Liszt: The Complete Music for Solo Piano, Vol.26 - The Young Liszt 李斯特：钢琴独奏曲全集，卷二十六 - 李斯特早期作品集
- 艺人
- Franz Liszt
- 语种
- 其他
- 厂牌
- Hyperion Records
- 发行时间
- 1994年02月01日
- 专辑类别
- 录音室专辑
专辑介绍
Rocky Gorge, with a bridge, near Sorrento (1823) by Heinrich Reinhold (1788-1825)
CDA66771/2
Recording details: Various dates
St Martin's Church, East Woodhay, Berkshire, United Kingdom
Produced by Tryggvi Tryggvason
Engineered by Tryggvi Tryggvason
Release date: February 1994
DISCID: 5D0FF708 9D115F1D
Total duration: 140 minutes 47 seconds
BBC MUSIC MAGAZINE BEST OF THE YEAR
'These clearly recorded discs should find a place in every music library in the land!' (Gramophone)
'Another abundant, revelatory, superb instalment in what is looming as perhaps the most adventurous, most consistently realized, and grandest project in recording history' (Fanfare, USA)
The prowess of the young Liszt as an infant prodigy at the keyboard might have overshadowed his talents as a composer had he not received a number of commissions from sources who may have had no inkling that the boy could actually compose at all. The best known and earliest surviving of these pieces resulted from Diabelli’s request to many of the luminaries of the day each to compose a variation upon a Waltz by Diabelli himself. Beethoven’s response—his last great piano work, in the form of 33 variations on the supplied theme—is a landmark in the literature of Western music. The remaining crowd of composers produced something of a curiosity, but certainly Schubert’s variation, for example, is well worth hearing. Young Liszt takes the harmonic basis of the theme and turns it into a daring piece of pyrotechnics, changing both the time signature (from 3/4 to 2/4) and the key (from C major to C minor) in the process.
The little Waltz in A major was published in 1825 but had been written in some form by early 1823 because it was used that year in a ballet, Die Amazonen, cobbled together from a variety of sources by von Gallenberg. It was printed in England in 1832 in the version for piano, but the earlier edition contained various alternative instrumentations. In any event, the tiny piece is really just an album leaf.
A copyist’s MS of the Méhul Variations, annotated as being a work ‘par le jeune Liszt’, was published in good faith by the Neue Liszt-Ausgabe in 1990 and recorded in similar faith for the present series. It has since been established that the attribution is false and that the work is from the pen of Mozart’s son Franz Xaver, and was published as his opus 23 in 1820. But since the work remains unknown and unrecorded, like the vast majority of F X Mozart’s output, and since the writing is not vastly different from some of the other pieces in this collection, it was thought best not to discard it.
Liszt’s early opus numbers have perplexed many scholars, and Liszt himself seems to have become dissatisfied with them quite soon. Briefly, the numbers on the present recordings are his first set, inexplicably missing the number five (although it might have been intended for the opera Don Sanche, if chronology is to be trusted). Confusingly, the Etudes were also published as an Opus 1. Then Liszt began a second set of numbers, happily including transcriptions and fantasies along with original works, but only reaching Opus 13. Thereafter, he managed without opus numbers, and forbade an early attempt by an eager disciple to make an orderly enumerated list of his compositions.
The Opus 1 Variations show a clever young hand at work, especially in the ease of the modulation at the coda from A flat major to E major—a key-shift which would dominate much of his mature work. Written no doubt for his own use and dedicated to the piano-craftsman Sébastien Erard, the work is also of interest because the theme turns up in the so-called Third Concerto, more about which anon.
The Opus 2 Variations take a theme from Rossini’s Ermione, the aria ‘Ah come nascondere la fiamma’, and treat it in the brilliant salon style of the day. Liszt’s personality has not really emerged, but his flexibility in piano writing and the neatness of his formal grasp make it an attractive enough showpiece.
The Opus 3 Impromptu brillant is similarly intended for light entertainment, and the formal structure is perforce rather haphazard since so much external material is employed. La donna del lago and Armida by Rossini provide the themes for the first part of the work, the middle section utilises Spontini’s Olympie and Fernand Cortez, and the Rossini themes return in a sort of recapitulation. However, to Lisztians, the most striking thing about the piece is Liszt’s original introduction, which he salvaged to introduce the E flat major study of the 1838 set, and then eventually transformed that into Eroica in the Transcendental Etudes.
The two concertos which Liszt published were, at the draft stage, originally accompanied by a third, although its provenance is a little earlier. Liszt kept making small improvements to the drafts but, at a time and for a reason unknown, abandoned one of the works which, like the famous No 1, is in E flat major. He proceeded gradually to bring the two remaining pieces up to their present state. The discarded concerto is quite playable, thanks to the painstaking research of Jay Rosenblatt who re-assembled it after it had been dispersed about Europe on the careless assumption that it was a set of discarded sketches for the Concerto No 1. The score discloses the phenomenon that is encountered with the Transcendental Etudes: that Liszt returned to his juvenilia to provide himself with a springboard to new music. Along with the theme from the Opus 1 Variations, the Concerto uses in many guises the first theme of the Allegro di bravura and one motif from the Rondo di bravura generates one of the principal themes. That said, it has to be admitted that these early showpieces which form the young Liszt’s Opus 4 are rather experimental in the matter of form, and almost clumsy in some of their technical requirements. The style recalls Hummel and Czerny—two influences present in Liszt’s early opera and in the following studies. An attempt by Liszt to orchestrate the Allegro was abandoned, although he was confidently orchestrating his opera within a year.
Just as it is now almost impossible to listen to the first Prelude of Bach’s ‘48’ without Gounod’s Ave Maria creeping unbidden into the brain, so the Etudes d’exécution transcendante overshadow our listening to Liszt’s Opus 6, but not offensively, and we find ourselves marvelling by turns at the precocity which allowed the boy to write such wonderful music as the ninth Etude of this set at the age of 14, and at how he ever came to write the mighty melody of Mazeppa over the decorative patterns of the fourth Etude. All but one of these early pieces were transformed into the later set. (Why Liszt did not use No 11 remains a mystery. The theme of No 7 was transposed into D flat and moved to No 11, while the introduction to the Opus 3 Impromptu was joined to a new work to make the later No 7.) The original plan, no doubt in deference to Bach’s ‘48’ which Liszt had known from a schoolboy, was to write 48 studies (the original edition was announced as Étude en quarante-huit exercises) going twice through all the keys. As is clear from the pieces completed, the scheme was to go backwards through the cycle of fifths, interpolating all the relative minor keys. Thus, the set of twelve is perforce entirely in the ‘flat’ keys.
The piano piece in G minor, long known as Scherzo (thanks to Busoni’s edition of 1927) but not so entitled by Liszt, dates from 1827. However, the piece is not so much a Scherzo as a Bagatelle, in the Beethovenian sense, and it is easy to read into its craggy jauntiness a homage to Beethoven: in the sprung rhythms and awkward leaps, in the clever manipulation of the diminished seventh (such a characteristic of his later work) and in the throwing of the theme across the keyboard, the old master is evoked. But it is probably coincidental that the piece dates from around the time of Beethoven’s death.
The manuscript of the Two Hungarian Recruiting Dances is of particular interest because it is Liszt’s earliest surviving attempt at capturing elements of Hungarian musical style. The title by which the catalogues usually refer to the pieces, Zum Andenken, is part of the signature at the end. Unfortunately the manuscript is dreadfully messy, and the structure of the piece, in terms of what should be repeated, where the da capo should go to, and so on, is by no means clear. The edition by Elyse Mach, which reproduces the MS, and that in the Neue Liszt-Ausgabe are at considerable variance from each other, and the MS cannot resolve all the difficulties. The present performance, then, takes account of these sources whilst offering a slightly different solution from that proposed by the N L-A. It seems from the way Liszt treated the themes of these two minor composers that he had probably just overheard them and did not know their provenance. Certainly, the original sources and titles of the melodies were only revealed by the indefatigable editors of the N L-A.
The following eleven pieces vary from tiny trifles to elaborately worked-out compositions, but they were generally not intended for concert use and frequently employ themes from other of Liszt’s original works.
Liszt made three trips to the British Isles: in 1826, 1840/41, and 1886. The very day he arrived in 1840 he penned (and dated, without entitling it) the Waltz in E flat, which is effectively an album-leaf made from the second theme of the Grande Valse de bravoure, but in a version part-way between the two published versions of the whole work. In this form there is the added attraction of finishing in quite the wrong key. The coda of the same waltz supplied the material for the slight Galop de Bal.
The Marche hongroise turned up in Russia and, apart from the autograph date and its information that the piece was written in Marly (and our presumption that the theme is Liszt’s own), we know nothing more about it.
The fund-raising for a monument to Beethoven in the town of his birth might never have come to fruition without Liszt’s extraordinary generosity. He contributed an enormous amount of money (from the takings of his concert tours during that period when he seemed determined to play two concerts per day, seven days a week), laid on accommodation, refreshments and musical entertainment in the form of a large cantata for soloists, chorus and orchestra, and received only the most grudging thanks, and the cantata, although lavishly praised by Berlioz, especially for its orchestration, was quickly forgotten. Bitter and twisted Clara Schumann described the whole affair as something Liszt got up for self-aggrandisement. A Beethoven-Album was duly published, and Liszt (rather hastily, in all probability) put together an album-leaf (Klavierstück) out of the piano part of the vocal score of the cantata—just a few bars from the beginning and the end of the first movement.
The theme which is immediately recognisable as the opening of the Ballade No 1 served Liszt for several album-leaves, some of which, clearly given as private gifts, are absolutely identical to each other. The two recorded here as Klavierstücke represent the differing texts available, the D flat version being in the same key as the Ballade, and the A flat version being numbered 2 to distinguish it from the completely different piano piece in A flat which shares the same number in the Searle catalogue (recorded in Volume 2 of the present series).
The next album leaf was not entitled by Liszt but is a simple transcription of one of his songs, Gestorben war ich, later to become widely known in the version as the second of the Liebesträume (recorded in Volume 19). There is a third, also very simple, version of the piece as one of the Klavierstücke dedicated to the Baroness von Meyendorff (recorded in Volume 11).
The Berceuse, an act of homage to Chopin’s eponymous work, is quite familiar in its very elaborate revised version (recorded in Vol 2). But the much simpler original conception has a quality of innocence which the later piece complicates. Indeed, there is greater tranquillity in it than there is in Chopin’s admirable model.
The two Feuilles d’Album were published and enjoyed a broad circulation in Liszt’s lifetime. The theme of the E major piece can also be found in the Valse mélancolique, while the A minor piece is the third of the four transcriptions of Liszt’s excellent song Die Zelle in Nonnenwerth.
The single piece, somewhat misleadingly entitled in the plural as Feuilles d’Album is really a charming salon waltz—a great favourite in its day, and the kind of ingenuous trifle which Liszt composed all too rarely, preferring to confine this spirit to the world of his transcriptions.
This collection concludes with the Apparitions. Along with the early Harmonies poétiques et religieuses and the first book of the Album d’un voyageur, these pieces stake Liszt’s earliest claim to be regarded as a mature and original musical thinker—he was 22 years old at the time of their composition. Although it is quite clear that only a very few of his contemporaries had the slightest understanding of his intentions, and generally preferred his early studies and transcriptions, it is these other extraordinarily avant garde works which forced the doubters to reconsider, and which, along with the re-examination of the late pieces, led to the re-appraisal of Liszt in the middle of the twentieth century. The first piece has a rhythmic flexibility which often suspends the perceived metre altogether, and the theme in thirds with tremolo accompaniment is one of Liszt’s most compelling. The second is uneasily torn between being carefree and poignant, again the character led by the unusual rhythm, and the third is almost like a composer under some hallucinogenic drug, dreaming of a Schubert waltz—a unique contribution to the literature, and quite unlike the later use of the same waltz in the Soirées de Vienne.
Leslie Howard © 1994
Works on This Recording
1.
Waltz for Piano in A major, S 208a
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: by 1832
■ Date of Recording: 10/1992
■ Length: 1 Minutes 5 Secs.
2.
Variations (8) for Piano, S 148
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: circa 1824
■ Date of Recording: 10/1992
■ Length: 14 Minutes 38 Secs.
3.
Allegro di bravura, S 151
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1824; Paris, France
■ Date of Recording: 10/1992
■ Length: 9 Minutes 0 Secs.
4.
Rondo di bravura, S 152
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1824; Paris, France
■ Date of Recording: 10/1992
■ Length: 12 Minutes 10 Secs.
5.
Impromptu brillant on themes of Rossini et Spontini, S 150
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1824
■ Date of Recording: 10/1992
■ Length: 12 Minutes 12 Secs.
6.
Variations brillantes (7) sur un theme de Rossini, S 149
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: circa 1824
■ Date of Recording: 10/1992
■ Length: 9 Minutes 15 Secs.
7.
Apparitions (3), S 155
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1834; Paris, France
■ Date of Recording: 03/20/1992
■ Length: 17 Minutes 54 Secs.
8.
Scherzo for Piano in G minor, S 153
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1827
■ Date of Recording: 10/1992
■ Length: 1 Minutes 6 Secs.
9.
Fragment on themes from 67, S 507
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: circa 1847; Weimar, Germany
■ Date of Recording: 10/1992
■ Length: 2 Minutes 32 Secs.
10.
Etude en douze exercices, S 136
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1826
■ Date of Recording: 10/1992
■ Length: 25 Minutes 50 Secs.
11.
Feuille d'album in A minor, S 167
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: circa 1843; Weimar, Germany
■ Date of Recording: 10/1992
■ Length: 5 Minutes 44 Secs.
12.
Feuilles d'album in A flat major, S 165
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1841; Weimar, Germany
■ Date of Recording: 10/1992
■ Length: 2 Minutes 40 Secs.
13.
Gestorben war ich, S 192a
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: circa 1850; Weimar, Germany
■ Date of Recording: 10/1992
■ Length: 1 Minutes 15 Secs.
■ Notes: This is Liszt's first version of the transcription from "Gestorben war ich, S 308." The second version is "Liebestraum no2, S 541."
14.
Waltz for Piano in E flat major, S 209a
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1840; Weimar, Germany
■ Date of Recording: 04/29/1993
■ Length: 1 Minutes 30 Secs.
15.
Piece for Piano in D flat major, S 189b
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Date of Recording: 10/1992
■ Length: 0 Minutes 49 Secs.
16.
Piece for Piano in A flat major, S 189a
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Date of Recording: 10/1992
■ Length: 0 Minutes 59 Secs.
17.
Berceuse for Piano in D flat major, S 174
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1854; Weimar, Germany
■ Date of Recording: 10/1992
■ Length: 4 Minutes 50 Secs.
18.
Variations über einem Walzer von Diabelli, S 147
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1822
■ Date of Recording: 10/1992
■ Length: 1 Minutes 54 Secs.
19.
Variations (5) on a Romance from Mehul's "Joseph", Op23
by Franz Xavier WMozart
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: by 1820; Austria
■ Date of Recording: 10/1992
■ Length: 7 Minutes 20 Secs.
■ Notes: This work, attributed to Liszt, is Franz Xaver Mozart's "Opus 23."
20.
Albumblatt for Piano in E major, S 164
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: circa 1841; Weimar, Germany
■ Date of Recording: 10/1992
■ Length: 2 Minutes 21 Secs.
21.
Sätze (2) ungarischen Charakters for Piano, S 241
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1828; Paris, France
■ Date of Recording: 10/1992
■ Length: 5 Minutes 23 Secs.
22.
Galop de bal for Piano, S 220
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: circa 1840; Weimar, Germany
■ Date of Recording: 04/29/1993
■ Length: 0 Minutes 43 Secs.
23.
Marche for Piano in E flat minor, S 233b
by Franz Liszt
■ Performer: Leslie Howard (Piano)
■ Period: Romantic
■ Written: 1844; Weimar, Germany
■ Date of Recording: 04/29/1993
■ Length: 1 Minutes 1 Secs.
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