enfant à son réveil
1:03:18 – 7. Funérailles
1:16:49 – 8. Miserere, d’après Palestrina
1:21:12 – 9. (Andante lagrimoso)
1:30:02 – 10. Cantique d’amour
Guy’s playing of this dauntingly vast work is hard to characterise, given the huge expressive range it traverses, but I would probably call it luminous and heartfelt – and maybe also monumental, in the sense of having an anti-crowd-pleasing kind of largeness/seriousness (the word “poetic” is kind of meaningless, so I won’t use that.) The tempi are generally slow, but the playing is ultra-expressive; just note how carefully Guy observes Liszt’s rapt pauses, diminuendos and ritardandos. He is breathlessly opulent in the harmonic thicknesses of Invocation, alternately bleak and blissful in the Andante Lagrimoso, and mystical in Ave Maria. And in the set’s three out-and-out masterpieces – the Bénédiction, Pensée, and Funérailles, Guy is really quite spectacular. The tempo for the Bénédiction is unusually slow, but it’s hard to imagine a more beautifully voiced and sonorous performance. Pensée has an epic narrative force, and has a number of standout moments (e.g. – when Guy flutter-pedals to preserve the overtone halo of the chords at 43:01/43:41/43:31 even after they have stopped sounding). And Funérailles has all the sense of devastation and tenderness it needs – those grinding bells at the beginning are as deathly as they come, and the central march builds with into relentless immensity until the majestic slowing of the tempo at 1:12:17.
@AshishXiangyiKumar
00:00 – 1. Invocation
07:46 – 2. Ave Maria
15:59 – 3. Bénédiction de Dieu dans la solitude
35:52 – 4. Pensée des morts
53:18 – 5. Pater Noster
56:47 – 6. Hymne de l’enfant à son réveil
1:03:18 – 7. Funérailles
1:16:49 – 8. Miserere, d’après Palestrina
1:21:12 – 9. (Andante lagrimoso)
1:30:02 – 10. Cantique d’amour
Guy’s playing of this dauntingly vast work is hard to characterise, given the huge expressive range it traverses, but I would probably call it luminous and heartfelt – and maybe also monumental, in the sense of having an anti-crowd-pleasing kind of largeness/seriousness (the word “poetic” is kind of meaningless, so I won’t use that.) The tempi are generally slow, but the playing is ultra-expressive; just note how carefully Guy observes Liszt’s rapt pauses, diminuendos and ritardandos. He is breathlessly opulent in the harmonic thicknesses of Invocation, alternately bleak and blissful in the Andante Lagrimoso, and mystical in Ave Maria. And in the set’s three out-and-out masterpieces – the Bénédiction, Pensée, and Funérailles, Guy is really quite spectacular. The tempo for the Bénédiction is unusually slow, but it’s hard to imagine a more beautifully voiced and sonorous performance. Pensée has an epic narrative force, and has a number of standout moments (e.g. – when Guy flutter-pedals to preserve the overtone halo of the chords at 43:01/43:41/43:31 even after they have stopped sounding). And Funérailles has all the sense of devastation and tenderness it needs – those grinding bells at the beginning are as deathly as they come, and the central march builds with into relentless immensity until the majestic slowing of the tempo at 1:12:17.
@johnchessant3012
fourth time's the charm?
@AshishXiangyiKumar
John Chessant Hope springs ever eternal.
@lukasmiller486
I noticed that halo effect too for the E flat major chords that get louder and louder and then die away in Pensee de morts! I’ll have to try that next time I learn the piece!
@JoshuavanderVeen
I always appreciate when the timestamps are pinned on top. Thanks 🙂
@parthoroy9141
Thank you for the breakdown of the movements 🙏 🎵
@iliekmegapie
This is the first time I’d ever heard this piece, and I’m using my quarantine time to learn the Ave Maria. My neighbors in the apartment next door slipped a note under my door and said their young child was transfixed by the music coming in through the window, and that it was one of the only moments of peace they’d had in weeks. Very good timing on this upload. Many thanks. Looking forward to learning some of the other movements as well.
@eduardodeoliveira5446
That's very nice! :)
@lukasmiller486
Be sure to practice your octaves, scales, chords and arpeggios on a regular basis if you want to master these pieces, especially the Bénédiction de Dieu dans la Solitude. It is no walk in the park.
@iliekmegapie
Lukas Miller absolutely. Hence why I’ve only got the Ave Maria out for now. My skill level is nowhere near the other movements yet. But thanks for the tips :)