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In two concerts of the Zaryadye Hall project, all the works of Liszt, written by the composer for piano and orchestra, are presented.
In Liszt's composing activity, the first and fundamental place belongs to piano music and closely coincides with his performing practice; these are two inseparable spheres of his creative activity. It was thanks to his performing talent that Liszt was able to become such a brilliant innovator in piano music.
Liszt's innovation lies in the symphonic interpretation of the piano. He develops the tradition of concert-virtuoso pianism, the main feature of which is orchestrality: an abundance of colors and sounds, free coverage of the entire range of the instrument, the predominance of a "large stroke" designed for the space of large concert halls. This is music addressed to the widest possible audience. In this approach to the piano, Liszt was the successor of Beethoven, who was the first to hear a whole orchestra in the piano. Like Beethoven, Liszt transformed the piano from a salon instrument into a concert one. The brilliance, power, declamatory pathos, virtuoso scope, improvisational approach to the material come to the fore in his piano style.
“In the range of its seven octaves,” Liszt wrote, “the piano contains the volume of an entire orchestra, and ten human fingers are enough to reproduce the harmonies produced by the unification of hundreds of musicians.”
Liszt's piano pieces are so difficult to perform that it is always a challenge for a virtuoso pianist to play them in public.