Franz LISZT (1811–1886)
Schubert Transcriptions
Drei Marsche von Franz Schubert, S.426 [50:47]
Schubert’s Ungarische Melodien aus dem ungarischen Divertissement zu vier Handen, S.425bis – [19:45]
Soirées de Vienne (Valse-Caprices d’après F. Schubert, S.427 no.6ii - version for Sophie Menter, 1869) [9:04]
Dominic Cheli (piano)
rec: 20 and 22 April 2019, Herbert Zipper Concert Hall, Colburn School, Los Angeles, USA
Liszt Piano Music Volume 59
NAXOS 8.574172 [79:38]
I’ve been familiar with the three marches presented here for many years; I first heard them in Leslie Howard’s massive Liszt series for Hyperion and later heard Marc-André Hamelin perform them live in the Wigmore Hall in London. It’s one of those works which I felt would have been a relatively sensible choice for Naxos to record as it takes up most of a CD’s playing time; finally, they have done so. Here, it is coupled with Liszt’s own superb arrangement of Schubert’s Hungarian Divertissement – the so-called simplified version which I have also known for years and worked hard to learn some years ago. The final track is the very popular and familiar 6th Valse-Caprice, based on themes by Schubert but with additional extras by Liszt for his pupil Sophie Menter (1846 –1918).
The Drei Marsche are based upon several of Schubert’s piano duet marches, here skilfully arranged by Liszt for just the one pianist. Interestingly, Liszt also re-arranged his arrangement for orchestra (S.363 which includes a March from the Divertissement; see my earlier review) and also yet again, for piano duet (S.632, further amplifying the details and making a truly amazing work which deserves to be heard more often in concert). Anyway, here we have the solo piano version (S.426) which includes the three pieces. The first is a very grand funeral march in E flat minor with a rather lovely central section. It is interesting to compare the timings of this work: here, Dominic Cheli takes 19’10, Leslie Howard on Hyperion takes 18’31, Marc-André Hamelin (also on Hyperion) takes 10’43 (reviewed years ago here) and Jenő Jandó (on Hungaroton) is even faster at 10’25 (although I am not familiar with that recording). Having said that, I think Marc-André Hamelin’s performance is absolutely top-notch and does not suffer in the slightest from the repeat being omitted, which I calculate would add about three minutes to the length. Unfortunately, on this recording I feel that this piece is played too slowly. Yes, it is supposed to be funereal but the score has the tempo instruction of ‘Andante mesto’ so “walking pace” - but, in my opinion, not quite this slow. Having said that, there is some very lovely playing in the major key parts of the work which are more cheerful (for example 4’10 – 4’50 and 8’26 – 9’03) and all of the notes are present and correct. Pedalling is also well judged – especially in the section where the trills emerge mysteriously from the bass. About two thirds of the way through, there is an utterly wonderful section, set in E flat major which Liszt marks as a ‘Trio’ and here the tempo and the dynamics are perfect. You can really hear all of the details, especially through headphones. After this cheerful interlude, Liszt devises a clever little cadenza that changes the key from E flat major back to E flat minor but somehow ends the work in a blast of defiance unexpectedly in E flat major. I have to say that I was initially unhappy with this performance but with repeated hearings, I have grown to appreciate its many good points – especially in the slower, more lyrical passages.
The second of these marches is performed much more slowly (nearly 18 minutes) than both Leslie Howard’s (13’51) and Marc-André Hamelin’s (12’10). Again, I feel this is too slow but, as with the Trauermarsch, there is some very beautiful playing in the Trio section and you can really hear the details. The increase in tension about 13’50, as the central section segues into the return of the opening material, is extremely well judged. The closing pages of music are full of intricate details and are dispatched with aplomb.
The final piece of the set is a knightly march (marked ‘Allegro vivace’, subtitled “Rittermarsch” in the orchestral version). In Marc-André Hamelin’s hands, it sets off at a remarkable pace which does not diminish through the whole work – this has to be heard to be believed! Leslie Howard is no slouch here either and also does a super job. I feel that Mr. Cheli’s performance here shows that it is possible to play this piece at a slower pace, as it does work, even at three minutes slower than Marc-André Hamelin and only a minute slower than Dr. Howard. I’ve struggled through this piece myself and it is phenomenally difficult to bring off, but here it works perfectly. All the details are here and the piece, with its jolly, rollicking opening theme, mostly in C major, is magnificently played. The major difficulties here are voicing the piece, as there are lots of big chords with added thirds and details inside octaves, but this does not present Mr. Cheli with any problems. Pedalling here is judiciously used and no details are omitted. The central Trio is perfectly rendered and it bounces along very nicely indeed, with lots of happy, typically Schubertian melodic invention and clever harmonic asides. This leads to a fun ‘Allegro ma non troppo’ in a sort of A major but with hints of F sharp major, setting us up for the next section which flows along wonderfully in this pianist’s hands. There are some huge leaps here, all negotiated perfectly. This theme works itself into a frenzy and the opening jollity returns to provide a suitably exciting ending to this piece.
Schubert’s original Divertissement is catalogued as D.818 and was arranged by Liszt twice – initially in a very long and florid version and then, later, in a simpler and shorter version. That said, the later version recorded here is not actually that much simpler than the original even though it is a lot shorter. It’s a marvellous work; the opening section is a typical late Schubert ‘Andante’ and the playing is absolutely spot on. Pedal is used very sparingly and all of the details are here and very well played. For those familiar with Leslie Howard’s performance, the very springy touch with which he plays the theme 1’45 is even bouncier than the earlier Hyperion recording. The cheerful nature of this theme continues for several minutes before the minor key opening material returns about half way thorough. The cheerful music returns again, slightly modified with lots of added intricacies – all dispatched very cleanly and neatly and with a good deal of feeling. This atmosphere does not linger long and gives way to the minor key material once again, to form the ending of the work, albeit with various virtuoso amplifications. The following march has a very long and complex history – Liszt was clearly very fond of it as he arranged it seven times over many years. In all versions, it a sprightly work and the opening here bounces along rather nicely. After that initial statement of the theme, there is a very happy ‘section set in A flat major. That then gives way to almost a variation of the opening theme with lots of added dotted note rhythms which is not at all easy to play and, at this speed the effect is very exciting. It is in this passage where the different versions of the work vary. The ending is another variant, this time on the opening theme, however transported into the major and given the full virtuoso treatment. The coda is very odd and goes through a number of strange key changes before ending noisily and brilliantly. Bravo! The final part of the work is marked ‘Allegretto’; it is full of very difficult rhythms and is predominantly in G minor and it sounds by turns melancholy and anguished. I particularly like the way that Mr. Cheli points up the changes in the tune by pausing, very fractionally before each segment of it develops. The infrequent major key interludes are gorgeous and serve as an antidote to the more anguished music (as heard about two minutes in). As the piece progresses, the mood lightens and the last minute or so is beautiful – with lots of lovely and very difficult arabesques for the pianist to play. Overall, throughout the whole set, the pacing, pedalling and atmosphere is perfect. I have to say that this is an utterly brilliant performance of a piece which is rarely heard piece and deserves more frequent hearings.
Lastly, we have Liszt’s once very popular 6th Waltz Caprice in A minor, based on themes from one of Schubert’s many sets of little waltzes. It was popular even in his lifetime, so he wrote little additions for his pupils to play and here we have those written for the virtuoso pianist and composer, Sophie Menter. The structure of the work is actually not very different from the original version; however, Liszt adds additional music to the end of phrases, extending them and in some cases introducing interesting modulations and harmonies and adding cadenzas, in tune with Liszt’s musical thinking of that period. For example, one of these extensions can be heard at 1’45 – 2’19 - in this instance, the playing is so delicate it sounds almost like a musical box. These extensions are rather fun and were obviously meant to bring out Sophie Menter’s pianistic strengths – they are also very appropriate for Mr. Cheli who makes a superb job of this cheerful and amusing work. This version was published in The UK Liszt Society music section a few years ago for those that are interested in having a go at playing it.
Aside from my initial slight reservations over the tempo of the first and second marches from S.426, this is a marvellous disc. The recording is very clear indeed and the piano sounds great. My only other slight gripe is with the extremely short cover notes but obviously, this does not affect the music and the listeners’ enjoyment of it. I do hope that Mr. Chile could be persuaded to record the far more complex initial version of the “Ungarische Melodien aus dem ungarischen Divertissement zu vier Handen” as he makes an excellent job of this later version. I would rather like him to record the other “Valse-Caprice d’après Schubert” (S.427). The other eight in that set are really rather lovely, too, and I feel his spontaneous way of playing would make for an excellent programme. In short, I look forward to hearing his future recordings.
Jonathan Welsh
