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LISZT HAROLD IN ITALY BERLIOZ, GOUNOD AND MEYERBEER TRANSCRIPTIONS LESLIE HOWARD piano with PAUL COLETTI viola
L ISZT’s staunch friendship and support for Berlioz was reflected in many practical ways—from his piano transcription of the Symphonie fantastique in 1834 to the Berlioz week in Weimar in 1855, in several smaller transcriptions and the arrangements of Harold en Italie, and in reviews and articles, especially the lengthy document Berlioz und seine ‘Harold- Symphonie’, Liszt tried to popularize Berlioz’s works, which were widely held to be bizarre and intractable. From their first encounter in 1830, the two men had seen eye to eye on most matters musical, aesthetic and religious, and Berlioz expressed himself very content with the fate of his music in Liszt’s hands, whether playing, transcribing or conducting. The only mystery which surrounds Liszt’s transcription of Harold in Italy is why, having produced it so promptly, he took so long to publish it. As with the Symphonie fantastique, it is also clear that Liszt’s version was made before Berlioz effected some slight alterations in the score prior to publication—as so often with Berlioz, there was a considerable delay between composition and performance and the appearance of the printed work, and Liszt’s version preserves the original text. Thus the viola is heard in several notes just before the final chorale in the Pilgrims’ March which no longer feature in the score, and Liszt has allowed the viola to participate in the Allegro assai sections of the Serenade with double-stopped chords in imitation of a piper’s drone. However, Berlioz’s brilliant second thought of foreshortening the repeated chords by half a bar at a time in the peroration of the first movement (four occasions) has been adopted in this performance in accordance with his published score. Although Liszt’s partition could scarcely be called chamber music, it is undeniable that, without Berlioz’s orchestration, the viola part is heard to much greater 2 advantage than is usually the case, and from time to time a real chamber music texture emerges, leaving one to regret that Liszt expressed himself relatively little in the medium, and then usually in transcription. Liszt seems to have thought of the piece as a piano transcription of the same stamp as that of the Symphonie fantastique, and the demands upon the pianist are similarly acute. (Liszt did make a solo piano version of the second movement of Harold, which is recorded in this series on Volume 5.) At any rate, Paganini, who declined to play Berlioz’s original because he felt that the viola had too little to do, might have felt less oppressed by Liszt’s version, at least in the first three movements. And, as with the Symphonie fantastique, Liszt is fully in tune with Berlioz’s ideas of programme (they were both completely enamoured of the works of Byron) and colour. Berlioz’s original is too well known to require further description, but it will be observed that Liszt was not tempted to alter the degree of participation of the viola in the final movement, even though, at the entry of the menacing trombones and Liszt’s extravagant tremolo which covers over half the keyboard in its attempt to recreate the violin parts of the original, the pianist could well have used some assistance. The inclusion of the original version of the Romance oubliée was prompted by two considerations. It is the only Liszt work for this combination, apart from the Harold transcription, and the broken chords which inform the coda to the Romance oubliée are quite clearly an act of homage to the marvellous viola writing at the end of the Pilgrims’ March in Harold. Indeed, the whole final section is a later addition to the Romance oubliée, which was a reworking of an earlier piano Romance of 1848 (which will appear in another volume of the present series), itself derived from the song O pourquoi donc of 1843. The Romance oubliée was Liszt’s response in 1880 to a request to reprint the earlier piano piece. He prepared
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THE COMPLETE LISZT PIANO MUSIC INTR
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The Complete Liszt Piano Music CONT
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Leslie Howard Leslie Howard THE PER
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please refer to CD wallets for more
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The Complete Liszt Piano Music INTR
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L’intégrale de la musique pour p
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FRANZ LISZT cover of The Graphic, 1
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Die gesamten Liszt-Klavierwerke EIN
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REPRODUCTION OF A DAGUERROTYPE OF F
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La musica per pianoforte INTRODUZIO
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The Complete Liszt Piano Music INDE
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ORIGINAL WORKS S30 INDEX BY S NUMBE
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ORIGINAL WORKS S122 to S132 INDEX B
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ORIGINAL WORKS S163a/1 to S167k IND
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ARRANGEMENTS, FANTASIES, TRANSCRIPT
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The Complete Liszt Piano Music ALPH
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THE Young Liszt LESLIE HOWARD
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he salvaged to introduce the E flat
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chorus and orchestra, and received
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fournissent ses thèmes à la premi
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épéter, le point auquel le da cap
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D IE MEISTERSCHAFT DES JUNGEN LISZT
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vor, sich rückwärts durch den Zyk
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Sorglosigkeit und schneidender Sch
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Liszt Douze Grandes Études (1837)
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3 modern machine, with its ungratef
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an abandoned continuation of the 18
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7 se réfère à un « Preludio-Stu
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abruptement de mètre et devient f
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gewidmet, und das Anfangsstück ist
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Jagdmotiv auf dem Fuße folgt, häl
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Recorded on 17-19 October 1994 Reco
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Liszt Transcendental Studies Élég
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transcendental technique arose as a
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Liszt COMPLETE PAGANINI ÉTUDES Les
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e a homage to Schumann whom he cons
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LISZT Intégrale des études de Pag
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la cinquième étude de Liszt qui e
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enden Stellen der Einleitung Transp
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interessant wie ein tropfender Wass
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Liszt Les Préludes Concert Études
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event, it is by these Italian title
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lights are seen through the trees,
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LISZT Les Préludes A 7 U CENTRE de
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étudiant et ar ent apologiste de L
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LISZT Les Préludes S ECHS der wich
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Präambel eingeschlossen. Lina Rama
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Liszt THE COMPLETE MUSIC FOR SOLO P
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T HE ALBUM D’UN VOYAGEUR is the f
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water-brooks …’). Like ‘Lyon
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Album d’un voyageur ET AUTRES MOR
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inhabituelle. Liszt cite un très l
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Album d’un voyageur & ANDERE STÜ
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der überarbeiteten Version und ist
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lich länger. Der Anfang basiert au
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Album d’un voyageur and other pie
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A S WITH THE HUNGARIAN RHAPSODIES a
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work, introducing an inspired and u
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Le Childe Harold de Byron fournit
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G LEICH DEN UNGARISCHEN RHAPSODIEN,
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die meisten Passagen sind vom zweit
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Liszt Deuxième Année de Pèlerina
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described as unpublished. Liszt’s
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1847)—emerges from the depths, mu
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LISZT Deuxième Année de Pèlerina
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vérité, et la pièce est, dans so
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Grato m’è il sonno, e più l’e
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Knotenpunkt vernehmbar ist, suggeri
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THE COMPLETE MUSIC FOR SOLO PIANO -
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L ISZT’S LATE PIANO WORKS are of
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almost annual triangular trip throu
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caractérise beaucoup d’écriture
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L ISZTS SPÄTE KLAVIERWERKE weisen
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um Jahre voraus war und bewußt ode
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T HIS SERIES of recordings of Liszt
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Harmonies poétiques et religieuses
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T HE ABBÉ LISZT has always been a
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meaning ‘Slavs let us praise the
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FRANZ LISZT IN 1858 CDA66421/2
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Early work 1847 1851 1 Élevez-vous
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described as unfinished but which i
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augmented triad, and the promised G
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carnet, qui ne présentent aucun pr
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Liszt tisse ensemble le chant grég
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entschieden hat. Außerdem müssen
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einunddreißig Takten, die andere a
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T HIS THIRD RELEASE in the series o
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CDA66302 THE COMPLETE MUSIC FOR SOL
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RITERS ON LISZT ARE UNANIMOUS in th
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The two Liszt Elegies belong very m
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LESLIE HOWARD Leslie Howard has giv
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OUS LES COMMENTATEURS de l’œuvre
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Les deux Élégies de Liszt ne peuv
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D IE LITERATUR ZUM SCHAFFEN FRANZ L
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Die beiden Elegien von Liszt sind d
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A LTHOUGH ALL OF THE PIECES RECORDE
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lama Sabacthani?’ and ‘In manus
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Le chef-d’œuvre de la vieillesse
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O BWOHL ALLE STÜCKE DER VORLIEGEND
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Darstellungen des Weinens, die wir
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LISZT THE COMPLETE MUSIC FOR SOLO P
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L ISZT’S ‘THIRD PERIOD’ may b
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comfortless piece which Liszt compo
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La perfection simple de Trübe Wolk
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LISZT Später Werke L ISZTS „DRIT
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Orgelpunkt und wilde Dissonanzen, e
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Liszt THE LATE PIECES † first rec
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A SIDE FROM JUVENILIA, a few album-
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version the waltz is preceded by De
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D LISZT ances and Marches LESLIE HO
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music and with the three late Csár
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the piano. But it was not until the
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© JASON P TAILBY R ENOWNED CONCERT
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ment mis sur pied un remarquable co
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voire même sa propre orchestration
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contre une pièce éblouissante à
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licherweise nur „Gand 20 et 21 ja
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omantischen Komponisten von Schuber
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Bülow-Marsch (trotz seines lobensw
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please note FULL DIGITAL ARTWORK IS
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introduction to the third number of
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Volume 1 THE COMPLETE WALTZES Four
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(que Novello imprimait aussi avec u
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LESLIE HOWARD La carrière internat
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Wie zu erwarten, ist der Klavieraus
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LESLIE HOWARD Leslie Howards intern
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LISZT Liebesträume and other song
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Mignons Lied from Goethe’s Wilhel
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LISZT Liebesträume et les Recueils
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londes ») et il parut plus tard en
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Kinderchören so beliebten geschmac
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Recorded on 30-31 October 1991 Reco
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final part combines themes from the
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LESLIE HOWARD With an all-embracing
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C MUSIQUE COMPLETES POUR PIANO SOLO
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d'oeuvres pour leur instrument, ne
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KLAVIERWERKE - Teil 25 DAS CANTICUM
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Manuskript mit zwei Liniensystemen)
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^Lsœt/ THE COMPLETE MUSIC FOR SOLO
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FRANZ LISZT 2
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acknowledgement) Liszt’s theme fo
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Leslie Howard AND THE LISZT SERIES
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Liszt MUSIQUE COMPLÈTES POUR PIANO
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Les deux petits cycles, Geharnischt
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Liszt SÄMTLICHE KLAVIERWERKE - 36
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Die beiden kurzen Zyklen, Geharnisc
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I In nativitate Domini Christmas m
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ISZT'S MUSIC FOR THE CHURCH forms a
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COMPACT DISC ONE CHRISTMAS Liszt de
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LESLIE HOWARD 'A virtuoso in the tr
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y. Di-ci-te, quidnam vi-dih s •fi
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y ^«yd Gló-ri- a Pàtri, et Fí-
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• • a n v %; in é- est : hie p
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j* ». : negá-vit Jú- dae ós- cu
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là- re mé- cum, qui exhortabà- m
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, • . f ^ ! I 3 1 1 ! % H quos pr
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V di- e apud vos é- ram in tèmpio
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mini, et prope-rä- te ad devorän-
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i — a» a» j • • % « • _
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K/2 1 • a r s - 5 i-V Erü-sa-lem
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I AI j _ C r - V •VvV-.-V--..;- '
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num, et advér-sus Chrf- stum jus.
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et in novis-simo di- e de tèrra su
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m J> .. , - - . ~m | . „^a rv 1
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R77 ? ¡; rH P = Eccäntem me * quo
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M nebrâ- rum. V. Clamantes et dih
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I LISZT Répons et antiennes MUSIQU
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plus complexe, notamment le dernier
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LISZT Responsorien und Antiphonen M
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Klavier (Liszt könnte genauso gut
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Psalme 50, 91 und 63, weiterhin auf
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Liszt Gaudeamus igitur - Pièces d
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Majesté le Sultan Abdul Médjid-Kh
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C E RÉCITAL—un palindrome suivi
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Vol. 2 de cette série décrit erro
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auch Giuseppe ein Kapellmeister, un
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Recorded on 21 & 22 August 1995 Rec
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L ISZT’S COSMOPOLITAN and gregari
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Roman Sawycky’s 1984 article on t
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programme s’intitulait « Young M
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inconnue. Il n’en reste qu’une
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Ungarischen Nationalmelodien wieder
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B EFORE saluting the first real con
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ecame the seventh Hungarian Rhapsod
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© Jason P Tailby LESLIE HOWARD 6
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A VANT DE saluer la première contr
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plus tard engendrera la troisième
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OR einer Würdigung von Liszt Feren
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Bestandteile aus der vierzehnten Un
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FRANZ LISZT THE COMPLETE MUSIC FOR
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At the close of the notes to this r
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visatory compositions at this point
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section opens with a theme apparent
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Acknowledgements The labour of asse
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Liszt scholars or enthusiasts have
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La fin de cette notice m’offre l
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est noté dans un carnet de Liszt (
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également inconnu en dehors de cet
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les Elegáns csárdások (Csárdás
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der damaligen Zeit gewidmet (Szerda
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in c-Moll von Müller-Berghaus. Dar
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24 Rhapsodien gezählt hat—wurde
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Liszt gewählten Ábrányi-Passagen
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Liszt THE COMPLETE WORKS FOR SOLO P
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Liszt’s manuscript consists of ei
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theme written separately at the end
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LESLIE HOWARD ‘A virtuoso in the
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(«Danses de recrutement hongroises
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La Friska constitutive de la n o 12
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Ungarische Lieder IN DEN MEISTEN LI
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Bearbeitung hiervon ist relativ vol
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Nr. 14 basiert auf Vágy Pannónia
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Liszt CDA67235 THE COMPLETE MUSIC F
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M USICAL HISPANOPHILIA ought by now
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LESLIE HOWARD © Jason P Tailby 4
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LISZT Rapsodie espagnole et autres
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LISZT Rapsodie espagnole und andere
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LISZT Rapsodia española y otras ob
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CDA67145 Liszt THE COMPLETE MUSIC F
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2 © Jason P Tailby
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4 A LTHOUGH LISZT ONLY COMPLETED on
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‘Dante Symphony’) was obliged t
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COMPACT DISC 1 [78'35] CDA66371/2 1
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I N THE NOTES TO THE FIRST VOLUME o
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Liszt’s devotion to Wagner and hi
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effrénée avant de se transformer
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jolie transcription de la Berceuse
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damit die wunderbare Gelegenheit bo
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Liszt at the Opera II CDA66571/2 CO
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T HIS THIRD gathering of Liszt’s
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his homeland. Liszt is really in hi
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manquante (Liszt improvisa peut-êt
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fait partie du finale de l’acte I
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Simon Boccanegra zu (dies ist die l
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THE COMPLETE MUSIC FOR SOLO PIANO -
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T HIS FOURTH offering from Liszt’
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evivals of Le Prophète and L’Afr
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LISZT À L’OPÉRA - IV Transcript
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partie, le compositeur s’attache
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deux textes). Fait inhabituel dans
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Oper. (Die komplizierte Geschichte
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Variation ist gänzlich Liszts eige
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Liszt at the Opera ~ IV COMPACT DIS
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T HIS PENULTIMATE COLLECTION of Lis
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first version ‘nouvelle édition,
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Tarentelle, l’une des danses gran
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D IESE VORLETZTE ZUSAMMENSTELLUNG a
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die Fassung von 1861 neu bearbeitet
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Liszt at the Opera - V COMPACT DISC
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(There are additional kindred works
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combined. This leads to the coda pr
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Vol 24) - and that Il giuramento wa
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Liszt à l’opéra VI ET ULTIME VO
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mineur est précédée d’une tran
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décembre 1840, Liszt écrivit à M
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Liszt an der Oper VI IESE LETZTE SA
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as-Moll zu f-Moll transponierte Aus
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noch immer die Opus-Nr. 7 trägt -
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di Figaro von L. Ricci (!), La soli
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evening as the play for which it wa
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Leslie Howard's most important reco
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a de nombreuses ressemblances avec
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O Liszt am Theater Fantasien, Trans
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läßt) und für eine Reihe der kam
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Liszt LESLIE HOWARD A la Chapelle S
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transpositions to allow the hands t
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l’inévitable conséquence d’un
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Tönen, wenn die Finger nicht auf D
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Liszt Hexaméron Symphonie fantasti
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a third portrait, and Liszt respond
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de Blocqueville, das einzige andere
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adulateur qu’en fit Francis Plant
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Liszt Transcriptions BERLIOZ CHOPIN
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Liszt’s instant enthusiasm upon f
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LISZT Arabesques Russian and Hungar
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Prelude and Polka: it is clear from
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LISZT Transcriptions russes et hong
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Liszt. Il est le dédicataire de no
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anscheinend einige unterschwellige
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Recorded on 20 & 21 October 1994 Re
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LISZT Beethoven and Hummel Septets
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and variations (five of them, plus
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task in transcribing this work was
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centre du Trio semblent être des e
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ajoute son accompagnement rythmique
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dem Liszts Umsetzung der unablässi
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einem überzeugenden Triptychon: da
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LISZT
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absolutely faithful to David's text
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Liszt MUSIQUE COMPLETE POUR PIANO S
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Liszt Klavierwerke - Teil 16 FERDIN
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LESLIE HOWARD Leslie Howards intern
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Liszt Tanzmomente and other rare Ge
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thought was to extend three bars in
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U N DES TRAITS LES PLUS INTIMIDANTS
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le duc Ernest. Ce morceau a, cepend
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gegenwärtigen Einsamkeit an das Gl
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Recorded on 11 & 12 March 1995 Reco
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Liszt SongTranscriptions Beethoven
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COMPACT DISC 2 [73'03] 1 Er ist gek
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effect in the ‘Song of the Flea
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eally a very simple hymn, and ‘Th
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dans la brume pour éviter la doule
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Hoffman von Fallersleben rétablit
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D LISZT Lieder ohne Worte IESE „L
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des Windes teilen kann, wenn er dur
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gefüllt; und „Frühling und Lieb
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CDA66481/2 Liszt THE COMPLETE MUSIC
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F ERENC LISZT’s years of travel t
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fiendishly intricate details which
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Que béni soit le jour et le mois e
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piano s’allie à la partie vocale
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Cette exploration du Liszt italien
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dem Gesangspart oder den Gesangspar
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Klavierstück selbst ist imposant u
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BEETHOVEN-LISZT The Complete Sympho
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COMPACT DISC 3 [78'52] Symphony No
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The obvious desire to propagate int
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the exposition are well worth playi
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orchestral performance and repertoi
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Similarly, the ‘Shepherds’ Song
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the Ninth for Breitkopf and submitt
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« Le nom de Beethoven est un nom c
Page 775 and 776:
Dès le début, la partition de Lis
Page 777 and 778:
alternatives de texture qui paraiss
Page 779 and 780:
abandonne quatre mesures avant l’
Page 781 and 782:
De même que pour les cas similaire
Page 783 and 784:
l’addition d’un second piano (d
Page 785 and 786:
„Der Name Beethoven ist heilig in
Page 787 and 788:
skriptionen so darzubieten, wie sie
Page 789 and 790:
31 Sinfonie Nr. 3 in Es-Dur Op.55
Page 791 and 792:
is die 4. Sinfonie komponiert war.
Page 793 and 794:
Höhepunkten der Transkription zäh
Page 795 and 796:
wiederholten Triolen. Manchmal sieh
Page 797 and 798:
Trotz aller Unzulänglichkeiten, di
Page 799 and 800:
LISZT The Early Beethoven Transcrip
Page 801 and 802:
As we have noted elsewhere, Liszt
Page 803 and 804:
complied with, as is his inventive
Page 805 and 806:
Similarly, the ‘Shepherds’ Song
Page 807 and 808:
The finale, like the first movement
Page 809 and 810:
LESLIE Howard Annual re-engagements
Page 811 and 812:
multitude de détails et d’access
Page 813 and 814:
merveilleusement écrite, tandis qu
Page 815 and 816:
que les titres français), l’on s
Page 817 and 818:
que tout le reste doit trouver le m
Page 819 and 820:
LISZT Die frühen Beethoven-Transkr
Page 821 and 822:
-repertoires der ersten Hälfte des
Page 823 and 824:
Gedicht von unerfüllter Liebe stim
Page 825 and 826:
pianistischer Kunstgriffe bedient.
Page 827 and 828:
wert, obwohl die neun aufeinanderfo
Page 829 and 830:
Recorded on 29 February, 1 March an
Page 831 and 832:
LISZT The Schubert Transcriptions -
Page 833 and 834:
The present survey of Liszt’s Sch
Page 835 and 836:
The adventures of the various dance
Page 837 and 838:
catalogues’ erroneous suggestions
Page 839 and 840:
Leslie Howard Renowned concert pian
Page 841 and 842:
Des accompagnateurs spécialisés,
Page 843 and 844:
L’art de composer ou, en fait, de
Page 845 and 846:
série, mais possède en plus un se
Page 847 and 848:
verschafften, den sie seitdem nie m
Page 849 and 850:
Nr. 3: D145/I/1; D783/I/4; D365/19;
Page 851 and 852:
hören, und auch Liszt enthält sic
Page 853 and 854:
Recorded on 28 February, 4 March, 2
Page 855 and 856:
Page 857 and 858:
COMPACT DISC 2 [75'34] Schwanengesa
Page 859 and 860:
Chézy, and deals with Light living
Page 861 and 862:
whole of the third and fourth verse
Page 863 and 864:
touching in its tranquillity than t
Page 865 and 866:
11 (Vulgate 18, « Les cieux décla
Page 867 and 868:
entiers donnés dans l’un ou l’
Page 869 and 870:
Müller et Schubert, à la bourrasq
Page 871 and 872:
LISZT Schubert-Transkriptionen - II
Page 873 and 874:
plappernde Bach, der die Aufmerksam
Page 875 and 876:
Die zweite Schallplatte schließt m
Page 877 and 878:
eiden Strophen des Liedes stark ver
Page 879 and 880:
Page 881 and 882:
COMPACT DISC 2 [74'05] Schwanengesa
Page 883 and 884:
appreciate that the storm outside i
Page 885 and 886:
consists of just the first paragrap
Page 887 and 888:
like approach to the piece, and the
Page 889 and 890:
LISZT Transcriptions de Schubert -
Page 891 and 892:
d’une longue et pieuse coda. Pour
Page 893 and 894:
15 mise en musique touchante par Sc
Page 895 and 896:
LISZT Schubert-Transkriptionen - II
Page 897 and 898:
LESLIE HOWARD © Adam Scott ersten
Page 899 and 900:
asende Mittelteil einen ganz andere
Page 901 and 902:
deutlich erkennbar, daß diese Ausg
Page 903 and 904:
Liszt WEBER AND SCHUBERT Transcript
Page 905 and 906:
vary repeated phrases that the extr
Page 907 and 908:
LISZT Transcriptions de Schubert et
Page 909 and 910:
exécution avec orchestre; elles ap
Page 911 and 912:
heutzutage vorwiegend Schuberts Tex
Page 913 and 914:
Recorded on 2 May, 26 June and 19 A
Page 916 and 917:
LISZT THE COMPLETE MUSIC FOR SOLO P
Page 918 and 919:
p À la chapelle Sixtine - Miserere
Page 920 and 921:
Liszt composed his Grand Solo de co
Page 922 and 923:
(see Volume 13) it is interesting t
Page 924 and 925:
Paralipomènes La Dante-Sonate à d
Page 926 and 927:
la première, est la plus insaisiss
Page 928 and 929:
Paralipomènes Die ursprüngliche D
Page 930 and 931:
pathétique.) Der Begräbnismarsch
Page 932 and 933:
Nummern um einen Halbton nach unten
Page 935 and 936:
Page 937 and 938:
H] Troisième Valse oubliée with a
Page 939 and 940:
which makes much use of reckless le
Page 941 and 942:
Further variant versions of waltzes
Page 943 and 944:
The first version of Huldigungsmars
Page 945 and 946:
of the Breitkopf version, which is
Page 947 and 948:
LESLIE HOWARD 'A virtuoso in the tr
Page 949 and 950:
(volume 26), sans pour autant aspir
Page 951 and 952:
D'autres variantes de valses suiven
Page 953 and 954:
La version simplifiée du Grand Gal
Page 955 and 956:
Liszt à sa pièce pour piano origi
Page 957 and 958:
cycle, et il est douteux qu'une per
Page 959 and 960:
(Teil 26) vorausahnen, noch ohne de
Page 961 and 962:
Das unbetitelte Blatt mit einer pol
Page 963 and 964:
aufgeführt, und die Bearbeitung f
Page 965 and 966:
Themen umfaßt, und in den Schlußt
Page 967 and 968:
und mit demselben blauen Stift hat
Page 970 and 971:
Liszt THE COMPLETE WORKS FOR SOLO P
Page 972 and 973:
COMPACT DISC 3 - 65'45 1 Gaudeamus
Page 974 and 975:
THE FIFTY-SEVENTH and last volume o
Page 976 and 977:
COMPACT DISC TWO The second disc of
Page 978 and 979:
Magyar theme bq we know from the te
Page 980 and 981:
It is very sad indeed that La Mandr
Page 982 and 983:
The Ländler 3, Dumka 4, and Air co
Page 984 and 985:
LESLIE HOWARD Embracing the reperto
Page 986 and 987:
gentillesse et pour nous avoir auto
Page 988 and 989:
dans la même tonalité - même si
Page 990 and 991:
DISQUE COMPACT 3 La seconde version
Page 992 and 993:
L’Harmonie nach Rossinis Carità
Page 994 and 995:
La Marche funèbre 6 fut la premiè
Page 996 and 997:
Raritäten, Kuriositäten, Albumbl
Page 998 and 999:
Der erste Entwurf einer Klavierfass
Page 1000 and 1001:
Das Programm wird mit achtzehn Albu
Page 1002 and 1003:
eine, auf der vorliegenden CD einge
Page 1004 and 1005:
gleichen Namens in der Suite Weihna
Page 1006 and 1007:
unvollendeten Arrangement dar. Wie
Page 1008:
FRANZ LISZT Drawing by George T Tob
Page 1011 and 1012:
Three early drafts of pieces in the
Page 1013 and 1014:
day players in Hungarian orchestras
Page 1015 and 1016:
The rest of the manuscript contains
Page 1017 and 1018:
pianist: the complete solo piano mu
Page 1019 and 1020:
utilise le chant Hry„ dans le pre
Page 1021 and 1022:
Il est impossible de savoir combien
Page 1023 and 1024:
Liszt - Neuentdeckungen ls 1999 die
Page 1025 and 1026:
mittelschweren Sammlung aufgab. Das
Page 1027 and 1028:
die vorliegende Musik die erste uns
Page 1029 and 1030:
Liszt NEW DISCOVERIES - 2 LESLIE HO
Page 1031 and 1032:
the 1853 set - as part of Bénédic
Page 1033 and 1034:
mentioned in the check-list above.
Page 1035 and 1036:
Postcript: an unfortunate glitch in
Page 1037 and 1038:
Leslie Howard was born in Australia
Page 1039 and 1040:
s’affirma au fil des ans. Après
Page 1041 and 1042:
dans la liste supra. La septième p
Page 1043 and 1044:
Post-scriptum: une malheureuse mala
Page 1045 and 1046:
mit dem Einzelstück von 1833/34 (s
Page 1047 and 1048: 7 Chopin [das Stück konnte nicht i
Page 1049 and 1050: Auf den letzten Blättern des Skizz
Page 1051 and 1052: Wenn Ihnen die vorliegende Aufnahme
Page 1053 and 1054: Liszt NEW DISCOVERIES VOLUME 3 LESL
Page 1055 and 1056: COMPACT DISC 2 [62'00] 1 de Wielho
Page 1057 and 1058: LISZT wrote two major works on Span
Page 1059 and 1060: “Pretty girl from Tisza district
Page 1061 and 1062: LESLIE Howard Annual re-engagements
Page 1063 and 1064: avez peu de foi ? Alors il se leva,
Page 1065 and 1066: Le manuscrit de Wilde Jagd : Scherz
Page 1067 and 1068: erleben. Das Wunder stellt folgende
Page 1069 and 1070: diese Version erschien zum ersten M
Page 1071 and 1072: Recorded in All Saints’ Church, E
Page 1074 and 1075: T THE RECITATIONS HE WORKS recorded
Page 1076 and 1077: itself runs to some thirty verses a
Page 1078 and 1079: L LES RECITATIONS E MÉLODRAME de s
Page 1080 and 1081: Der traurige Mönch (Ballade von Ni
Page 1082 and 1083: en lui-même contient une trentaine
Page 1084 and 1085: Die Werke, die hier in der Aufnahme
Page 1086 and 1087: omantisch, und die Fingerabdrücke
Page 1088 and 1089: 4 A holt k¤ltapple szerelme Zeng a
Page 1090 and 1091: JÔ hosszı az Âj ott, meszzi a ha
Page 1092 and 1093: 5 Sl¨poj I Knqz; vy¨xal, rano6 sr
Page 1094 and 1095: XIV XV XVI I lnk, ozaren, ego t¨m,
Page 1096 and 1097: XXVIIIQ mnil,5 zti gusli dlq knqzq
Page 1100 and 1101: it for the viola virtuoso Hermann R
Page 1102 and 1103: trouve à la fin de la Marche des P
Page 1104 and 1105: am Ende des Pilgermarschs in Harold
Page 1106 and 1107: Music for Piano and Orchestra - 1 L
Page 1108 and 1109: COMPACT DISC 2 - 79'07 Concerto in
Page 1110 and 1111: Concerto No 2 was finally ready in
Page 1112 and 1113: irae in his Symphonie fantastique,
Page 1114 and 1115: the tutti the coda begins with a re
Page 1116 and 1117: from the manuscripts—one for solo
Page 1118 and 1119: LISZT Musique pour piano et orchest
Page 1120 and 1121: développement par transformation d
Page 1122 and 1123: occurrence des deux premières phra
Page 1124 and 1125: développement et récapitulation,
Page 1126 and 1127: avait déjà réalisé une copie po
Page 1128 and 1129: LISZT Musik für Klavier und Orches
Page 1130 and 1131: Tradition erhalten, zum Beispiel zu
Page 1132 and 1133: gesamte Orchester eine Rolle spielt
Page 1134 and 1135: Manuskripte belegen, daß er im Zei
Page 1136 and 1137: Scherzando-Form mit eingeschobenen
Page 1138 and 1139: Music for Piano and Orchestra - 2 L
Page 1140 and 1141: COMPACT DISC 2 - 77'47 Concerto pat
Page 1142 and 1143: eady in 1861, but by this stage Lis
Page 1144 and 1145: the form of a polonaise, and ending
Page 1146 and 1147: eing replaced by more solid chords
Page 1148 and 1149:
obvious to the ear: the introductor
Page 1150 and 1151:
that will not return 1, and a piano
Page 1152 and 1153:
15 rendre plus maître de son art),
Page 1154 and 1155:
Sayn-Wittgenstein. Ce cas est néan
Page 1156 and 1157:
du scherzo et la dernière page d
Page 1158 and 1159:
l’interruption du glissando (le b
Page 1160 and 1161:
comme le Concerto en style hongrois
Page 1162 and 1163:
aber da er später die Soloversion
Page 1164 and 1165:
locken. Wie Iwo und Pamela ZaÏuski
Page 1166 and 1167:
einen Ganzschluß folgt das Scherzo
Page 1168 and 1169:
die Musik wieder der Fassung für z
Page 1170 and 1171:
abschließende Allegro con fuoco cl
Page 1172 and 1173:
Particular thanks are due to Orches
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PIANO MUSIC - Abeille Musique

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