Piano World Home Page Forums Our Most Popular Forums Pianist Corner Franz Liszt appreciation thread.

Hadn't heard this recording before. This is a work -one that used to be a favourite of mine- i'd learnt to find quite tedious and theatrical. After hearing Lewenthal I think I can blame the performances. That was amazing. Thanks for sharing!

I've found that with Liszt quite often. It's so easy for a performance to give Liszt a bad name. Liszt wrote much of his music with his performance capabilities in mind - it's almost as if every time you play Liszt you're measuring yourself up against his vision, which was perhaps exemplified by the way he played his music. A great performance like this one brings you close to Liszt's intentions, and you realise the sublime vision that he attempted to convey. I've found that very few performances do this in each of Liszt's finest works, but when you find one that does, everything comes together and any doubts about the music itself get eradicated.

P.S. Post #300!

Hi Josh,

yes, I'm really attracted to extreme romanticism. Early on I was a Mahler fan, and his scores really reveal an untempered Romantic at work. On my youtube channel marknicol7 I have a work, Ulysses, the first movement of Symphony in Indigo, which I best describe as Super-Romanticism. It draws from the ethos of Mahler and Wagner.

I get what you mean about freedom, and freedom is the most dangerous thing. Mahler was obliquely critical of Brahms for 'not doing enough' with his themes: More likely, he didn't like Brahms' conservative nature.

Having dinner with a concert pianist, Gil Sullivan, tomorrow night - so I will bring up Liszt, which he plays quite a bit. Would be good to get Alexandre Dossin's views too. Any chance of hearing your playing?

I posted the current sketch for the Chopinesque piece on the site below:

http://www.pianostreet.com/smf/index.php?topic=48442.0

Busoni said of this passage: anyone who is not moved by this has not yet come to Liszt! (approximately)

Now you people should hear a good recording of the opera, perhaps the Callas recording on EMI. Interestingly, the most famous moment in the opera, Casta diva, is not included in Liszt's paraphrase, but as Lewenthal points out, it occurs at a static moment of the opera so was of no use to Liszt.

(Sorry for tangling with another member yesterday. I have removed those posts.)

Hi Jason - I thought Busoni said that about the part where Liszt is imitating the timpani, you know - da da da DEE / da-da-da-da DA

Any case, thanks for this thread, dear thread-starter!

So I fought it for a long, but I've finally caught the lizst bug. I've been listening to him non stop this week. The Bm Sonata and the 2nd Ballade are simply mind blowing.
Have any of you listened to Valentina Lisita's recording of the ballade? She uses a 97 key bosendorfe piano that is incredible. And she uses those extra low notes at a certain point. It just sounds so so good.

You sure about that Ian? The 'timpani' imitation -and the Thalbergian three handed effects- has been commented on before, but I did not think that it was what Busoni went so crazy over.

But you do need to hear Bellini's original. His opera begins the same way as Liszt's paraphrase (after the opening flourishes) -such rich orchestration- and I was captivated.

Bellini, who passed on at 33, was an operatic genius who should be better known to piano aficionados. Chopin owed a lot to his example, and I well recall a performance of I Puritani several years ago. There was not one dull moment, his melodic inspiration could barely be contained, and I left the opera house in tears, took me a week to get over it.

Dug up the Busoni quote:

"...anyone who has listened to or played the finale of Lucrezia, the middle section in B major in Norma or the slow movement in Sonnambula without being moved has not arrived at Liszt."

Both parts in question in are B major, but mine's a proper middle section so I'll be giving myself the laurel on this one, if there's no contention.

Bellini -- I'm familiar with the literature and've heard bits and bobs (fine Queen's English there) and it's very lovely -- never had to pleasure to experience one of his operas whole, though.

Very nice going, Ian, and thanks for digging up the Busoni quote. (Probably in library somewhere, though sometimes searching these things out can be quite time consuming!)

I suppose no disagreement after all, but isn't the Liszt musical quote I posted above much more boldly dramatic in its technical address? One is moved not only by that, but its very appearance on the printed page.

This brings to mind Elgar's magnificent 'Introduction and Allegro' for strings. At the climax at rehearsal 12, Elgar marks it nobilmente, but how would a casual listener, not to mention a sophisticated one, really understand what is happening, much less hear anything different? It is only when one follows the score that the experience takes on a whole new dimension. It is nobilmente, now we perceive it differently, and exactly what the composer intended.

And one thing else to point out about Liszt's Norma: the right hand scales at the 'Meno Allegro' (so ingenious) may very well have inspired Busoni, because at the climax of his transcription of the 'Ad nos', there they are. It is the same concept.

Seeing your Elgar and raising a Mahler (because who doesn't like a good dust-up), he was still more illustrative in his directions, z.B. in the scherzo to the 5th symphony, specifically asking for an implied rather than actual crescendo.

I agree the page you quoted is wonderfully dramatic for eye and ear. I think Schumann said about Thalberg in connection to the 3-hand effect that it sounded like the piano was giving birth to another piano.

Hola, Ian, it might even be suggested that following the score of a Mahler symphony gives one more insight into the music than listening to it in a concert venue. The Elgar symphonies are similar in this regard.

Pity those who cannot read an orchestral score.

Hi Ian, Jason & Josh,

the really interesting Mahler scores to look at, for me, are the late period master-works: Das Lied von der Erde, the 1st. movement of the 9th., and the 1st. Movement of the 10th. For me, Das Lied is his only 'perfect work', there is no waste or excess on the canvas - the orchestration and finesse is actually exquisite (and it is certainly a great aesthetic relief from the 8th., which is rather overblown in every way). The 1st. movement of the 9th. is a rapturous work of 'lyrical polyphony', and, as well, a Teutonic drama. The 1st. Movement of the 10th. contains some of the most acrid harmonies in linear counterpoint ever written, whilst being totally lyrical and a perfect expose of Mahler's tortured feelings at the time. The opening Viola theme seems to be not just a script revealing Mahler's personal sense of utter desolation, dissolution, but is perhaps also a nod to the contemporaneous sway of atonality?

I always find that Elgar achieves something in music that is quite marvellous, in a quiet , quiet way - sublime subtlety. Also discovered a fantastic orchestral work by Frank Bridge the other day - there was a great school established in that little country, for a while.

Anyway, returning to Liszt - how about some discussion as to the more revolutionary harmonic and polyphonic constructions of his late works, and of his orchestral Tone Poems. I haven't done a lot of listening in either area, and would appreciate some seasoned thinking.

Mark

An awful lot to comment on here, thank-you for your kind post, but a dinner engagement is nigh.

That climax in Ab minor has always frightened me, there is nothing in music quite like that, and I admit I don't have the stomach for it.

You beat me to it!

I SEE THAT YOU ARE ALSO CELEBRATING INTERNATIONAL CAPS LOCK DAY!

HAPPY BIRTHDAY FRANZ LISZT, AND HAPPY INTERNATIONAL CAPS LOCK DAY!

Thank you for so much great music and an amazing legacy, Franz!!

I WILL PERFORM HIS 2ND BALLADE AND B MINOR SONATA THIS YEAR TO CELEBRATE!

I've listened to it hundreds of times. Yes, there is so much dissonance, so much pain in that music that very few would actually be 'attracted to it'. I am one of the few, (but I suppose I've also written a piece 'over-burdened with dissonance and pain' - Ulysses, which you can hear on my youtube site marknicol7 )

What about the late Liszt works, and the orchestral Tone Poems? How about any ideas on great recordings, for a start.

I love some of the comments Yevgeny Sudbin makes in the notes of his new CD, Yevgeny Sudbin plays Liszt, Ravel & Saint-Saëns (BIS).

Discussing the 3 Sonetti del Petrarca:

"Il Canzoniere (Song Book)...is probably Petrarch’s most notable work. In it, and over a time span of around 40 years, he finds ample opportunity for self-torture over his burning, unrequited passion for Laura, a woman he is said to have met only once, briefly. Yet as we read, we realize that Petrarch’s internal struggle may not have been about Laura at all, but rather the eternal conflict between flesh and soul – an unwinnable battle only too familiar to the womanizer Liszt (although for him lack of reciprocation was not an issue, with divorces being filed en masse whenever he appeared in town)."

(Reminds me of another famous poet's unrequited love; Catullus's hopeless love for Lesbia.)

And, on the addictive nature of playing Liszt:

"In my youth, I shied away from Liszt as I was afraid that I hadn’t yet achieved the necessary humility and would join the long queue of young pianists contributing to a less than favourable image of the ‘piano-smashing’ Liszt. I was always
fascinated by the introverted and delicate Liszt, however. It’s not that I mind showmanship, as long as it doesn’t detract from the original musical thought. (Yet it is more difficult to forgive when showmanship is not backed up by an adequate technique!) Nevertheless I try to stay away from Liszt’s Greatest Virtuosic Hits because they leave me longing for more – as with Pringles, ‘once you pop, you can’t stop’".

On the CD:

Funérailles

TEs 10 & 11

3 Sonetti del Petrarca

Ravel Gaspard de la nuit

Saint-Saëns Danse macabre (Liszt-Horowitz-Sudbin version)


Mel