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La Bayerische Staatsbibliothek de Munich a fait une découverte exceptionnelle en 2007, qui constitue littéralement une petite sensation: il a été mis au jour en effet un lied de Liszt, jusque-là inconnu, pour voix (soprano) et piano, mis par écrit par le compositeur lui-même. La composition, du meilleur Liszt, date de 1843 et est dédiée au baron munichois Franz von Pocci. C'était là une raison amplement suffisante pour les Éditions Henle de présenter ce manuscrit sous la forme d'un fac-similé d'excellente qualité, offrant qui plus est la transcription de la musique dans un texte moderne ainsi que des informations détaillées sur les circonstances fascinantes de la genèse de l'oeuvre. Un pur régal pour celui qui connaît et aime Franz Liszt.
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EAN: 9790201832203
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Liszt’s piano cycle “Harmonies poétiques et religieuses” (HN 639) was inspired by religious-philosophical poems of the French Romantic Alphonse de Lamartine. Whereas the cycle as a whole remained comparatively unknown, single works have become an established part of the demanding standard repertoire for pianists. Aside from “Funérailles” (HN 748), the same is true of the longest work in the volume “Bénédiction de Dieu dans la solitude”. This work, which is particularly expressive musically, is now appearing for the first time in our catalogue as a single volume; it is prefaced by Lamartine’s text in three languages. The fingering is by the composer.
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EAN: 9790201809847
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Following the revision of the facsimile of the Piano Sonata in b minor (HN 3227), Henle is now proud to present the corresponding new Urtext edition. With the help of the splendid facsimile reproduction we were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt’s; in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: “It is only blind noise – not a single healthy thought, everything confused.” Today we view this differently. The new edition of this key piano work is further enhanced by the sophisticated fingerings supplied by the piano titan Marc-André Hamelin.
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EAN: 9790201805597
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The substantial cycle, published in 1853, unites splendid concert pieces (Bénédiction and Funérailles) and simple, short compositions, which partly make use of Gregorian modes. The volume was composed over a long period of time. As early as 1835 No. 4 was published in a compositionally revolutionary first version entitled Harmonies poétiques et religieuses after the volume of poetry with the same title by Lamartine. In 1853 Liszt distanced himself from the important early piece, presenting it in a slightly smoother form as Pensées des morts, although it still had considerable impact. Henle has reproduced the bold early work in the appendix to this volume (Bénédiction and Funérailles are available as separate editions HN 984 and 748).
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EAN: 9790201806396
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Robert Schumann’s "Frühlingsnacht" ("Spring night") was one of his most popular songs even in the 19th century. Franz Liszt made a piano arrangement of it that in the space of under 70 measures emerges as a veritable concert piece. It makes high demands on the pianist’s stamina, especially in its triplet chords. But this did not hinder its wide popularity. The first edition was published in 1872 and enjoyed many reprints during Liszt’s lifetime. In 1895, this piece was also republished in a newly engraved edition. With its abundant technical indications, assorted ossias and the incorporation of the text of the poem above the music, Liszt’s arrangement makes the highest demands on a music engraver – a challenge that this Henle Urtext edition is delighted to meet.
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EAN: 9790201812045
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In his virtuosic piano arrangement of Schumann’s “Widmung” (“Du meine Seele, du mein Herz”); Franz Liszt transformed this intimate song into a dramatic declaration that reaches its powerful climax at the phrase “Mein guter Geist, mein bess’res Ich”; using chords to be played con somma passione. In Liszt’s autograph the melody is overlaid by the song text, but he changes the title to “Liebeslied”. The first edition, published in Leipzig in 1848, retained this heading, and thus the song is still known today under two different titles. In collaboration with Liszt scholar Mária Eckhardt we present this best-known of all of Liszt’s Schumann arrangements in a reliable Henle Urtext quality edition.
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EAN: 9790201813561
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Liszt wrote his two Ballades in 1845–49 and 1853 during a time of personal turmoil. The successful virtuoso increasingly saw himself as a composer who strove after formal clarity, as shown by the B minor sonata that was also composed in 1853. When Liszt began work on the first Ballade, he had just separated from his mistress of many years, Marie Comtesse d’Agoult. He called the first sketches for the work Dernières Illusions. A better-known work is the second Ballade in B minor, with whose ending he struggled (the two fortissimo endings in Liszt’s autograph have been published for the first time in the appendix to our edition).
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EAN: 9790201804903
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This work, in which Liszt draws on five different folk themes, is surely one of his most ingenious Hungarian Rhapsodies. It offers a unique mix of melancholy, glittering keyboard acrobatics and stormy, rousing dance. The rhapsody was dedicated to Joseph Joachim; it was so popular that the original version for piano was soon arranged for violin and piano, for piano four hands and also for orchestra. We now present the original in proven Urtext quality. As with all the other rhapsodies published to date, a preface by the Hungarian Liszt scholar Mária Eckhardt precedes the musical text.
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The “Valses oubliées” belong to Liszt’s late work, characterised by themes such as memory, sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludes to the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s, but embed typical melodic and rhythmic clichés from salon waltzes in new harmonic progressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. Our new edition affords pianists an opportunity to discover all four waltzes and their characteristic idiosyncrasies.
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EAN: 9790201809779
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These six little piano pieces are among Liszt’s best-known works and are comparatively easy to play – a rarity amongst the composer’s often eccentric and virtuosic works. In 1844 Liszt had already begun work on the cycle that was only published in 1850. Although he had the pieces engraved, this version was never actually printed. He replaced no. 3, a precursor to the first Hungarian Rhapsody, with a piece in the style of a nocturne by Chopin (it can occasionally be heard as an encore at piano recitals), and he simplified the remaining numbers. In the second part of our edition we have reproduced the complete early version for the first time.
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Liszt composed this virtuoso work for the dedication of the refurbished organ in Merseburg Cathedral. The manuscript was, however, only completed after the inaugural concert and the first edition was published in Holland around 1859. Today, the work is mainly played in the second version of 1872, which Liszt made at the suggestion of his pupil A.W. Gottschalg. The latter persuaded the composer to somewhat simplify the technical demands, which reflected the intentions of the older Liszt. Our Urtext edition comprises the 1872 version; in addition, the appendix contains an ossia version of measures 130 –166. The changes between the first and second versions are discussed in the preface.
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Online-tutorial available at Henle Masterclass The Rákóczi march is often referred to as the “Hungarian Marseillaise”. The beginnings of this march song go back to around 1730. In the text, the Hungarians summon Franz II Rákóczi to free his people from the Habsburg oppression. The melody has been arranged many times, e. g. by Brahms and Berlioz, even Liszt made several arrangements of varying degrees of difficulty. He eventually did a “concert arrangement” of the theme in his highly virtuosic Hungarian Rhapsody no. 15. Our Urtext edition opens with a knowledgeable preface by the Hungarian Liszt scholar Mária Eckhardt.
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EAN: 9790201808079
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Liszt drew on three themes from Verdi’s “Rigoletto” in this glittering virtuoso work; its climax is the finale with the theme in the quartet from Act III “Bella figlia dell’amore”. If one ignores the fact that at this point in the opera the betrayal of Gilda's love is made known, the work offers no sign that it was written at a time of deep depression: Liszt’s hope of legally marrying Princess von Sayn-Wittgenstein was slowly disappearing. Maybe Liszt's opera paraphrases are therefore to be understood as memories of happier times in Weimar.
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“Obermann”; the epistolary novel by the French Romantic Senancour, inspired Liszt to write the first volume in his collection “Années de Pèlerinage” (HN 173). A wanderer is searching for his ideals in the solitude of the Swiss mountains. The composer was able to identify with these ideas to such a great degree that he prefaced the eighth piece (“Le Mal de Pays”) with an extract from the novel’s 38th letter. It is this text which also accompanies our edition of the sixth piece “Vallée d’Obermann”. To aid comprehension we have also included translations of the French orginal into German and English. Now the most important composition in the “Années I” is also available in a separate Henle urtext edition.
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EAN: 9790201808130
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These Drei Notturnos appeared in 1850 in two different versions: the first for high voice and piano and the second for piano solo. In the latter version the music is preceded by the song texts (no. I Hohe Liebe, no. II Seliger Tod: with texts by Ludwig Uhland, no. III O lieb, so lang Du lieben kannst: text by Ferdinand Freiligrath). The third Liebestraum – in the best tradition of nocturnes – is one of the most frequently played piano pieces of all. This is not least because it can be played by very skilled amateurs despite its pianistic bravura.
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EAN: 9790201806341
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The pianistically demanding studies “Waldesrauschen” and “Gnomenreigen” were written during the composer’s mature late phase, in which one does not necessarily expect such virtuosic pieces. Liszt composed them in 1862 in Rome for the Grosse theoretisch-praktische Klavierschule by Siegmund Lebert and Ludwig Stark. In so doing he honoured a pledge he had made some time before. Liszt was now teaching a large group of students. The two studies, published in 1863 and independent of the Klavierschule, were dedicated to his extremely gifted pupil Dionys Pruckner. He and other Liszt pupils often played them in concerts.
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Liszt’s ninth Rhapsody is the “Carnival at Pest” – one of the few Hungarian Rhapsodies to which he gave a name. Once again Liszt turns to Hungarian folk melodies and fuses them with improvisatory elements. The result is a dazzling virtuosic firework display. The relaxed atmosphere of a Budapest carnival around 1840 is brought to life – indeed Liszt is said to have recorded several themes when there. Accordingly, the work quickly found its way into European concert halls, and then into those around the world. To use Béla Bartok’s words, Liszt once again succeeds in creating a “work of perfect authenticity”.
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Bis heute gilt Franz Liszt als einer der grössten Pianisten aller Zeiten; ein Über-Virtuose, der auch in seinen eigenen Klavierkompositionen extreme technische Schwierigkeiten aneinanderreiht. Doch keine Angst vor grossen Namen – unsere wohlüberlegte Auswahl leichter und mittelschwerer Stücke aus Liszts riesigem OEuvre ist auch für „Normalsterbliche“ gut spielbar und dabei musikalisch sehr reizvoll. Als lohnendes Ziel winkt als Schlussstück des Hefts die wohl berühmteste Klavierkomposition Liszts, der dritte „Liebestraum“…
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EAN: 9790201818078
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Franz Liszt arranged numerous works by other composers for his instrument, in particular excerpts from the operas by his friend and son-in-law Richard Wagner. He turned to “The Flying Dutchman” twice: alongside Senta’s ballad he also made a brilliant transposition of the spinning chorus (“Summ und brumm, du gutes Rädchen”) from Act 2 for the piano. His “Spinning Song” bubbles over with virtuosic brilliance and has to this day remained one of his best-loved transcriptions. When preparing our Urtext edition, we were also able to consult the autograph score in Weimar and the composer’s own revisions in the archives of the publisher Breitkopf & Härtel.
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EAN: 9790201805856
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Looking back in 1876, Liszt admitted candidly to the publisher Breitkopf & Härtel that his “Wagner transcriptions” had “only served as modest propaganda for Wagner’s noble genius, using the meagre possibilities of the piano”. In fact, in around 1850, Wagner’s operas Der fliegende Holländer, Tannhäuser and Lohengrin – which would later be so successful – were only being performed at the Weimar Court Theatre under Liszt’s baton. Liszt was inspired to compose his Tannhäuser Paraphrase by performances in Weimar of the overture in 1848 and of the whole opera in February 1849. Liszt’s piano arrangement of the overture is a technically brilliant piece of the highest order. It is a further milestone in Henle Publishers’ series of Liszt’s Wagner arrangements. Read more about this edition in the Henle Blog.
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EAN: 9790201810669