First versions of Hungarian Rhapsodies Nos. 12-21, along with two shorter Liszt pieces with a Hungarian connection, make up the 8th volume of the Supplement to the New Liszt Edition. All works in the volume appear here for the first time in a scholarly edition. As with all volumes of the New Liszt Edition, Supplement Volume 8 is published in a handsome paperback edition for performance and a clothbound edition for study. Both versions include a detailed preface, new research results, and manuscri...
Liszt understood a "rhapsody" to signify the highest degree of musical freedom: a constant process of transformation and variation of themes and motifs, all bound up with constant shifts of emotion. According to one of its early reviewers, this first of Liszt's 19 Hungarian Rhapsodies is a prime example of "the art of thematic working such as no previous master has practised more fantastically, more expressively or more inventively." Despite this, it was somewhat overshadowed by the greater popul...
Liszt's piano rhapsodies are in the same tradition as his transcriptions of opera or song themes, but in this case the point of departure is folk dances and songs. Liszt described no. 2 of his Hungarian Rhapsodies, published in 1851, as "truly Hungarian," and a "brilliant companion piece" to his own concert showpiece the Grand Galop chromatique. And indeed, the work, with its strong dynamic and harmonic contrasts, quickly became popular and remains among his best-loved keyboard works. The long-i...
G. Henle URTEXT edition. Edited by Ernst Hettrich. Fingering by Andreas Groethuysen. Preface by Maria Eckhardt. Liszt's ninth Rhapsody is the "Carnival at Pest" - one of the few Hungarian Rhapsodies to which he gave a name. Once again Liszt turns to Hungarian folk melodies and fuses them with improvisatory elements. The result is a dazzling virtuosic firework display. The relaxed atmosphere of a Budapest carnival around 1840 is brought to life - indeed Liszt is said to have recorded several theme...
G. Henle urtext edition. Edited by Ernst Herttrich. Preface by Maria Eckhardt. Fingering by Andreas Groethuysen. The Rakoczi march is often referred to as the "Hungarian Marseillaise". The beginnings of this march song go back to around 1730. In the text, the Hungarians summon Franz II Rakoczi to free his people from the Habsburg oppression. The melody has been arranged many times, e. g. by Brahms and Berlioz, even Liszt made several arrangements of varying degrees of difficulty. He eventually di...
Franz Liszt (1811-1886), who is known for creating modern piano playing techniques and pioneered harmony and form of piano composition, published this piece as part of three piano solos. "A Dream of Love" or "Liebestraum" is actually the last in a set of three (No. 3) and the most renown masterwork of this great composer. This intermediate "Signature Series" original engraved by Jonathon Robbins is the complete edition in its unedited form. This important wedding classic is a "mandatory study" ...
11 Well-Known Original Pieces in Progressive Order of Difficulty. Contents: Sehr langsam from Four Piano Pieces; Andantino from Four Piano Pieces; Andante con moto from Consolations; Un poco pi— mosso from Consolations; Quasi adagio; cantabile con devzione from Consolations; Hymne de l'enfant a son reveil from Harmonies po‚tiques et religieuses; Le mal due pays from Ann‚es de PŠlerinage, PremiŠre Ann‚e - Suisse; Il penseroso from Ann‚es de Pelerinage, Deuxieme Annee - Italie; Canzonetta del Salv...
Romantic. Edited by Norbert Gertsch & Veronika Giglberger. When Liszt took over the direction of the Court Opera in Weimar, he spent a great deal of time exploring Goethe's works. He was particularly attracted to the subject-matter of Faust. He used Nikolaus Lenau's "Faust", a comprehensive poem in 24 scenes, as the model for his orchestral work in two parts "Episodes from Lenau's Faust". The second part, "Dance in the Village Inn", was originally written for piano solo. He gave this wild piece w...
Once Editio Musica Budapest had published critical editions of the complete piano solo works of Franz Liszt, they began work on a Supplement Series with the goal of publishing earlier and alternative editions of those works. Now in Volume 14, the editorspresent two alternate versions of the seminal Weihnachtsbaum: the first version (from autograph) and an early published version. Included also are alternate versions of his Annees de pelerinage, Troisieme annee and the Schlummerlied im Grabe, Die ...
Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a lit...
Romantic. Liszt's piano rhapsodies stand in the tradition of his transcriptions of operatic or song melodies, yet employ folk dances and songs as their source material. Completed in 1864, Rhapsodie espagnole is a late reminiscence of Liszt's extended travels to Spain and Portugal in 1844-45. On the basis of two popular Iberian dance tunes, Folia and Jota, Liszt here sets off fireworks of representative rhythms and tone colours with a highly virtuosic presto finale. The long inaccessible autograph...
Contains the complete Schwanengesang. Contents; Brilliant transcriptions by the foremost pianist-composer of his day of all 14 songs in the series, including such masterpieces as "Das Fischerm„dchen," "Am Meer," "Abschied," "St„ndchen," "Frhlings-Sehnsucht," "Der Doppelg„nger," and other famed lieder. All meticulously reproduced from rare early editions overseen by Liszt himself. - the publisher (contents & sample pages)
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Nicholas Hopkins has carefully selected and edited this collection of 30 late piano works by Franz Liszt, many of which remained unknown and unperformed into the late twentieth century. Also included is a scholarly essay which discusses the influences oflife events on the composer's work as well as analyses that demonstrate the musical originality in many of these pieces. The singularity and power of this music owe as much to its stylistic originality as to the external forces that influenced it....
Following the revision of Henle's facsimile of ) in 2015, they now present the corresponding new Urtext edition. With the help of the splendid facsimile reproduction they were able to analyze several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt's, in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt commented: "It is only b...