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Essay / Research Paper Abstract
A 10 page research paper that examines the life and work of nineteenth century composer Franz Liszt. The writer particularly focuses on a musical analysis of Liszt's "Les Preludes," but the paper also includes an extensive biography that discusses Liszt's career as the "rock star" of his era. Bibliography lists 4 sources.
Page Count:
10 pages (~225 words per page)
File: D0_khliszt.rtf
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Unformatted sample text from the term paper:
he was established as a remarkable concert artist (Boynick, 1996). It was the appearance in Paris of the sensational violinist Paganini in 1831 who first made Liszt aware of the
possibilities inherent in virtuoso performance. Liszt subsequently became the "rock star" of his age. An examination of his life and work shows, however, that Liszt was not only a consummate
showman, but one of the most talented composers of his generation. His life Liszt was "an actor to his fingertips" and also possessed the personal magnetism of which legends
are made (Machlis, 1970). Until Liszt, pianists often sat with either their backs to the audience or facing the audience. Liszt had the piano turned so that the audience could
see his chiseled profile, which was said to resemble Dantes (Machlis, 1970). He crouched over the keys, he "thundered " and "caressed, " as ladies swooned (Machlis, 1970, p. 101).
Predating the hysteria that would follow rock stars by more than a century, women fought over his snuffbox and tore his handkerchief to shreds (Machlis, 1970). Liszt encouraged such antics
as a part of his legend. Inseparable from the legend was Liszts reputation as a lover. He never married, but he had many notable affairs, such as with the
noted novelist George Sand (women novelists in the nineteenth century often wrote under male pseudonyms). One of his most significant relationships was with the Countess Marie dAgoult, who wrote under
the name of "Daniel Stern" (Machlis, 1970). This relationship lasted from 1833-44 (Boynick, 1996). One of their three children became the wife of Richard Wagner, but Liszt and the Countess
parted in bitterness and the Countess later satirized Liszt in her writing (Machlis, 1970). Liszt continued to give concerts in Paris, where he also published some essays, but he was
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