MUSIC]. LISZT, Franz (1811-1886). Autograph letter signed ("F. Liszt"), to Carl Haine, Weimar, 27 October 1853. 1½ pages, 4to, light blue stationery, autograph envelope WITH LISZT'S INTACT SEAL IN RED WAX (a bird, possibly a falcon or hawk, with outstretched wings above a plain shield surrounded by leaves and vines), the letter incorporating an autograph musical example notated on a single hand-drawn stave , in German, in a giltwood frame. ADVICE ON COMPOSITIONAL TECHNIQUE FOR THE PIANO Writing to the composer and pianist Carl Haine, Liszt returns and comments on Haine's "Loreley Fantasie" (titled after the poem by Heinrich Heine), suggesting that the use of figurations may create more varied musical textures in his score. Liszt criticizes the exaggerated use by contemporary composers of arpeggios and tremolos, giving a musical quote to illustrate his point. Hoping that his recipient is not offended by his remarks, he expresses the desire that they may one day meet. Widely regarded as the greatest piano virtuoso of his time, Liszt also developed new compositional techniques which influenced his forward-looking contemporaries and anticipated the twentieth-century. He revolutionized the concept of form (such as in his method of "transformation of themes"), made radical experiments in harmony and invented the symphonic poem for full orchestra. As a conductor and teacher, especially at Weimar in the 1850s, after his appointment as Grand Ducal Director of Music Extraordinary, Liszt became the most influential figure of the avant-garde movement in German music. He was a constant exponent of the new in music, not only in his own compositions, but also as conductor, arranger, pianist and critic. Wittgenstein remarked "he has hurled his lance much further into the future than Wagner."
MUSIC]. LISZT, Franz (1811-1886). Autograph letter signed ("F. Liszt"), to Carl Haine, Weimar, 27 October 1853. 1½ pages, 4to, light blue stationery, autograph envelope WITH LISZT'S INTACT SEAL IN RED WAX (a bird, possibly a falcon or hawk, with outstretched wings above a plain shield surrounded by leaves and vines), the letter incorporating an autograph musical example notated on a single hand-drawn stave , in German, in a giltwood frame. ADVICE ON COMPOSITIONAL TECHNIQUE FOR THE PIANO Writing to the composer and pianist Carl Haine, Liszt returns and comments on Haine's "Loreley Fantasie" (titled after the poem by Heinrich Heine), suggesting that the use of figurations may create more varied musical textures in his score. Liszt criticizes the exaggerated use by contemporary composers of arpeggios and tremolos, giving a musical quote to illustrate his point. Hoping that his recipient is not offended by his remarks, he expresses the desire that they may one day meet. Widely regarded as the greatest piano virtuoso of his time, Liszt also developed new compositional techniques which influenced his forward-looking contemporaries and anticipated the twentieth-century. He revolutionized the concept of form (such as in his method of "transformation of themes"), made radical experiments in harmony and invented the symphonic poem for full orchestra. As a conductor and teacher, especially at Weimar in the 1850s, after his appointment as Grand Ducal Director of Music Extraordinary, Liszt became the most influential figure of the avant-garde movement in German music. He was a constant exponent of the new in music, not only in his own compositions, but also as conductor, arranger, pianist and critic. Wittgenstein remarked "he has hurled his lance much further into the future than Wagner."
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Suchauftrag anlegen![MUSIC]. LISZT, Franz (1811-1886). Autograph letter signed (](http://www.christies.com/lotfinderimages/d20341/d2034192r.jpg "Quelle: Christie's")
