Karl Tausig - Nocturne varié, Op.3

This Nocturne called "L'Espérance" was published in 1856, which means that young Tausig composed this at an age of 15 or younger. It is possible that he composed it as early as in 1850, so at an age of 9 (!). Yes, it is Tausig (1841-1871) who was generally regarded as Franz Liszt's most esteemed pupil, and one of the greatest pianists of all time. Born in Poland he received his first piano lessons from his father, pianist and composer Aloys Tausig, a student of Sigismond Thalberg. His father introduced him to Franz Liszt in Weimar at the age of 14. He quickly became a favorite pupil of Liszt's, travelling with him on concert tours and studying counterpoint, composition and orchestration in addition to his piano lessons, and even taking on one of Liszt's pupils, Regina Watson, as his own. At the age of 16 he met Richard Wagner, of whom he became a devoted follower and friend. He also became a great admirer and friend of Johannes Brahms. Tausig made piano arrangements of many of Wagner's operas. He also introduced to Wagner his friend Peter Cornelius, another Wagner devotee.

In 1858 Tausig made his debut in Berlin at a concert conducted by Hans von Bülow. While some critics admired his technical feats at the keyboard, others found his playing noisy and overbearing. Even some who were more accommodating of Tausig's "Lisztian eccentricities" felt he would play better as he matured. Tausig toured through various German towns in 1859–60, making Dresden his base. He moved to Vienna in 1862; there he gave concerts of modern orchestral music, including some of his own symphonic poems. These concerts were only partially successful artistically and a failure financially. After staying out of public view for a few years, during which time he married pianist Seraphine von Vrabely (1841–1931), he began touring once again and was now considered a pianist of breadth and dignity of style.

He died in Leipzig from typhoid at the age of 29.

Tausig's repertory was extensive; he could play from memory works ranging from Scarlatti to Liszt. He was especially noted for his interpretations of Chopin, Weber and Beethoven, both for pianistic finish and intensity of emotion.

Some compositions are unfinished in existing manuscripts, left incomplete by Tausig for reasons unknown, most particularly a number of the transcriptions of Liszt's symphonic poems.

Tausig was considered by some critics to be the greatest of Liszt's pupils, pianistically speaking, and to carry pure virtuosity to heights only suggested by Liszt. Anton Rubinstein called him "the infallible."

Where Tausig differed from his teacher was in his lack of flamboyant gestures while playing. Tausig sat motionless at the piano and abhorred what he called Spektakel. While his fingers were working miracles at the keyboard without any digital errors, the only sign of tension from Tausig would be a slight tightening of one corner of his mouth.
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