Album insights
During his early years in Vienna in the 1820s, the young Liszt encountered Beethoven and was encouraged by him, although he did not seem to have met the other master who would have the greatest influence on his musical style. Both Liszt and Schubert received a commission from Diabelli in Vienna to contribute a variation to his "Shoe Repairman" waltz for a major publication containing variations from all the eminent composers of that time.
Liszt immediately challenged Schubert as a pianist by performing the "Wanderer Fantasy," deemed unplayable by Schubert, along with other significant piano and chamber music works. Liszt's dedication to Schubert's music never wavered, spanning approximately fifty years through his transcriptions and various musical endeavors. Liszt conducted the premiere of Schubert's opera Alfonso and Estrella, the "Great" Symphony in C Major without Schubert's recommended cuts, and attempted to gather material for a Schubert biography that he never completed. Liszt published insightful editions of Schubert's sonatas, Impromptus, Moments musicaux, dances, and music for piano duet, while also creating acceptable versions of the "Wanderer Fantasy" for piano and orchestra. Additionally, he produced orchestrations for songs like "Die junge Nonne," "Gretchen am Spinnrade," "Lied der Mignon," and "Erlkönig," along with planning future orchestrations for "Der Doppelgänger" and "Abschied."
It almost seems unimaginable that a highly esteemed composer like Schubert would struggle to gain recognition during his lifetime, only to posthumously receive fame from the public. Liszt's extensive library of lovingly crafted piano pieces based on Schubert's music now ensures that Schubert's original works are not neglected, providing listeners with added enjoyment and edification.
The compilation of Liszt's Schubert transcriptions covers new compact recordings across three sets comprising three records each. It includes all known versions and readings at the time of writing, with minor exceptions for simplified alternatives that form ossia passages. Liszt's meticulous efforts in his Schubert transcriptions warrant these exceptions due to the variations in different editions and manuscripts.
Schubert's four-handed piano piece "Divertissement à l'hongroise, Op 54/D818" is a late work of immense scope, comparable to his final piano sonatas, string quintet, and last symphony. Liszt was clearly captivated by this piece, imbuing it with Hungarian flair, as seen in his elegant musical transformations of themes and tonal variations.
The initial overview of Liszt's Schubert transcriptions transitions to his first and final works in this domain - "Die Rose" and "Der Gondelfahrer." Liszt's interest in Schubert's marches extended beyond just the famous "Marche hongroise," showcasing his interpretation and variations in orchestral settings as well.
Concluding with three early song transcriptions, Liszt's adaptations resonate beautifully, offering nuanced revisions that breathe new life into Schubert's timeless melodies.
By Leslie Howard © 1995