LYCOS RETRIEVER 
Liszt: Concerts
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Liszt left Vienna in 1823 to travel. In Paris, he attended a concert by the virtuoso violinist Paganini and became motivated to become the greatest pianist of his day. He often took to seclusion in his room, and was heard practicing for over 10 hours a day. In 1832 he wrote the Grande Fantaisie de Bravoure sur La Clochette de Paganini ("Great Bravura Fantasy on Paganini's La Campanella"). A shorter piece using the same thematic content was included in the 1838 Etudes d\'Execution Transcendante d'apres Paganini (Etudes for Transcendental Technique after Paganini). Also composed in this period were the 12 Grandes Etudes (Liszt later rewrote these into the 12 Transcendental Etudes in 1851).
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Liszt ... took part in concerts of other artists. For December 25, 1828, he announced an own concert. In a first part he wanted to play Beethoven's concerto in E-flat Major and an own improvisation. In a second part he wanted to play brilliant variations by Czerny on a melody from Bellini's opera "Il pirata" and take part in a duo with violin by Mayseder. But the concert had to be cancelled since Liszt had fallen ill with measles. On March 22, 1829, at the Salons Pape, he took part in an arrangement for twelve hands of Mozart's overture "Die Zauberflöte". On April 7, 1829, at the Salons Dietz, he for the first time played the first version of his fantasy on a Tyrolian melody from Auber's opera "La fiancée" ("The bride").[42] Also during winter 1829-30, Liszt was for several times to be heard at concerts.
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On April 13, 1823, Liszt gave a concert, and it is often said that the 53-year-old Ludwig van Beethoven gave him a kiss for his marvelous playing. An account of the episode can be found in the separate article Liszt and Beethoven.
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Nor is there any doubt that Liszt thought of himself as a Hungarian. Early in 1840, when he addressed the public at his first concert in Pest upon his return to his native Hungary after an absence of almost two decades, he began with the famous words Je suis Hongrois (or, more likely, Hongrais, as I will explain below).
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It is ... interesting to examine the process of creativity, that's universally overlooked, that also generated speculation regarding Liszt's output and influence to this day. The methodologies of Beethoven and perhaps all others preceeding Liszt differed immensely. Beethoven and Chopin in particular were reclusive and created slowly in solitude, with little distraction, working to reach that final end-product. Liszt in contrast was a major public figure who personally directed all aspects of Weimar's operatic and concert schedule, was barraged by students from all across the globe vying for his time and wisdom, and he perpetually traveled. Albeit these distractions Liszt's creations flowed profusely - some brilliantly complete and finished, others as semi-gems, and yes, even those oddities that turned heads. the common world-view was that a creative work must have a definitive end result or final form.
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The Monmouth County Civic Chorus presents a concert featuring highlights of Liszt's choral work at 8 p.m. Saturday at the First Presbyterian Church, 255 Harding Road in Red Bank. On the program will be the composer's setting of "Psalm 13" and excerpts from his beautiful "Missa Choralis."
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