“Whoever
really wants to know what Liszt has done for the piano should
study his old operatic fantasies. They represent the
classicism of piano technique.” Johannes Brahms
This
volume twenty-five of Liszt’s complete piano music contains
seven of Verdi’s operatic paraphrases and transcriptions
performed by Brazilian-born soloist Alexandre Dossin.
Naxos have really shifted into overdrive with this magnificent series. Only
a few weeks ago I nominated volume twenty-four with soloist
Giuseppe Andaloro performing the Four
Mephisto Waltzes; Two Elegies and the Grosses
Konzertsolo as an assured ‘Recording of the Month’.
Biographer
Rich DiSilvio holds the view that Liszt was, “one of the
most awe-inspiring figures in all of music history.” Although
generally regarded as the greatest virtuoso pianist of all time,
Liszt’s genius extended far beyond his recitals and concerts.
He was also a major influence as a progressive Romantic composer.
A highly prolific and versatile composer Liszt produced approaching
eight hundred scores covering most genres of which about half
of them were piano compositions.
Before performances could be reproduced electronically the majority
of music-lovers only had access to orchestral and operatic scores
in pared-down arrangements for the piano for performance in
the drawing room or salon. Liszt was the undisputed master of
the ‘art of the transcription’ making numerous arrangements
of songs, operas, symphonies; championing the music of mainly
contemporary composers that he felt deserved attention. For
example, the reputation of the songs of Schubert was greatly
assisted by the liberal advocacy of Liszt’s transcriptions.
Just how prolific Liszt was in this genre is revealed in my
1966 edition of Searle’s catalogue of works. The numbers S384
to S577 inclusive are all arrangements, transcriptions, paraphrases
for solo piano, selected from a wide range of composers including
some of Liszt’s own works.
Transcriptions and arrangements, sometimes known as piano reductions,
were the lifeblood of many virtuoso performers
in Liszt’s day. Although providing no profit to the original
composer, Verdi did in 1865 acknowledge the value of Liszt’s
operatic transcriptions as a way of disseminating his scores
to a wider audience. Serving to popularise the melodies from
his operas still further and advance his reputation this practice
in effect formed part of a ninetieth-century Verdian marketing
campaign. Liszt knew many of the operas of Verdi intimately
having conducted several of them in his role as Kapellmeister
in Weimar. This I believe was not mere plagiarism by Liszt but one great composer’s
tribute to another. It seems that opera paraphrases and transcriptions
often formed a significant part of a Liszt piano recital programme.
The designation that Liszt used to differentiate a piece as either
a transcription, paraphrase, fantasy, reminiscence or arrangement
was not a random operation. A transcription was the most literal
and a process he usually applied to songs. Liszt’s description
of a paraphrase, reminiscence, fantasy and arrangement denoted
his freer interpretation of an operatic section or scene into
piano notation. Later in his life Liszt tended to become more
literal with his paraphrases as he attempted to encapsulate
a single aria rather than almost an entire scene.
Liszt transcribed more of Verdi’s works than any other opera composer
except Wagner. Firstly in 1847, Liszt composed a concert paraphrase
on the opera Ernani, S431a, followed in 1848 by a transcription
of the Salve Maria, S431 from Jerusalem (recast for Paris
from I Lombardi of 1842). A year later in 1849 he composed
a further paraphrase S432 on Ernani that he revised in
1859 for the use of pianist Hans von Bülow. Liszt in
1859 composed a concert paraphrase of the quartet Bella figlia
dell’amore, S434 from Rigoletto and the same
year a paraphrase of the Miserere, S433 from
Il Trovatore. Later in his career Liszt continued to
demonstrate his admiration for Verdi by also publishing transcriptions
of the Coro di festa e marcia funebre, S435 from
Don Carlos in 1867-68, the Danza sacra e duetta final,
S436 from Aida in 1871-79 and in 1877 the Agnus
Dei, S437 of the Requiem Mass. In 1882 Liszt’s
last work in the genre was a fantasy titled Reminiscences
de Boccanegra, S438 from Verdi’s 1881 revised version of
Simón Boccanegra.
Naxos
have employed a large number of soloists for this continuing project
to record the complete piano music of Franz Liszt. This appears
to be Alexandre Dossin;s debut disc for the label. A graduate
of the Moscow Tchaikovsky Conservatory and holder of a doctorate
from the University of Texas at Austin, it appears that Dossin
is firmly established on the international concert and recital
circuit. A recipient of several awards, he was awarded both the
First Prize and the Special Prize at the Martha Argerich International
Piano Competition in 2003 held at Buenos Aires, Argentina. Argerich
gave Dossin the accolade: “…an accomplished musician and a
wonderful pianist…”.
In
these Liszt operatic transcriptions, Dossin is able to realise
a compelling sense of Verdian drama combined with a broad range
of melodic richness. He reveals himself as a polished and discerning
musician with an astute sense of phrasing and dynamic expression.
Liszt’s technical demands hold no fear for this soloist who
avoids any temptation for extra sweetness or flashy over-emphasis.
The recital provides many highlights and only the stoniest of
hearts could fail to be moved by Dossin’s interpretation of
the meltingly lovely melody in Reminiscences de Boccanegra,
first heard at 0:26 (track 6).
Splendidly
recorded at the Country Day School, King City in Ontario the
sound is truthful and well balanced. To add to the excellent
presentation Keith Anderson’s booklet notes are written to his
usual high standard. There is enough room on the disc to have
easily accommodated either the paraphrase from Ernani, S431a or the Agnus Dei
transcription, S437 from the Requiem Mass; the two
remaining Liszt/Verdi arrangements.
Naxos
enter the winner’s enclosure yet again with this assured piano
recital of highly attractive repertoire from Liszt. An eminently
enjoyable disc that demands to be heard.
Michael Cookson
NOTE:
For those wishing to explore beyond the more usual genre of the
Liszt solo piano works and symphonic poems I have listed below
a number of works from my collection that have provided me with
considerable enjoyment. These are I feel all fascinating and rewarding
Liszt recordings that can be obtained with reasonable effort.
I have indicated those that I recommend especially highly. Revised
30/06/07.
Recommended Sacred Works:
(A highly recommended work and recording)
Missa Solennis (Gran Festival Mass) for SATB
soloists, chorus and orchestra, S9 (1855; rev. 1857-58)
Klára Takács (alto); Veronika Kincses (soprano); György Korondi
(tenor); József Gregor (bass); Budapest Symphony Orchestra; Hungarian
Radio and Television Chorus conducted by János Ferencsik.
ADD, recorded circa 1977 on Hungaroton HCD 11861-2.
(A highly recommended work and recording)
Missa coronationalis (Hungarian Coronation Mass)
for SATB soloists, chorus and orchestra, S11 (1865; Gradual
1869)
Veronika Kincses (soprano); Klára Takács (alto); Dénes Gulyás
(tenor); László Polgár (bass), Péter Hidy (violin); Budapest Symphony
Orchestra; Hungarian Radio and Television Chorus conducted by
György Lehel.
ADD, recorded circa 1994(?) on Hungaroton Classic HCD 12148.
(A highly recommended work and recording)
Requiem for TTBB soloists, male chorus, organ &
orchestra, S12 (1867-68; Libera me 1871)
Alfonz Bartha (tenor); Sándor Palcsó (tenor); Zsolt Bende (baritone);
Peter Kovács (bass); Hungarian Army Male Chorus; Sándor Margittay
(organ) conducted by János Ferencsik.
ADD, recorded circa 1966 on Hungaroton Classic HCD 11267.
(A highly recommended work and recording)
Christus, Oratorio: for SATB soloists, choir and orchestra,
S3 (1855-67)
Henriette Bonde-Hansen (soprano); Iris Vermillion (mezzo);
Michael Schade (tenor); Andreas Schmidt (bass); Gächinger Kantorei,
Stuttgart; Krakauer Kammerchor; Stuttgart RSO conducted by Helmuth
Rilling.
DDD, recorded at Beethovensaal Liederhalle, Stuttgart, Germany
in 1997 on Brilliant Classics 99951 (also available on Hänssler
Classics 98121). Review
(A highly recommended work and recording)
Saint Elizabeth (Legend of Saint Elizabeth),
Oratorio: for soloists, chorus and orchestra, S2 (1857-62)
Eva Farkas (mezzo); Sándor Sólyom-Nagy (baritone); József Gregor
(bass); István Gáti (baritone); Kolos Kováts (bass); Eva Martón
(soprano); Hungarian Army Male Chorus; Budapest Chorus; Nyíregyháza
Children's Chorus; Hungarian State Orchestra conducted by Árpád
Joó. DDD, recorded 1984 on Hungaroton Classic HCD 12694-96.
Via Crucis (The Stations of the Cross) for solo
voices, chorus and organ, S53 (1876-78)
Budapest Chorus and Soloists, conducted by Miklós Szabó with Gábor
Lehotka (organ). The cast includes the eminent soprano Éva Marton.
ADD remastered, recorded in September 1971 at the Matthias Church
in Budapest, Hungary on Hungaroton ‘White Label’ HRC 145 (c/w
Szekszárd Mass, S8/2).
Missa Choralis (Messe de Jubilé) for mixed choir,
vocal solos and organ, S10 (1865)
The Corydon Singers directed by Matthew Best with Thomas trotter,
organist.
DDD, recorded at St Alban's Church, Holborn, London in 2000 on
Hyperion CDA67199 (c/w Via Crucis, S53).
Szekszárd Mass for four-part male chorus, solo quartet
and organ, S8/2 (1848 version S8/1; second version S8/2 1869)
Male Chorus of the Hungarian People’s Army and soloists conducted
by István Kis;
with Gábor Lehotka (organ).
ADD remastered, recorded circa 1989 on Hungaroton ‘White Label’
HRC 145 (c/w Via Crucis, S53).
St. Stanislaus, Oratorio: unfinished, S688 (presented
in two completed scenes) (1873-85; Salve Polonia, S113
1863; De Profundis, S16 1881)
Cincinnati Symphony Orchestra, May Festival Chorus and soloists
conducted by James Conlon.
DDD, recorded at Cincinnati, Ohio, USA in 2003 on Telarc CD-80607.
Recommended Orchestral Works:
(Highly recommended works and recordings)
A Faust Symphony, Three character pictures after Goethe,
S108 (1854; final chorus added 1857)
a) Boston Symphony Orchestra, Tanglewood Festival Chorus, conductor
Leonard Bernstein, with Kenneth Riegel (tenor)
ADD remastered, recording at Symphony Hall, Boston, USA in 1976
on Deutsche Grammophon ‘Galleria’ 431 470-2.
b) Rotterdam Philharmonic Orchestra, Men's Chorus of the Slovak
Philharmonic, Bratislava conducted by James Conlon, with John
Aler (tenor).
DDD, recorded at Doelen, Rotterdam, Holland in 1983 on Erato ECD
88068 (re-issued on Warner Classics ‘Apex’ 2564-61460-2)
(A highly recommended work and recording)
Dante Symphony, A Symphony to Dante’s ’Divine Comedy’,
S109 (1855-56)
Rotterdam Philharmonic Orchestra, Choeur de Concert de Helmond
conducted by James Conlon.
DDD, recorded circa 1986 on Warner Classics ‘Apex’ 0927-49816-2.
Recommended Concertante Works:
1) Piano Concerto No.1 in E flat major, S.124, R.455,
(1830-49, rev. 1853 & 1856).
2) Piano Concerto No.2 in A major, S.125 (1839-40, rev.
1849 & 1861).
3) Totentanz (Dance of death), Paraphrase
on the ‘Dies irae’ for piano and orchestra, S.126, R.457,
(1849, rev. 1853 & 1859).
Dresdner Philharmonie/Michel Plasson with Nelson Freire (piano)
DDD, recorded Lukaskirche, Dresden, Germany 1994.
4) Wanderer Fantasia for Piano and Orchestra, S.366
(1851)
adapted from Franz Schubert's Wanderer Fantasia (Wandererfantasie)
for solo piano in C major, D. 760 (1822).
5) Fantasia on Hungarian Folk Melodies (Hungarian
Fantasia) S.123, R.454 (c. 1852)
based on Liszt’s Hungarian Rhapsody No.14 in F minor for
solo piano, S.244).
6) Polonaise brillante for Piano and Orchestra, S 367
(c. 1851)
after Carlo Maria von Weber’s Polonaise (Polacca)
brillante for piano, ‘L'hilarité’, J. 268, Op. 72
(1819) and introduction from Grande Polonaise for
piano, J. 59, Op. 21 (1808).
Budapest Symphony Orchestra/Andras Ligeti with Jenő Jandó
(piano)
DDD, recorded 1994.
7) Grande Fantaisie Symphonique for piano and orchestra,
S120 (1834)
on themes from Hector Berlioz’s Lélio, Monodrame lyrique;
Deuxičme partie de l'Épisode de la vie d'un artiste, Op. 14
bis (1827-32)
8) Fantasy on themes from Ludwig van Beethoven’s incidental
music to the ‘Ruins of Athens’
(Op. 113 from 1811), S122 (1848-52)
Budapest Symphony Orchestra/Andras Ligeti with Jenő Jandó
(piano)
DDD, recorded 1990.
9) Malédiction, concerto for piano and strings orchestra,
S121 (sketched circa 1830; revised circa 1840).
Vienna Symphony Orchestra/Michael Gielen with Alfred Brendel (piano)
ADD, recording details unknown. Licensed from Vox, USA
10) De Profundis, Psaume instrumental for piano and
orchestra, S691(c. 1834-35)
11) Piano Concerto No. 3 in E flat major, (LW Q6) S125a
(1820-1869)
London Symphony Orchestra/Tamás Vásáry with Steven Mayer (piano)
DDD, recorded 1991.
All the above 11 Concertante Works are contained on a 4 disc set
from Brilliant Classics 99936.
1) Fantasia on Hungarian Folk Themes for piano and orchestra
(Hungarian Fantasia) S.123, (c. 1852)
2) Concerto in the Hungarian Style for piano and orchestra,
S.714 (c.1885) orchestrated by Tchaikovsky in 1892 (frequently
attributed as a work of Sophie Menter the Ungarische Zigeunerweisen)
3) Wanderer Fantasia for piano and orchestra, S.366
(1851) adapted from Schubert's Wanderer Fantasia (Wandererfantasie)
for solo piano in C major, D. 760 (1822)
The Philadelphia Orchestra/Eugene Ormandy with Cyprien Katsaris
(piano)
DDD, recorded 1981 at Old Met, Philadelphia, USA on Cyprien Katsaris’s
own archive label Piano 21, Cat. No. P21 022-A.
Recommended Dramatic Work:
(A highly recommended work and recording)
Don Sanche or (The Castle of Love), Opera in
one act, sung in French, S1 (1824-25)
Julia Hamari (mezzo); István Gáti (baritone); Gérard Garino (tenor);
Katalin Farkas (soprano); Iidiko Komlósi (mezzo); Hungarian State
Opera Orchestra & Hungarian Radio and Television Chorus, conducted
by Tamás Pál.
DDD, recorded circa 1986 on Hungaroton HCD 12744-45-2.
Note: Liszt was a young teenager when he wrote his fascinating
and underrated score.
Recommended Vocal Works:
(Highly recommended works and recording)
Lieder
Die Loreley; Du bist wie eine Blume; S'il est
un charmant gazon; Im Rhein im schönen Strome; Über
allen Gipfeln ist Ruh; Der du von dem Himmel bist;
Es war ein König in Thule; Freudvoll und leidvoll;
Die Drei Zigeuner; Das Veilchen; Die Vätergruft;
Die Fischerstochter
Dame Janet Baker (mezzo); Geoffrey Parsons (piano)
ADD remastered, recorded at Abbey Road studios, London 1979-80
from EMI Classics 5 73836-2 (c/w Lieder Schumann &
Mendelssohn).
Recommended Chamber Works:
Chamber
Complete Music for Cello and Piano:
La Lugubre Gondola, S200 (1882); Die Zelle in
Nonnenwerth, S382 (song, S274 1841, arr. 1880); Romance
Oubliee, S132 (1880); Elegie No. 1, S130
(1874); Elegie No. 2, S131 (1877)
Norman Fischer (cello) & Jeanne Kierman (piano)
DDD, recorded at Rice University, Houston, Texas, USA in 2002
on Bridge Records 9187 (c/w Chopin: Cello Sonata, Op. 65;
Polanaise brillante, Op. 3 & Grand Duo Concertant).
Recommended Instrumental Works:
(Highly recommended works and recording)
Organ
Prelude and Fugue on the name of B.A.C.H., S180; Variations
on ‘Weinen, Klagen, Sorgen, Zagen’ (Weeping, Lamenting,
Sorrows, Fear), S180; Fantasia and Fugue on the chorale
‘Ad nos, ad salutarem undam’ (To us, to the water
of salvation), S259 Hans-Jürgen Kaiser (organ)
DDD, recorded in 1997 on the Frederich Ladegast organ, Dom in
Schwerin, Germany on Brilliant Classics SACD 92208.