Album insights
The penultimate compilation in a series of Liszt's magnificent piano pieces based on opera themes opens with one of the most impressive works: the original version of the Huguenots Fantasy. Liszt's significant cuts and revisions to this piece were driven primarily by length constraints, resulting in the final version of the composition. Noteworthy is an intermediate version with two optional cuts and a new final page, which did not entirely please the composer. The initial rendition of this piece, like all Liszt fantasies inspired by Meyerbeer's music, showcases his immense creativity. The primary distinction between the current text and that featured in Issue 42 of the ongoing series is a lengthy section involving the lyrical duet between Raoul and Valentine. The entire fantasy hinges on this poignant duet, a standout in Meyerbeer's score added relatively late to the original opera.
Liszt devised the original version of the Fiancée Fantasy in the same year as its operatic source (1829). In 1839, he revised the piece, publishing it in 1842 as a new rendition labeled the third version in the New Liszt Edition. The alterations, though minimal, enhance the work, where Liszt excluded the original second variation and shortened the introduction in the revised versions. Notably, the martial Variation 2 now starts in F sharp major before transitioning back to A. With the reworked introduction, the Barcarolle, now Variation 3, is previewed in C major.
Two pieces from "Tannhäuser" and "Lohengrin" initially emerged in 1853. The first, the Arrival of the Guests at the Wartburg (the second being Elsa's Bridal Procession to the Cathedral, found in Issue 30), underwent revisions by Liszt in a 1876 reissue. Subsequent editions typically append the original text with later modifications as footnotes. Liszt transformed these sections into a trio, seamlessly modulating back to a condensed variation of the march. The fervent Tarantella from Masaniello, later amended for Sophie Menter, featured in a prior edition of the series (Issue 42). Liszt infused the piece with an introduction, variations, and concluded with the victorious choir from Act 4, skillfully amalgamating the two themes.
Liszt composed this piano piece, like many of his early fantasies, during the premiere of Halévy's acclaimed work, La juive. By incorporating motifs from Acts 3 and 5, Liszt crafted a work marked by originality. The ferocious Molto allegro opening reflects Liszt's style, merging with Halévy's thematic fragments. The ensuing Marziale molto animato section introduces a complete theme, leading to a Boléro serving as the basis for two variations. The Presto agitato assai finale evokes Liszt's musical evolution, echoing "hellish" music while nodding to Meyerbeer's Robert le diable.
The Niobe Fantasy has long been associated with Liszt, originating from his famed musical duel with Thalberg in 1837. Liszt skillfully navigates the Aria's fragmented basis with elegant brilliance, transforming the lyrical section into an extravagant melodic development. Combining harmonic excursions and notable crescendos, Liszt masterfully renders Pacini's theme in a captivating flurry of variations. Liszt's Opus 5 No. 1, featured alongside other works, showcases a reimagined composition maintaining its original vibrancy.
Wagner's "Lohengrin" Festival and Bridal Chorus, transcribed by Liszt in 1854, underwent revisions in subsequent editions. Notably, the varying texture between the original and revised versions underscores Liszt's skillful adaptations, particularly in the delicate brass melody in the prelude. Liszt's original Sonnambula Fantasy from 1839 led to a final release in 1874, showcasing nuanced modifications influenced by the earlier versions.
Liszt's transcriptions of Rossini's "William Tell Overture" and Donizetti's "Lucrezia Borgia" reflect his meticulous approach to adapting operatic themes for solo piano. Liszt adeptly navigates varying sections, infusing each piece with his unique interpretive flair and technical exigencies.