Late Works Of Franz Liszt
The radical change Franz Liszt's compositional style underwent in the last 20 years of his life was unprecedented in Western classical music. The tradition of music had been one of unified progression, even to the extent of Johannes Brahms' First Symphony being known as "Beethoven's Tenth". Beethoven's own three periods of composition are monolithic and united. Liszt's, by comparison, seem deconstructivist. Replacing pages which in Liszt's earlier compositions had been thick with notes and virtuoso passages was a starkness where every note and rest was carefully weighed and calculated, while the works themselves become more experimental harmonically.
At the same time, no other 19th century composer offers the thinking musician such a brimming cornucopia of forward-looking technical devices. Works such as Bagatelle sans tonalité ("Bagatelle without Tonality") foreshadow in intent, if not in exact manner, composers who would further explore the modern concept of atonality. Liszt's work also foreshadowed the impressionism that would characterize the work of Debussy and Ravel, as shown in Les Jeux d'Eaux à la Villa d'Este (The Fountains of the Villa d'Este) from the third volume of Années de Pèlerinage. Another precursor of impressionism is Nuages gris, which won the admiration of both Debussy and Stravinsky.
Read more about Late Works Of Franz Liszt: A More Complex Picture, Survey of Works, Bibliography
Famous quotes containing the words late and/or works:
“If mothers are told to do this or that or the other,... they lose touch with their own ability to act.... Only too easily they feel incompetent. If they must look up everything in a book, they are always too late even when they do the right things, because the right things have to be done immediately. It is only possible to act at exactly the right point when the action is intuitive or by instinct, as we say. The mind can be brought to bear on the problem afterwards.”
—D.W. Winnicott (20th century)
“Your hooves have stamped at the black margin of the wood,
Even where horrible green parrots call and swing.
My works are all stamped down into the sultry mud.”
—William Butler Yeats (1865–1939)