To emphasize the beauty of these shots taken for The Times Fashion Magazine Australia I decided to play the Consolation No. 2 by Franz Liszt.
A special thanks to all the team at both Melbourne and in Milan for the backstage!
Now I leave you a few notes about the author:
Life in a romance:
Liszt gained renown in Europe during the early nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered by some to be perhaps the greatest pianist of all time. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Richard Wagner,Hector Berlioz ,Camille Saint–Saens, Edvard Grieg and Alexander Borodin.
As a composer, Liszt was one of the most prominent representatives of the “Neudeutsche Schule” (“New German School”). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem , developing the concept of thematic transformation as part of his experiments in music form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.
Liszt was a prolific composer. He is best known for his piano music, but he wrote extensively for many media. Because of his background as a technical piano virtuoso, Liszt’s piano works are often marked by their difficulty. Liszt is very well known as a programmatic composer, or an individual who bases his compositional ideas in extra-musical things such as a poetry or painting. Liszt is credited with the creation of the symphonic poem , which is a programmatic orchestral work that generally consists of a single movement.
Liszt’s compositional style delved deeply into issues of unity both within and across movements. For this reason, in his most famous and virtuosic works, he is an archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the Leitmotif by Richard Wagner .
The largest and best-known portion of Liszt’s music is his original piano work. His thoroughly revised masterwork, ” Années de pèleringe”” (“Years of Pilgrimage”) includes arguably his most provocative and stirring pieces. This set of three suites ranges from the virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michelangelo and Raphael in the second set. “Années” contains some pieces which are loose transcriptions of Liszt’s own earlier compositions; the first “year” recreates his early pieces of “Album d’un voyageur”, while the second book includes a resetting of his own song transcriptions once separately published as “Tre sonetti di Petrarca” (“Three sonnets of Petrarch”). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed, and the level of technical difficulty which was present in much of his composition.
Liszt’s piano works are usually divided into two categories. On the one hand, there are “original works”, and on the other hand “transcriptions”, “paraphrases” or “fantasies” on works by other composers. Examples for the first category are works such as the piece Harmonies poétiques et religeuses of May 1833 and the Piano Sonata in B minor (1853). Liszt’s transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are examples from the second category. As special case, Liszt also made piano arrangements of his own instrumental and vocal works. Examples of this kind are the arrangement of the second movement “Gretchen” of his Fausta Symphony and the first “Mephisto Waltz” as well as the “Liebestraume” No. 3″ and the two volumes of his “Buch der Lieder”.
Still in 1850 , Liszt composed the six Consolations , inspired by the eponymous poem by Charles -Augustin Sainte- Beuve , a collection of twenty poems , intimate confidences imbued with the Christian spirit , but also dominated by a dark sense of sin : everything you married well with the contrasting religious and literary inclinations of Liszt, with his desire to indulge in an intimate , private , full of piety , in a sense analogous to that which had traveled leHarmonies poétiques et religieuses . Even the Consolation n . 3 in D flat major , Lento placido , and the n°2 are like the other songs on this recording is modeled on a single musical idea : a long and expressive melody instruments inserted into a piano as simple as magic , which resonates simultaneously three registers of the keyboard . Even the Consolation # 4 is in the key of D flat : Almost a slow – Cantabile with devotion , creep , ceremonious , the aura of mystical contemplation .
The Australia Times Fashion Magazine
Photographer: Jess Abby
Fashion Editor: Christine Assirvade
Special thanks to Alberto Collini: video editor