Album insights
In the 57th and final part of this series, the complete Hungarian Rhapsodies will be presented in their ultimate version. The penultimate part includes several earlier versions and alternative compositions for some of the Rhapsodies. It intertwines other strands from Liszt's work as indicated by the title.
Starting off this four-part recital, we continue the series of solo versions of symphonic poems with Orpheus – an arrangement infused with Friedrich Spiro's initial transcription, thoroughly reviewed by Liszt before publication. Changes were made, as often done, differing from other published versions.
Following, there are five transcriptions in less conventional forms. The Organ Fantasy and Fugue in G minor, transcribed from Bach's original for organ (BWV 542), is presented in its original form on this CD, devoid of embellishments later added.
Liszt's impressive arrangements of six of Chopin's Polonaise Songs are featured in the fifth part of this series. The later French version of the fifth song "Mes joies (My Joys - Moja pieszczotka, op. 74/12)" includes modified passages and a beautiful additional coda that differs significantly from the popular published version.
The Concert Version of the Marche pour le Sultan Abdul Medjid-Khan is available in Part 40, offering a gentler and less threatening perspective of the same composition, yet reaching a captivating climax. The first completed version of the transcription of Rossini's "La charité" was slated for publication but went through several revisions (refer to Part 24).
The initial version of "Il penseroso" – later revised for the second volume of Années de pèlerinage – remains unpublished, containing the same motto by Michelangelo. The thematic version of "Canzonetta del Salvator Rosa" has been extended with the label 'for the harpsichord by F. Liszt', suggesting a pianistic conception despite its baroque inspiration.
Titled "In memory of Maximilian I," the Marche funèbre from the third volume of Années (see Part 12) underwent revisions attributed to 1867, coinciding with the execution date of the Emperor of Mexico. The composition date remains unclear, possibly modified during the collection's compilation.
Among Liszt's numerous Albumblätter and musical calling cards is a set built around the primary theme found in the Première Ballade. Noteworthy is Liszt's draft of a piano rendition of the "Reaper's Chorus" from the Choruses for Herder's Unchained Prometheus, revised for clarity and avoiding unnecessary complexities.
The second CD of this compilation commences with the piano transcription of a symphonic poem, "Festklänge," prepared by Liszt's student Ludwig Stark. The recording reflects Liszt's refined version of the transcription after correcting Stark's work, offering insightful completion.
The following pieces bear connections to Rossini: "La Caritá" represents a simplified version of "La charité," associated with divine Charitas. "La serenate e l'orgia" serves as the initial version of the later grand fantasy (revisit Part 21). Lastly, the "Introduction des Variations sur une marche du Siège de Corinthe" presents an enigmatic puzzle, possibly intended to precede another composer's variations.
Concluding as a coda is the uncertain "Mazurka in F minor," where uncertainty surrounds its authorship, mired in ambiguity yet deserving preservation on record. The second version of "Gaudeamus igitur – Paraphrase," prepared for publishing, retained handwritten corrections by Liszt, adding a whimsical touch to an otherwise insignificant piece.
The subsequent group of "Rapsodies hongroises" reveals noteworthy alternatives from the standard versions. Notable among these are varied renditions of familiar Rhapsodies, showcasing diverse moods and intricate zigeunermusik-like embellishments.
To close, Liszt's original conception of the exuberant "Grande Valse di bravura" – brimming with wit and virtuosity – marks a fitting end to this profound musical exploration, encapsulating Liszt's ingenuity and dynamism in a dazzling showcase.