Antique German Bronze Sculpture Franz Liszt "Music Pianist Composer Wall Plaque Signed

Description

1 Decorative German Small Antique Edwardian Bronze Sculpture Franz Liszt "Music Pianist" Composer Wall Plaque Signed.
Signed by the German … more 1 Decorative German Small Antique Edwardian Bronze Sculpture Franz Liszt "Music Pianist" Composer Wall Plaque Signed.
Signed by the German sculptor Joh. GREINER.
Very collectible & decorative.
Bronze plaque set in a fine gilt gesso oak frame.
Hanging bracket on the top ready for immediate home display.
So sought after by colletors. Circa early 20th century dated 1905. Franz Liszt (October 22, 1811 – July 31, 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary.
Liszt is widely considered to be one of the greatest pianists of all time.
Some of his notable piano compostions La campanella, Hungarian Rhapsody No. 2 also Liebesträume.
He was born in the village of Raiding (Hungarian: Doborján) in the Kingdom of Hungary, then part of the Habsburg Empire.
Liszt was the only child of Adam Liszt and Anna Lager. Anna Lager was half Austrian and half Bavarian.
On September 20, 1823, the Liszt family left Vienna for Paris. To support himself and his parents, Liszt gave concerts in Munich, Augsburg, Stuttgart and Strasbourg.
In Munich he was regarded as an equal to the boy Mozart. On December 11, 1823, the family arrived in Paris.
Liszt learned French quickly and it became his main language. He made the acquaintance of the piano manufacturer Sébastien Érard, pioneer of the "double-escapement" system of piano mechanics.
Liszt played in private circles and gave concerts on March 7 and April 12, 1824, at the Théâtre-Italien, quickly augmenting his popularity.
He was well known in Paris as petit Liszt ("little Liszt"). In 1824, 1825 and 1827, together with his father, he visited England, where he was known as "Master Liszt.
Since 1824, Liszt studied composition with Anton Reicha and Ferdinando Paer.
From Adam Liszt's letters it is known that his son had composed several concertos, sonatas, works of chamber music, and much more. While nearly all of those works are lost, some piano works of 1824 were published.
These pieces were written in the common style of the contemporary brilliant Viennese school.
He had taken works of his former master Czerny as a model, which Liszt's later virtuoso rivals Sigismond Thalberg and Theodor Döhler would also emulate.
After his father's death Liszt returned to Paris. For the next five years he was to live with his mother in a small apartment at 7 Rue Montholon.
In 1831 they moved to 61 Rue de Provence.
At the end of 1833 Liszt rented his own apartment which he called "Ratzenloch".
To earn money, Liszt gave lessons in piano playing and composition, privately as well as at a private school for young ladies at 43 Rue de Clichy, run by one Madame Alix.
In 1833, Liszt began his relationship with the Countess Marie d'Agoult.
In addition to this, at the end of April 1834 he made the acquaintance of Felicité de Lamennais.
Under the influence of both, Liszt's creative output exploded.
In 1835, the countess left her husband and family to join Liszt in Geneva; Liszt's daughter with the countess, Blandine, was born there on 18 December.
Liszt taught at the newly founded Geneva Conservatory, wrote a manual of piano technique (later lost).
For the next four years, Liszt and the countess lived together, mainly in Switzerland and Italy, where their daughter, Cosima, was born in Como, with occasional visits to Paris.
On 9 May 1839, Liszt's and the countess's only son, Daniel, was born.
For the next eight years Liszt continued to tour Europe, spending holidays with the countess and their children on the island of Nonnenwerth on the Rhine in summers 1841 and 1843.
In spring 1844, the couple finally separated.
This was Liszt's most brilliant period as a concert pianist. Honours were showered on him and he met with adulation wherever he went. Franz wrote his Three Concert Études between 1845 and 1849.
There are few, if any, good sources that give an impression of how Liszt really sounded from the 1820s.
Carl Czerny claimed Liszt was a natural who played according to feeling, and reviews of his concerts especially praise the brilliance, strength and precision in his playing.
At least one also mentions his ability to keep absolute tempo, which may be due to his father's insistence that he practice with a metronome.
His repertoire at this time consisted primarily of pieces in the style of the brilliant Viennese school, such as concertos by Hummel and works by his former teacher Czerny, and his concerts often included a chance for the boy to display his prowess in improvisation.
Liszt possessed notable sight-reading skills.
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Dimensions in inches & centimetres of frame

7.48" High (19cm)
5.51" Width of top (14cm)
0.79" Length depth thickness (2cm) less