Album insights
Hispanicophilia, a prevalent trend in the 19th century, saw an imitation of all things Spanish dominating the music scene over authentic Spanish folk songs. This trend influenced renowned composers like Bizet, Rimsky-Korsakov, Moszkowski, and others, showcasing a preference for music with a Spanish flair. Liszt embarked on a six-month tour of Spain and Portugal in October 1844, integrating melodies from this journey into his piano works. Although his Grand Concert Fantasy on Spanish Themes was posthumously published, Liszt's connection with Iberian culture remained strong through his music and Spanish students.
La Romanesca, initially associated with Italy in Liszt's catalogs, is a Spanish dance melody first published as a famous 16th-century dance tune. The piece stands out with its unusual secular composition in 4/2 time signature, where the melody emerges solely in the left hand. Liszt's Rhapsodie espagnole, composed in approximately 1863 during a stay in Rome, later gained popularity but was often overshadowed when merged with other compositions in performances. Contrasting Liszt's Hungarian Rhapsodies, this piece requires a more elegant presentation and less rhapsodic interpretation, carrying a serious and noble essence throughout, even in its nonchalant Coda.
Feuille morte, a work by Liszt possibly inspired by a Zarzuela, was published around 1845 and remained obscure until a 1989 reissue. Liszt's composition exemplifies his creative paraphrases of single songs or arias, featuring three themes interrupted by a querying refrain that evolves into a varied piece resembling its melancholic intro. Manuel García, a successful Zarzuela composer, influenced Liszt's Rondeau fantastique with his work "Yo que soy contrabandista." Liszt's piece, Opus 5 No. 3, alongside the Clochette-Fantaisie and the Fantaisie romantique sur deux mélodies suisses, remains a remarkable creation from his early mature period but unfortunately receives insufficient attention from contemporary pianists due to its technical demands.