Album insights
An analysis of the first volume of Liszt at the Opera (CDA66371/2) pointed out that Liszt significantly contributed to a genre that wasn't always highly regarded. Criticism against Liszt seems trivial when considering the artistry he infused into all his opera-based piano works. Often, judgments towards Liszt's entire body of work stemmed from familiarity with only a piece or two. Over time, perceptions have improved, allowing the author of these annotations to confidently perform a pure Liszt at the Opera program across various countries without risks to health or reputation. The works in this second compilation, much like those in the first, exhibit diverse methods of handling original sources throughout many years of Liszt's creative life.
One of the most extensive pieces in Liszt's repertoire within this genre revolves around Meyerbeer's Le Prophète. Even without the "Ad nos," the illustrations are remarkably lengthy, encapsulating various aspects of the opera. Although Le Prophète saw renewed attention recently, understanding it from Meyerbeer's contemporaries' perspective is crucial to appreciating Liszt's profound interest. Meyerbeer's composition, notably in tunes like Constant Lambert's ballet Les Patineurs derived from the same source, requires no validation. The enduring "Coronation March" has been a staple in salon repertoires and organ lofts over several decades in different arrangements.
The first illumination adopts the form of a paraphrase or medley, capable of standing alone or as a coherent contrasting sequence with thematic interconnections. Liszt's piece, though subtitled with the primary sources of musical material, predominantly weaves through the "Coronation March," introducing it eerily at the outset and concluding with its triumphant trio passage. The "Prière" may seem fragmented, yet it interweaves Meyerbeer's "Ad nos" theme innovatively in composite original tacts, akin to the Fantasie and Fugue "Ad nos." The most striking passage remains the fanfare transitioning into the steadfast and resolute "Marche du sacre."
The grandiose "Skater" Scherzo, a significant test of endurance for performers like Busoni and Kentner, displays Liszt's elaborate glissando effects and intricate harmonization of Meyerbeer's compositions, elevating it above many others. Liszt’s innovative tonal structures and thematic explorations imbue these pieces with superiority over similar works.
The third piece starts as a charming variation on a pastoral theme, escalating into a frantic tempo before introducing the "Ad nos" theme, leading into the "Call to Arms" march. This segment progresses into fervent excitement, culminating abruptly and brilliantly into both the "Orgy" and an impetuous finale.
Despite not originally being released alongside the illustrations, the monumental "Great Fantasy and Fugue Ad nos, ad salutarem undam" was treated as Illustration No. 4 by Liszt and is rightfully integrated here. Its intricate handling of themes, now in a chorale-like 4/4 time, showcases Liszt's meticulous approach to the four-hand version. Although a version for pedal piano might have been intriguing, logistical constraints led to a preference for the four-hand version for the present recording. Liszt's dedication to this arrangement, especially in collaboration with Geoffrey Parsons, allowed for a fuller exploration of the piece's grandeur and intricacies.
Regarding Donizetti's works, Liszt’s adaptations present varying fates: the Lucia Sextet remains a staple, while pieces like the Lucrezia Borgia require admiration from a distance. The La Favorite transcription, a simple yet beautiful rendition, embodies Liszt’s brilliance in interpreting grand melodies. The Spohr opera-inspired transcription stands out as an elegant piano arrangement, often featured among Liszt's song transcriptions.
Liszt's reverence for Wagner and his music is evident in his extensive correspondence, with Wagner's compositions forming a significant portion of Liszt's opera-inspired piano works. The symphonic richness and personal reflections suffused into these adaptations complement Liszt's straightforward yet elaborate transcriptions of Wagner's masterpieces.
The Parsifal transcription emerges as a distinctive piece, with Liszt straying from Wagner's themes, creating a haunting harmonic rendition bereft of the original's comforting resolve. Faust remains a repertoire favorite, with Roméo et Juliette awaiting its turn, and other Gounod operas sadly neglected.
Liszt's zeal for a flourishing Hungarian musical culture reverberates throughout his correspondence and his advocacy for Hungarian composers and education initiatives. The nod to Mosonyi's Hungarian opera-themed piece showcases Liszt's support for national musical identity.
Leslie Howard © 1992 Translated by Anne Steeb/Bernd Müller