Generally, people tend to think that Liszt is a musician much later to Chopin, but as we already see the latter only precedes by a year to Liszt. The reason is that Liszt lived a good amount of years more than the ill-fated Frédéric. And so, long after Chopin's death in 1849, Franz Liszt was more alive than ever, performing recitals all over Europe, meeting and knowing aristocratic women on a very intimate level, whether a princess or a countess… and creating music.
For all this to happen, at the age of eight, little Franz had to show up his talent. This was not difficult because his parents were able to recognize it immediately: his father Adam Liszt was mayor of Prince Nicholas Esterhazy and had dealt extensively with Joseph Haydn. As soon as Franz turned 9, the Liszt family moved with him to Vienna to receive lessons from the most renowned music teachers. Then came Paris and later the whole of Europe.
Franz was born to conquer.
At 22 he is already a celebrated musical personality in the Parisian salons. In a select meeting between those attending were Chopin, Meyerbeer, Délacroix and Heine, among others, he was introduced to the Countess Marie d'Agoult, a well-known lady in Paris aristocratic environments. Marie, as well, was fond of writing, George Sand style. Also, she was six years older than Liszt and was married, to be exact. But love took hold and as love can do everything, Marie and Franz, despite the scandal caused, managed to unite their lives taking refuge in Switzerland, in a house on the outskirts of Geneva.
There, for almost two years, Franz will love and work intensely.
Love Dream No 3
It is probably the piece with which Liszt is better identified by common people. It belongs to a series of three nocturnes published in 1850, one year after Chopin's death. Altogether, they bear the name of Liebesträume and were conceived from poems.
The Nocturne No 3 consists of a beautiful theme that is repeated three times with intelligent variations linked by cadenzas that demand great technical skill. The second variation (1:41) represents the climax of the small work and is where the interpreter is authorized to destroy the piano if so he wishes. The third variation, on the other hand, is much more delicate (3:14). It dies away little by little to finish with a pianissimo arpeggio.
The version is by the Italian pianist Vanessa Benelli.
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