Franz LISZT (1811-1886)
Works for Two Pianos
Grand Concert Piece (after Mendelssohn's “Songs Without Words”) S257 [18:14]
Réminiscences de Norma S655 [11:01]
Concerto pathétique in E minor S258 [17:41]
Reminiscences de Don Juan by Mozart S656 [15:18]
Hexameron; Grandes Variations de Concert sur un thème des Puritains S654 [10:12]
Piano Duo Genova & Dimitrov: (Aglika Genova & Liuben Dimitrov)
Rec. 16-19 December 2013, Hans-Rosbaud-Studio, SWR, Baden-Baden, Germany
CPO 7778962 [72:30]
This disc opens with a comparative rarity inasmuch as this substantial Mendelsohn-based piece was written in 1835 but first performed only in 1984. It was also conceived for two pianos from the outset (and intended to be played with a pupil), with no piano solo antecedent, so unlike the other works has no performing tradition that can be traced back to Liszt himself. The 23 year old composer took three of Mendelssohn’s short lyrics from Volume One of his
“Songs without Words” - Numbers 1, 6 (the “Venetian Boat Song”), and 3 (the
“Hunting Song”), and transformed them, as always with his “paraphrases”, into pieces with the unmistakeable stamp of his own musical personality and keyboard style. Or in this case, ‘two-keyboard style’. That first song without words appears soon after the 2 minute mark and is played fairly straight at first but soon leaves its domestic milieu far behind when clothed in Lisztian bravura, if still just recognisable in its outlines. Then
Number 6 is given similar treatment, and the piece grows with much florid development towards a coda of some power, but one in which something of the spirit of Mendelssohn’s modest originals still survives. Genova & Dimitrov trace a single curve even over the 18 minutes of this truly Grand Concert Piece.
The operatic paraphrase was a staple of 19th century piano tradition, and not only with Liszt. For some reason it became rather derided as a misbegotten genre, and only with the Liszt revivalists of the stature of Brendel and Bolet, were these works heard and enjoyed once more for the brilliant inventions that they are. This recital features two of the best known, at least in their solo piano versions. That on Bellini’s Norma is superbly crafted by Liszt and performed by the duo, with tempi that relate the sections to each other, so that the narrative thread holds the listener. The Reminiscences de Don Juan (from Mozart’s Don Giovanni) has a central section based on the duet
“Là ci darem la mano” which has two variations within it, the first marked elegantamente , which is indeed very elegantly played. The D minor music of the “stone guest” is given with demonic intensity, and the “champagne aria” is as effervescent as a vintage Veuve Cliquot.
But all five pieces are very well performed, both in the pianistic sense of encompassing their virtuoso demands – in both quietly lyrical and stormily passionate passages – and the wider musical sense of understanding their style. The Duo Genova & Dimitrov are unblushing in meeting Liszt’s frequent flamboyance head on, and enjoying the element of display which can border
on vulgarity, for musical snobbery can only lead to demeaning Liszt. They generally observe Brendel’s great dictum that it is never right to play Liszt without nobility. They are given a fine rich recording, which portrays the sense that this is two piano music – the weight of tone declares as much at times – but played with such unanimity that the casual listener will hear only one. It is a pity that the generally informative booklet note has nothing to say about the two piano medium and why Liszt turned to it, when he had often already published a very satisfying solo piano version. Is it that the difficulties shared are difficulties halved, or is it more than that? Is it a reflection of the fact that some of his solo works already approach the orchestral in their fullest textures, and two instruments make those moments better represent his intentions in that regard? To be fair, the Liszt literature in English, although it does acknowledge the importance of the very many transcriptions in Liszt’s output, still does not have much to say on these pieces. So here is a Liszt disc you can just enjoy, without anyone, even the note writer, telling you what you should think!
Roy Westbrook
