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Liszt: Pieces
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Liszt originated the symphonic poem, and although he wrote symphonies, such as the Faust Symphony (1857), most of his orchestral pieces, including Les Préludes and Mazeppa (both 1854), are symphonic poems. In his Sonata in B Minor (1853) he developed the technique of transformation of themes, which completely altered the concept of sonata construction. This technique, together with his chromatic harmony, strongly influenced both Wagner and Richard Strauss.
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Liszt's works in later years are marked with a new reflective nature with greater simplicity of form, yet more extreme in harmony. Criticism of these misunderstood pieces would prompt Liszt to instruct his students not to perform his works in public, as not to hinder their budding careers. While some obeyed others remained resolute to the cause of their great master.
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Liszt was influenced by Paganini's virtuosity and showmanship. He composed numerous difficult pieces transferring Paganini's effects on the violin. Therefore, it was not surprising that like Paganini, Liszt's bravura, demonic technical display drove the audience to a wild excitement.
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These rare and compelling pieces are from Liszt's twilight years of prophetic genius. With 30 intriguing works rounding out this stellar collection this CD is invaluable. When they say, "Liszt hurled his lance into the future," it's many of these works they refer to. Many truly great performances by Leslie mixed with only a few weak moments. Leslie has a tendency to play exceptionally fast at times... destroying the two beautiful Gondola pieces, but his Unstern!-Sinistre, Recueillement, Toccata, Carrousel de Madame P-N, several of the Klavierstück pieces, RW-Venezia, Mosonyis Grabgeleit, Trauervorspiel und Trauermarsch (just to name a few on this disc) are fantastic pieces extremely well played. Other pianists must listen to these pieces.
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After 1842, when "Lisztomania" swept across the European continent, Liszt's recitals were in an overwhelming demand. His admirers praised and courted him, and ladies reputedly fought over his handkerchiefs and green silk gloves as souvenirs, which they often ripped to pieces in their struggle. Some of Liszt's contemporaries saw this kind of worship as vulgar and inappropriate, and eventually came to despise Liszt because of it.
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This FIRST EDITION contains a photograph of the original manuscript at actual size, a modern engraved version, a foreword by Liszt authority Dr. Rena Charnin Mueller, and portraits of both Liszt and Viardot-Garcia from the time the piece was composed. / 1:30 / 490-00899 / $5.95
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