Album insights
This set of three CDs concludes Liszt's Schubert transcriptions and includes the remaining important collection, the Twelve Songs. It also contains edited or alternative versions of transcriptions from the three song cycles, additional edited transcriptions, and one additional song, "Praise of Tears." Background information on many of the pieces included here has already been provided with the release of each work in this series. Therefore, it is advisable for listeners who are about to explore this third collection to also pay attention to the content and scores of the previously released Parts 31 and 32.
The genesis of Liszt's earlier transcriptions of Schubert songs is an important research area in itself, and it can never be entirely certain that Liszt did not allow for changes to the musical text when publishing a piece in different cities with different publishers. The area of the Twelve Songs, S558, is particularly problematic. Before these pieces were collected and released as a set, many had already been published, sometimes in various forms and in collections whose content and scope depended on the original publisher and, consequently, were different. The earliest publications of "Erlkönig," "Ave Maria," "Frühlingsglaube," and "Meeresstille" certainly differ from those in the set of Twelve Songs.
Liszt meticulously planned the tonal structure of the set. The tonal shock effect of a tritone is felt at the most restless moments within the poems—in "Gretchen am Spinnrade," "Rastlose Liebe," and "Ave Maria." Apart from Shakespeare's "Serenade" set in C major, Schubert's original keys are maintained throughout. Liszt's treatment of various songs, such as "Sei mir gegrüßt," "Auf dem Wasser zu singen," and "Du bist die Ruh'," showcases his nuanced approach to conveying the lyrical and emotional depths of these works through subtle variations and dramatic interpretations.
The Schöne Müllerin transcriptions underwent minor modifications but largely remain faithful to the original ideas. Liszt simplified the text in some pieces for the convenience of performers. The inclusion of alternative passages in his transcriptions demonstrated Liszt's ingenuity in overcoming technical difficulties and presenting varied interpretations of the musical material.
The alternative versions found in the Schwanengesang transcriptions offer fresh perspectives on familiar songs. Liszt's deep admiration for the original songs and their composers is evident in these alternative interpretations, showcasing his meticulous attention to detail and endless revision process.
Throughout the set, alternative texts are presented for performers' consideration. Liszt's revisions reflect his profound respect for Schubert's compositions while allowing for interpretive freedom and technical adjustments as needed.
The thorough discussion of Liszt's creative process and detailed analysis of the alternative versions underscore the significance and complexity of his transcription work. Liszt's dedication to the art of transcription shines through in these meticulous revisions, providing performers and listeners with an array of musical possibilities and interpretations.
This comprehensive exploration of Liszt's transcriptions adds depth and richness to our understanding of his musical legacy, highlighting the intricate craftsmanship and artistic ingenuity that defined his approach to reinterpreting Schubert's works.