On Historical Context And Artistic Features Of Liszt’s Piano Concertos

By the19th century, the concerto genre has been greatly developed. Piano Concerto was an important type in the century. This topic, starting from the creation of the Piano Concerto in the first half of the19th century, focus on Liszt’s three piano concertos, respectively, the "the bE major Piano Concerto"(1857),"A major piano Concerto"(1861), and "death dance"(1865). Discourses about detailed statement of the historical context of the first half of the19th century concerto on the creation of the background and process of the three Piano Concertos, based on analysis of the structural features of these three works, and summarizes the creative features. And then concludes the contribution of the Liszt piano Concerto and value.This paper includes five parts of the body of the introduction, three chapters and the conclusion.Introduction is about scope of the topics, the research situation and the article structures.The first chapter is the exposition of the historical context of the19th century concerto. Beginning with creation of the concerto from the19th century, specifically addressed the creation of the Piano Concerto, involved in the creative important Piano Concerto composers and their works and discussed classification of the concerto, the source of the19century Concerto type formation, structures and style characteristics. On this basis, concluded the context of the Concerto development. Then put Liszt Concerto creation in the historical background to elaborate on creative situation of his three piano concertos.The second chapter is the structural and creative approach. This chapter includes three contents, respectively, the specific analysis of the three concertos. Analysis of three works of this focus is different. The analysis of the first and second concerto is to start from the taking and the principle of sonata structure, the divertimento structure principles. Under the divertimento principles, third part discusses the works of an overview of each movement, the use of the genre, as well as embodied in the character. And under the principle of sonata form, this part focuses on the structure of the works, exploring the theme through the use of practices and material processing approach. In the analysis of the "death dance", discusses the two works of art which bring light to Liszt and have deep contact with the creation, and then is analysis of structure of this work.The third chapter discusses the artistic style and characteristics of the three concertos, which is divided into four parts described. The first section discusses the play of the piano virtuoso concerto. Section two is talks about the different ways and types of relationship from different perspectives which is between Piano and Orchestra. Section three stresses the embodiment of the symphonic style of the concerto. Section four summarizes the characteristics of structure and creative approach of the three works, related to the principle of a variety of musical forms, the single-movement problem, the way of multi-genre using, Topic deformation and multi-material use.The last conclusion is mainly about the derivative meaning of the creation of the Liszt concerto, involving concerto creation of new roads and expansion of space, and, on this basis, about the further summary of its historical position and influence.The three Concertos were epoch-making works and also were milestones in concerto history. Liszt tried his best to combine with his superb technology, using new techniques and adding new elements in the traditional structure of the concerto genre and re-integrated the genre. Liszt works made the concerto genre became more refined, more profound and more artistic.