Im Einklang sein: Neun Wege zu innerer Ausgeglichenheit (German Edition)

Im Einklang sein: Neun Wege zu innerer Ausgeglichenheit (German Edition) eBook: Wayne Dyer: leondumoulin.nl: Kindle Store.
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The present piano version is the last, and the simple song has become a nostalgic reflection upon happier times and gives rise to the speculation that, in old age, Liszt mused upon one of the happiest periods of his life: Liszt changed the order of the songs in his transcription to allow his lovingly embellished version of this mighty hymn to conclude the set.

The song is a requiem prayer, which Liszt treats with beautiful simplicity, even in the octave doublings of the second verse. In his last years Liszt wrote a good many sacred pieces, and often prepared versions of them for solo piano. A pity, because it would surely have been taken up as a national hymn in Italy, whose present national anthem is among the least musically distinguished in the world! Liszt the Romantic It goes without saying that Liszt embodied the spirit of the Romantic period — probably more than any other musician of his time.

Both because of his longevity and his catholicity of taste, as well as his truly Renaissance-man grasp of so many issues artistic, political and historical, the life and works of Liszt are perfectly representative of the age.

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O Lieb, so lang du lieben kannst — Notturno Nr. It is probably only just that the best known work of the greatest transcriber in the history of Western music should be a transcription, but fortunate, at least, that it should be a transcription of one of his own works. The original song, to a poem by Freiligrath, enjoins us to love whilst we may, for love lost is miserable. From this point to the end of his life his music contains a great deal of introspection and almost a disregard of the likely fate of many of the works, only a few of which were performed and published in his lifetime.

Orchestral works are rare, and the choral works after the completion of Christus tend to be on a small scale without orchestral accompaniment. It has long been asserted that, in his last years, Liszt grappled with a great many ideas about the possible future that music might take, even prefiguring the destruction of the Romanticism of which he was so much a part.

There is nothing experimental about this music, whatever a number of commentators have suggested: Even little album-leaves take on the characteristics of a new order of musical thinking. Whether the mood is nostalgic, miserable, unworldly, elegiac or even patriotic, the old language no longer serves. And the old virtuosity is almost completely absent: Although the piece is by no means dissonantly atonal, it is true that no tonality ever holds sway. The ostensible key, G minor, is strained by dissonance, first growling then lyrical, not at all resolved by the enigmatic cadence.

As we have seen, Antonia Raab, who died in , was a pupil of Liszt, and her poetry which inspired Schlaflos! But it is easy to imagine the thought behind this miniature, where the tossing and turning is resolved by a simple transformation of the theme and the arrival of tonality which brings rest.

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Petite valse Nachspiel zu den drei vergessenen Walzer , Sd ? The manuscript in the Goethe-Schiller Archive is in a terrible state: The piece consists of bars of music, and a final change of key signature indicating a return to earlier material.

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This is simply too haunting a piece to discard unheard. It is also from this period that we have one of his most original conceptions for piano and orchestra: The work is performed here in its final version: Plainsong themes were important to Liszt, both for reasons of his faith and because of their intrinsic musical value, and whilst one might expect to encounter them more often in the works of his Roman period in the s, they feature over the whole range of his composing life.

Liszt introduces the material dramatically: Finally, the piano reiterates the first two phrases alone.


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Variation I is a double variation where bassoon and violas play a new rhythmic counterpoint to the first two phrases in the lower strings, which the piano then repeats, and then clarinet and bassoon are in counterpoint with the strings for the third phrase, again repeated by the piano, which takes control of Variation II, with a new counter-theme from the horn and multiple glissandos from the soloist. Oboes and clarinets add another new counter-theme in Variation III, whilst Variation IV is a much freer affair for solo piano cp where each phrase is introduced in four-voice canon.

So far the work has remained firmly in D minor, but the piano now takes very gentle wing in a delicate cadenza leading to B major and thence to G minor, where a lone clarinet joins in for ten bars before D minor is abruptly restored in the brilliant transition to Variation V. This fugato uses just the first two phrases of the theme for its subject and leads to a development in which the full orchestra plays a part.

The section is brought to an end by a grand cadenza which makes a brief excursion into F sharp major before bringing matters to a close in D minor. The last of these miniature variations is extended to introduce a final cadenza, which brings back the original theme. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. Franz Liszt Piano Music An introduction to the complete recording.

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Im Einklang Sein Neun Wege Zu Innerer Ausgeglichenheit 9783426876572

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