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• Contents of phonodiscs: Fidelio. Leonóra áriája [=Leonora's aria] / Beethoven
• Otello. Ave Maria / Verdi
• [Wesendonck-Lieder.] Állj meg [=Stehe still!] / Wagner
• Csengj halkan dalom [=Kling leise, mein Lied] / Liszt
• Derűs látomány [=Freundliche Vision] / R. Strauss
• A csitári hegyek alatt / Kodály.

• 12 Transcendental Etudes. No. 10. Allegro agitato molto / Franz Liszt
• Piano Sonata No. 14 in C sharp Minor, Op. 27 No. 2, "Moonlight." Adagio sostenuto / Ludwig van Beethoven
• Orfeo ed Euridice. Melody / Christoph Willibald Gluck
• Écossaise, WoO 23 / Ludwig van Beethoven
• Piano Sonata No. 62 in E flat Major, Hob. XVI/52. Allegro (Moderato) ; Finale: presto / Joseph Haydn
• Liebestraum in A flat, S. 541 No. 3 "Love Dream" / Franz Liszt
• Hungarian Rhapsodies, S 244. No. 12 in C-sharp minor / Franz Liszt.

Evgeny Kissin not only has dazzling virtuosity and unmistakable star-appeal, his meteoric rise to the top of the international concert circuit has seldom been equalled. There have been few careers in music that have climbed so high, so fast. Evgeny Igorevich Kissin was born in Moscow on the 10th of October 1971; his father an engineer and his mother a piano teacher. He started to play the piano at the age of two, as soon as he was tall enough to reach the keyboard, as he demonstrates in the film. It soon became clear that his gift for music was exceptional and that it reached far beyond what is generally thought of as musical precocity. So his parents took him, at the age of six, to the Moscow Gnessin School of Music for Gifted Children. It was there that he met Anna Pavlovna Kantor who was to have a profound effect on his development. She remained his mentor from the age of six until he had achieved maturity and world-wide fame and remains a guiding friend to this day. For a pupil-teacher relationship to remain so close for so long is probably unprecedented at this level. The film shows Kissin in preparation, interview, rehearsal and performance with several dazzling performances shot live on stage, in true concert conditions, where this captivating artist is undoubtedly at his best. The film also contains footage from Kissin's memorable Promenade concert at the Royal Albert Hall in August 1997. This was the first Prom in the 103-year history of the Promenade Concerts to be given by a solo recitalist and it attracted the biggest audience in all of those 103 years; very nearly six thousand people. A leading London manager described it as having generated more enthusiasm than any other London recital during the past fifty years. The music is by Liszt, Gluck, Haydn, Beethoven, Kissin, Schubert and Chopin, the composer for whom Kissin feels the closest affinity. At the end of his Albert Hall recital Evgeny Kissin played the longest succession of encores in the history of the Proms. Also available: Evgeny Kissin at the Royal Albert Hall: The Encores!

• Franz Liszt: Life and Works / Franz Liszt (Jeremy Siepmann, reader).

• La vie de Franz Liszt raconté aux enfants / Claude Dufresne
• 12 Etudes d'execution transcendante, S139/R2b / Franz Liszt.

• Music selections: La campanella
• Au lac du Wallenstadt
• Die Forelle / Schubert ; arr. Liszt
• Après une lecture du Dante
• Transcendental étude no. 2 in a minor
• Hungarian rhapsody no. 6
• Consolation no. 3 in d flat
• Transcendental study no. 8
• Symphonie fantastique. Un bal / Berlioz ; arr. Liszt
• Prometheus
• Sonata in b minor
• From the cradle to the grave
• Ave Maria
• Unstern.

The life of Franz Liszt was as daring and spectacular as his music. Famed throughout Europe as the greatest pianist of the nineteenth century, he was one of the most original and prophetic composers who ever lived. In this account of his epic life, actors' readings combine with plentiful musical excerpts to paint a living portrait of a highly complex man.

• La vie de Franz Liszt raconté aux enfants / Claude Dufresne
• 12 Etudes d'execution transcendante, S139/R2b / Franz Liszt (Claire-Marie Le Guay, piano).

The film describes the inner world of the popular 19th-century German author "at the beginning of the end of the fairy tale" in a kind of monologue in a monstrous intimate play.

• List of figures Acknowledgements Translator's note Liszt's 'Chopin' Part One: Introduction I. 'Comrades' and 'Friends' II. 'Men of the Future' III. Voices IV. Some Contexts and Conclusions Part Two: Text F.Chopin
• Chapter 1
• Chapter 2
• Chapter 3
• Chapter 4
• Chapter 5
• Chapter 6
• Chapter 7
• Chapter 8 Bibliography.
• (source: Nielsen Book Data)

Passionate and pioneering, Liszt's biography of Chopin flaunts its author's celebrity while straddling the divide between the scholarly and the popular. In this volume Meirion Hughes combines a new translation of the first edition with an introduction that places the work in its cultural and political context. In his introduction Hughes explores the complex relationship between the two composers, the highly charged political context in which the book was written, and the discourse of cultural nationalism and progressivism that dominates content. He argues that Chopin (put in italics) was more than a tribute to an erstwhile friend, but rather a polemic of national music rooted in the politics of that 'year of revolutions', 1848-9. Hughes remains faithful to the original while putting clarity before strict adherence to what is, by general agreement, a quirky text. Controversial in its approach, Liszt's 'Chopin' challenges the long-held view of the memoir is as lightweight, inaccurate portrait of its subject, but rather as one of the most important and daring musical biographies of the nineteenth century.
(source: Nielsen Book Data)
Passionate and pioneering, Liszt's biography of Chopin flaunts its author's celebrity while straddling the divide between the scholarly and the popular. Yet, despite its importance as the prism through which the nineteenth century viewed its subject, it has been ill served by translators and critics in the English-speaking world. In this volume Meirion Hughes combines a new translation of the first edition with an introduction that places the work in its cultural and political context. The extensive and widely-sourced Introduction Hughes explores the complex relationship between the two composers, the highly charged political climate in which the book was written, and the discourse of cultural nationalism and progressivism that dominates its content. Hughes argues that Chopin was more than a tribute to an erstwhile friend and that it represents, more significantly, a polemic of 'national music' rooted in the politics of that 'year of revolutions', 1848-9. In meticulously constructing his subject as bard and hero, Liszt sought not only to promote the cause of 'oppressed Poland', but also the general principle of national self-determination. Hughes also contends that in presenting Chopin as a romantic progressive with an international appeal, Liszt posthumously appropriated him into the struggle for a 'music of the future'. As translator and editor Hughes remains faithful to the original while putting clarity before strict adherence to what is, by general agreement, a quirky text, and at times, murky text. He asserts that Liszt's 'Chopin' is one of the most important and daring musical biographies of the nineteenth century - a literary artefact that mirrored the age in which it was written.
(source: Nielsen Book Data)