Album insights
This piano evening, a palindrome with an encore, brings together various works including somewhat ephemeral pieces, those of greater permanence, occasional compositions, and transcriptions of versions that enjoy greater recognition today than the original forms Liszt once published. Liszt used the student song "Gaudeamus igitur" in various pieces, infusing them with extroverted paraphrases that are characteristic of his style. The work for the Jena Academy's centennial celebrations shows Liszt's mature years, featuring improved fugato sections, varied tonality, and a celebratory tone.
The Italian transcriptions are rare gems, shedding light on forgotten composers like F. Pezzini and Giuseppe Donizetti. Pezzini's "Una stella amica—Valzer" and Donizetti's "Grande Marche" showcase their talent, with Liszt's interpretations reviving their essence. Liszt's encounter with Tirindelli's works in Rome led to the preserved "Seconda Mazurka per pianoforte," a poignant piece that Liszt expanded with thoughtful variations. The racial transcriptions, appearing in their final forms, offer an intriguing juxtaposition with Liszt's original concepts, showcasing his evolving interpretations of works by composers like Alyabjew, Bulhakow, and Wielhorski.
The triptych at the heart of this series unveils Liszt's initial versions of original pieces, exemplifying his early creative ideas. The Hungarian Marches and the Festmarsch zur Säkularfeier von Goethes Geburtstag, in their first conceptions, provide glimpses of Liszt's development process, later transformed into richer, orchestral compositions. Liszt's Ballade No. 2 underwent revisions, resulting in an impressive final version with a dynamic coda hinting at military music influences and an alternate quick finale sketch. Liszt's artistic genius shines through in both the original and revised versions of the ballade, each offering unique insights into his compositional journey.