FRANZ LISZT 21 SELECTED PIANO WORKS
Edited by Joseph Banowetz
Foreword ...... 3 About the Composer...... 3 Contents Liszt as a Pianist...... 6 About the Transcriptions...... 6 About This Edition ...... 7 Suggestions for Further Reading...... 8 About the Pieces in This Collection...... 9
FRANZ LISZT: 21 SELECTED PIANO WORKS track page Ehemals, from Weihnachtsbaum, S. 186/10...... 1 . . . .15 Étude, Op. 6, No. 7; S. 136/7...... 2 . . . .20 Ich liebe dich, S. 542a (posth.)...... 3 . . . .24 Liebeslied: Widmung (easier version), S. 566 (posth.) (Robert Schumann, trans. by Liszt)...... 4 . . . .28 Liebesträume: 3 notturnos, S. 541 No. 2: Gestorben war ich (first version)...... 5 . . . .32 No. 3: O lieb, o lieb, so lang du lieben kannst ...... 6 . . . .33 Piano Piece in A-flat Major, S. 189a (posth.)...... 7 . . . .40 Marche de Rákóczy–Édition populaire pour piano, S. 244/15. . . . 8 . . . .42 Resignazione, S.187a (posth.) ...... 9 . . . .50 Romance, S. 169 (posth.)...... 10. . . .51 Romance oubliée, S. 527...... 11. . . .56 Ruhig, S. 167a (posth.)...... 12. . . .58 Scherzo, S. 153 (posth.)...... 13. . . .60 Six Consolations, S. 172 No. 1 in E Major...... 14. . . .63 No. 2 in E Major...... 15. . . .65 No. 3 in D-flat Major ...... 16. . . .69 No. 4 in D-flat Major ...... 17. . . .74 No. 5 in E Major...... 18. . . .76 No. 6 in E Major...... 19. . . .80 Ständchen, S. 560/7 (Franz Schubert, trans. by Liszt)...... 20. . . .85 Valse oubliée, No. 1, S. 215/1...... 21. . . .89
This volume is dedicated to Martin Anderson. Joseph Banowetz
2 Liszt as a Pianist About the Transcriptions It is difficult to appreciate the enormous impact Liszt The transcription was enormously popular during the had on the development of piano playing. His expansion 19th century. Liszt, in addition to being one of that of the then technical demands made on the performer century’s most original composers, was a transcriber of still challenges the best virtuosos of today. Even now, genius, not only of the music of others, but of his own certain works of his composed during his years of touring compositions as well. He later wrote that he was the contain passages that border on the unplayable. Liszt first to describe and differentiate between such compo- developed new standards for the recital as such, and sitions as transcriptions and paraphrases. For Liszt, a forced piano manufacturers to model their instruments transcription had to remain very close to the original so as to keep pace with his technical demands. He was source, whereas a paraphrase could display much more the first piano virtuoso to perform in profile to his audi- freedom, with the arranger being allowed a far greater ence, for until then it had been customary for players range of modifications to the original. to face the audience. His concerts, especially during Unfortunately, during the early years of the 20th century, his touring years, generated hysteria similar to that of a with an increasing concern among musicologists for modern rock concert. unedited Urtext original scores, the transcription as Leading musicians of his day were uniform in their an art form became something of a dirty word among praises. Even Chopin, who was often caustically critical musical purists. Any musical composition that altered of other pianists, wrote, “Liszt is playing my études, and the composer’s original text was considered inferior and transporting me outside my respectable thoughts. I crude. Yet, as the eminent Liszt scholar Alan Walker should like to steal from him the way to play my own (b. 1930) has pointed out, “There is a purely musical études!”5 Clara Wieck (1819–1896), who was later to defense of arrangements that is so simple nobody ever become the foremost woman pianist of her time and the thinks of it. You cannot tell, simply by listening, which wife of Robert Schumann (1810–1856), wrote, “Liszt is the arrangement and which is the original… If the played at sight what we toil over and at the end get arrangements really were a lower form of musical nowhere with… Besides Liszt, other virtuosos appear activity, why do they not reveal themselves for what so small!”6 Sir Charles Hallé (1819–1895), an English they are from the moment they start to sound?”10 It pianist and conductor, wrote, “For him there were no is also conveniently forgotten that Johann Sebastian difficulties of execution, the most incredible seeming Bach (1685–1750) himself made a significant number child’s play under his fingers… The power he drew from of transcriptions of music by his contemporaries. For- his instrument was such as I have never heard since, but tunately, the ill-informed, narrow-minded hatred of the never harsh, never suggesting ‘thumping.’”7 Although purists for transcriptions has strongly eroded, so that there are differing accounts of the size of Liszt’s hands, today transcriptions by such figures as Ferruccio Busoni Carl Lachmund (1853–1928), a pupil of Liszt’s from (1866–1924), Ignacy Friedman (1882–1948), Leopold 1882–84, stated that Liszt commented at a lesson, “The Godowsky (1870–1938), Sergei Prokofiev (1891–1953), public credits me with having a very large hand, but you Sergei Rachmaninoff (1873–1943), and, of course, Liszt, see I can just stretch this 10th to play it quietly.”8 On are once more extremely valued by both performers and this topic, the American pianist Amy Fay commented, the public. “His hands are very narrow, with long and slender A significant number of Liszt’s compositions included in fingers that look as if they have twice as many joints as the present anthology are either transcriptions or else other people’s. They are so flexible and supple that it served as the bases for later transcriptions by him. Tran- makes you nervous to look at them.”9 scribing was in integral part of Liszt’s creative activity, and demonstrated a vital and unique part of his musical genius. Perhaps no other composer after Liszt has displayed such mastery over the art of transcription!
5 Harold C. Schonberg, The Great Pianists (New York: Simon and Schuster, 1963), p. 141. 6 Ibid., p. 159. 10 7 Ibid., p. 159. Alan Walker, “Liszt and the Schubert Song Transcriptions,” 8 Franz Liszt: The Schubert Song Transcriptions for Solo Piano. Ibid., p. 168. Series III: The Complete Schwanengesang. (Mineola, New 9 Music-Study in Germany, pp. 205–206. York: Dover Publications, Inc., 1999), p. xiii.
6 About the Pieces in This Collection
Ehemals, from Weihnachtsbaum, S. 186/10...... 15
Ehemals (Old Times) is one of a set of 12 pieces under the title “Christmas Tree: 12 piano pieces—for the most part easy to play.” Liszt wrote two versions, one for solo piano and the other for one piano, four hands. He began composing them in 1874 during the time he was staying at the Villa d’Este at Tivoli, just outside Rome. After further revisions, the two versions were published in 1882 by Adolph Fürstner in Berlin. The set is dedicated to Daniela von Bülow, the daughter of Hans von Bülow, Liszt’s favorite pupil, and Liszt’s daughter Cosima. Some of the set contains arrangements of Christmas carols. Ehemals, however, is thought by many to evoke the memory of Liszt’s first meeting with Princess Carolyne Sayn-Wittgenstein, who had been Liszt’s lover since their meeting in the Ukraine in 1847.
Étude, Op. 6, No. 7; S. 136/7...... 20
According to Liszt, the 12 Études, Op. 6, were written in 1826, when he was age 13, then printed a year later by the French publisher Boisselot in Marseille as his first opus. A subsequent edition appeared around 1838, which was printed in Leipzig by Hofmeister, this time as Liszt’s Op. 6. Liszt dedicated the entire set to Lydie Garella. Little is known of Garella except that she played duets on the piano with him, gave him candy, and was a hunchback. In 1837 and 1851, Liszt wrote two huge extended versions of 11 of the 12 Études in the Op. 6 set. No. 7 became the 11th Transcendental Étude entitled Harmonies du soir (Evening Harmonies). This incredible growth from the youthful works of Op. 6 to the later Transcendental Études is one of the most remarkable musical transformations in the history of music.
Ich liebe dich, S. 542a (posth.)...... 24
Ich liebe dich (I Love Thee) is another of Liszt’s many transcriptions. It originally was a song by Liszt, which was written in 1857 and set to words by Friedrich Rückert (1788– 1866). Liszt included the words in the piano score. The translation is as follows: I love thee, because I must; I love thee, because I cannot do otherwise; I love thee, following Heaven’s command; I love thee, bound by a magic spell.
I love thee, as the rose her leafy bush; I love thee, as the sun his bright beam; I love thee, because thou art my life’s breath; I love thee, because to love thee is my life.
9 20
Étude
Franz Liszt (1811–1886) Op. 6, No. 7; S. 136/7
Allegretto con molto espressione = 96 a q 5 2 5 4 1 2 1 3 4 3 4 œ œ œ b 4 œ œ bœœ œ œ œ & b b 4 ≈ œ œ œ œ œ œ bnœœ œœ nœ bœ œ nœ bœœ œ œœ œœ dolce (sempre legato) ( p) œ œ œ bœ œ bœ œ ? b 4 œ nœ bœ nœ œ œ 3 1 4 1 œ b b 4 3 1 œ2 2 1 ˙œ 1 4
3 4 3 œ 2 1 b œ œ œbœœ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b ≈ œ œ œ œ œ œ bnœœ œœ nœ bœ œ nœbœœ œ œœ œœ œœ œ œ œ œ œ œ œ œ
œ œ bœ ? œ œ bœ ˙œ nœ bœ nœ œ b œ 2 1 3 œ œ œ& b b 1 œ œ œ œ œ ˙œ 5 œ œ œ
5 6 4 5 5 1 1 4 4 4 2 2 4 4 1–2 3 2 œ œ 2 2 b œ œ œ œ œ nœ œ œ bœ œ œ œ œ œ bœ œ œ œ & b b œœ œ œ œ œœ œ bœ œ nœ œ œ œ nœ œ œ nœ œ œ œ bœ bœ œ rit. œ œ œ œ œ œ b ? bœ œ œ ? œ œ œ bœ bœ œ œ 1 1 b b & œ œ œ 2 1 2 & bœ œ œ2 œ3 œ œ4 œ3 œ œ1 œ œ œ œ œ œ4 œ œ œ4 œ3 1 1 1 1 3 1 1 w5 2 2 3 3 5
a The metronome indication is by Liszt. All indications for slurs and phrases are as in the original. 42 Marche de Rákóczy Édition populaire pour piano (Rákóczy March–Popular Edition for Piano) Franz Liszt (1811–1886) S. 244/15 Allegro deciso ed energico assai ( = 160–168) q ´ ´ 1 3 œ 1 3 œ 2 4 # œ # œ c Œ œœ ‰ Œ œœ ‰ & J J œ œ œ œ œ œ œ nœ œ. #œ nœ œ. #œ nœ œ. #œ #œ. . œ. . . œ. . . œ. . . S´ ...... ´ ƒ œ œ ? c Œ #œ ‰ Œ #œ ‰ œ œ œ œ œ œ œ œ œ œ J nœ œ #œ nœ œ #œ nœ œ #œ J #œ œ œ œ nœ œ #œ nœ œ #œ nœ œ #œ #œ œ. œ. . œ. œ. . œ. œ. . œ......
5 2 4 4 1 3 3 2 2 . . . . & #œ œ #œ œ œ œ œ œ #œ ˙ œ #œ œ œn˙ œ #œ œ. œ #œnœ. œ. nœ nœ œ#œ œ œ œ œ œ œ ˙ ˙ ˙ ...... sempre ƒ . . ˙ ? œ œ #œnœ œ nœ œ œ œ œ œ ˙ ˙ œ #œ nœ œ œ œ œ ˙ ˙ 4 #œ œ. œ #œnœ. œ. nœ nœ œ. œ. œ ˙ œ...... œ. œ. .
10 4 3 2 1 2 4 4 3 1 5 2 5 1 1 j 5 & ˙œ œ œ#œ œ. œ œ œ#œ œ œ œ#œ œ #œ#œ œ œ œ #œ œ 4 ˙ ˙ œ œ œ œ œ œ ˙ œ#œ œ œ œ#œ œ œ œ œ
? ˙ œ Œ #œ œ œ œ#œ œ #œ œ œ œ 5 ˙ œ 3 ˙ 4 #œ œ œ œ œ ˙ 4 ˙ #œ œ œ œ
5 5 14 2 ( ) 1 4 4 1 . . ˙ œj œ#œ œ œ & 45 ‰Œ #œ c œ #œ œ œ œ œ œ # œ ˙ œ#œ œ œ ˙ ˙ œ œ#œ3 œ œ œ œ œ œ ˙ ˙ . œ œ œ œ œ. œ. ˙ j . . . ˙ ˙ ? 5 # ˙ œ ‰Œ Œ c œ œ œ œ œ œ ˙ ˙ 4 1 œ œ œ ˙ ˙ ˙ 2 œ œ œ . . . œ. ˙ 63 Six Consolations
No. 1 in E Major Franz Liszt (1811–1886) S. 172/1
Andante con moto ( = 92–96) q 4 3 4 3 # ## # 4 Œ œ œ & 4 ˙ œ œ ˙ œ œ œ œ ˙. œ. œ ˙. œ.œ œœ œœ œ œ ( p) dolce # ? ## # 4 Œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ 2 ˙1 . ˙ . œ5 5. .
4 5 4 3 4 1 2 1 4 5 ¯ ¯ ¯ ¯ # ## & # ˙ œ œ œ #œ ˙ œ ˙ ˙ œ ˙ œ œ˙ #œ nœœ Œ Œ œ Œ œ Œ œ Œ œœ . . . . ? #### ˙ Œ Œ Œ Œ Œ 1 œ œ œ œ œœ ˙4 œ. . œ. .
7 1 2 #### œ ˙ œ j & œ œ œ ˙œ‹œ #œ ‰ œ Œ œœ œ #œ #˙ Ó # ? # # Œ ˙ œ Œ Œ & ˙ # œ1œ œ œ ˙ œ 2 œ œ2 ˙1 5 ˙. 2. œ 4 .
10 3 3 # # # # ˙ œ #œ œ œ ˙ œ ‰ j ˙œ#œ œ œ & Ó ‹œ Œ œ Ó ‹œ Œ œ. . œ. . # # ? œ œ ? œ œ # # Œ œ Œ Œ & ˙ Œ œ Œ & 1 2 ˙ œ 3 5 ˙ . œ. 85 Ständchen (Serenade) Franz Schubert (1797–1828) Transcribed by Franz Liszt (1811–1886) S. 560/7
2 Tempo rubato ( = 69–72) 3 q b 3 ‰ ‰ ‰ ‰ œ œ. j & 4 œ œ œ œ œ œ œ œ œ œespressivo œ œ œ. œ œ. œ œ œ. œ œ. œ œ œ. œ œ. œ #œ œ. œ œ. œ π ...... P œ œ œ œ œ ? 3 ‰ œ œ œ ˙. . ˙. 2 b 4 ˙ ˙. ˙. 5 a (Pedale à chaque˙ mesure) ˙ . ˙. ˙. ˙. .
6 b gli accompagnamenti sempre staccato e 5 4 4 1 3 1 3 3 3 2 3 3 2 π3 œ. œ œ . b œ. j j #œ. œ œ œ œ ˙. & œ œ œ œ œ. œ œ œ œ ˙. œ. J 3 π ...... œ œœœ œœœ #œ œ œ œ #œ œ œ œ œ œ. œ œ. œ œ. ? ‰ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ j œ œ œ jœ œ œ œ2 œ œ 2 2 œ b ˙. ˙. 4 4 œ 3 ˙. œ 5 œ una corda 11 2 3 4–5 4 5 4 3 1 3 1 2 1 2 3 2 œ. j œ. œ œj j & b œ œ œ œ œ œ œ œ. œ œ œ œ ˙ ‰ œ. œ œ œ œ J J œ œ. œ3 œ (P) π j œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ . . ? ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ ‰ œ. œ œ. œ œ. ˙. ˙. 2 2 œ œ œ b ˙. 4 4 j 2 ˙. 5 œ 5 tre corde una. corda
16 3 3–5 3 5 1 2 4 ( 3 2 3 ) œ. œ œ b ˙. œ. #œ œ. œ j œ œ œ œ œ. œ ˙. & ˙. J (œ. œ) J π F . . #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ. œ œ. œ œ. ‰ œ œ œ ‰œœ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ jœ œ œ ˙. 2 2 b ˙. 4 ˙. 3 œ. 5 ˙. tre corde una corde a Pedal at each measure. b The accompaniment always staccato and pianissimo.