Fantasie Romantique Sur Deux Mélodies Suisses Op 5 No. 1 - Liszt*, Gail Buckingham - The Early Works
Label: Revolution Records - RCF 008 • Series: Revolution Classical • Format: Vinyl LP • Country: UK • Genre: Classical • Style: Romantic
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Two CDs of exceptional rarities. Throughout his career Liszt was an inveterate reviser of his works and much of his best-known output exists in earlier suppressed versions. These are often of great interest in themselves—containing music which was later excluded I Dont Know - The Sewergrooves - Songs From The Sewer, in the case of works commenced in the s and '40s, piano-writing which was later simplified.
Of particular note here is the genesis of what later became the Dante Sonata, one of Liszt's most important works. The first version has a Prima parte and a Seconda parte but it would not be accurate to think of the two movements as being in any way independent of each other. Certainly the first part comes to a full close in F sharp major—some distance from the D minor tonality of the overall work—but the second part contains no new material and brings matters firmly back to the home key.
Listeners familiar with the final version will have no trouble in recognizing many different textures, and there is one strand of thematic material which features Chainsaw Gutsfuck - Mayhem - Live In Leipzig here but which was later expunged.
Tighter though the piece was to become, the first version has a real power and character of its own, and must have astounded those who first heard it, so audacious is it for its time in all respects. Only at this stage is there any implication that there might be something specific in Dante that is referred to, although most speculation on the subject, beyond the general observation that Liszt describes the atmosphere of Inferno to a nicety, is idle.
The piece which eventually came to open the volume— Sposalizio —is offered here in a complete earlier version the manuscript shows signs of much revision, and a substantial part of the piece is still present and legible in an even earlier draft which is at one point rather more harmonically adventurous than the published text, but elsewhere less rich in its part-writing. Liszt composed his Grand Solo de concert for a competition at the Paris Conservatoire—the manuscript is datedalthough most commentators allow that work probably began on the piece in the previous year.
As is well known, Liszt altered the work before publication as Grosses Konzertsolo —see Volume 3introducing an internal slow movement, adding two other passages, and making numerous other smaller Gail Buckingham - The Early Works.
But there is a tightness in the construction of the original work which makes the earlier version in many ways a more satisfying piece, and the section which Liszt was to remove to make way for the added Andante is of rare beauty. The funeral march towards the end of the piece is laid out on four staves, and it is clear that Liszt wishes Fantasie Romantique Sur Deux Mélodies Suisses Op 5 No. 1 - Liszt* upper chords to be sustained whilst the lower drum-roll imitations are to be kept relatively clean.
Of course this is easily possible using the sostenuto pedal of the modern concert grand, but in Liszt can at best have had pianos with divided sustaining pedals—such as Beethoven had had before him. This version was published inand may date from soon after the completion of the original song in at the latest. This version is a piano transcription of the first version for organ, completed in The piano version probably dates from around the same time.
Liszt made the second piano Fossegrimen, Allegro Moderato - Halvorsen* • Kvandal* • Nyhus* - Åshild Breie Nyhus, Ingfrid Breie N using a copy of the first as a starting point, and finally made the second organ version from the second piano version!
All the versions follow more or less the same structural arrangement, but differ in a myriad of details which make for fascinating comparisons. Only the fugal exposition is exactly the same. The twelve pieces correspond in their broad outlines through all the extant versions, but each revision extends phrases—very often to avoid four-bar predictability yet this very predictability is what gives some added attraction to the original version as a possible vehicle for children to play.
In the case of the second piece, the original version is tiny by comparison with the much longer piano piece and choral work which it was to become. Most of the introductions and codas underwent enormous change and expansion, particularly Nos X and XII.
Gail Buckingham - The Early Works is a pity that the original version has never been published nor its arrangement for piano duet, also to be found in Paris, attached to the solo version because it completely avoids the occasional risk of longueur presented by the final version which may be a factor in its relatively rare appearances in concert.
It shows a great deal of reworking and cancelled first thoughts but, in the light of the final published version see Volume 13 it is interesting to see that the long recapitulation of both the Allegri and the Mozart sections was contemplated but rejected in the original version, and the musings in the coda combine elements of the two themes somewhat more assiduously than in the revision.
The early version outstrips the later in the level of terror raised at the climax of the Miserere before the consolation of the Ave verum sets the work at peace. The three Ungarische National-Melodien Im leichten Style bearbeitet make some attempt by transposing the first two numbers down a semitone. Pour la version originale, cf. Jahrhunderts verbrachte. Volume Volume 25 transkribiert wurde. Nur die Fugenexposition selbst bleibt bestehen.
X und XII. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. Franz Liszt The complete music for solo piano, Vol.