This volume presents easy pieces for piano by great virtuosos. It unites the two greatest, and perhaps best-known, pianists of the 19th century, Frédéric Chopin and Franz Liszt. The technical requirements of these works are very moderate without muting the stylistic characteristics of these two composers. The ability to play an original composition by Liszt in the first years of lessons can be very motivating for the piano student. Also featured in this collection are works by the virtuoso Ferdinand Hiller, to whom Robert Schumann dedicated his Piano Concerto. As in many of the works by Liszt and Chopin, Hiller's works are frequently reminiscent of folk music. His Irländisches Lied and Fandango, included in the collection, are fine examples of 19th-century 'world music'. / Piano

Le fait que les oeuvres pour piano de Franz Liszt nécessitent pas toujours les normes techniques les plus élevées ou sont réputés être réservée à quelques professionnels est prouvé par la présente anthologie de la Wiener Urtext Edition. Il comprend des oeuvres de Liszt qui, à partir d'un niveau facile à intermédiaire technique, encouragent à jouer, plutôt que par des harmoniques par les exigences virtuoses, et permettent encore de faire des progrès dans la technique de jeu qui finalement est bénéfique non seulement pour jouer Liszt. La sélection, allant de pièces faciles comme La cloche sonne ou les Consolations n o 1 et 2 à des oeuvres plus avancées telles que 'Au lac de Wallenstadt 'de' Années de Pèlerinage ', prend également l'aspect de popularité dans le cadre de Liszt littérature pianistique en compte. / Piano

13 Works-One of the most influential musical forces of 19th-century Europe Franz Liszt was the reigning piano virtuoso of his time. This volume contains a rich selection of his finest compositions for solo piano. Reprinted from authoritative early editions.

Compositeur, bon vivant, pianiste, enseignant, showman superstar, conteur, écrivain, entrepreneur, ladies' man, philanthrope et prêtre, Franz Liszt est largement considéré aujourd'hui non seulement comme un grand compositeur, mais aussi comme le plus grand pianiste du XIXe siècle. Pourtant son corps énorme de musique pour piano, tour à tour poétique, étincelant, acrobatique, prophétique, profonde et obsédant, échoua à commander le succès qu'il mérite de son vivant. Dans Liszt, John Bell Young faut examiner de près à cette musique opulente, illuminant ses multiples facettes et défis du pianiste engagés perspective. Jamais sorti des enregistrements des cinq extraordinaires jeunes pianistes sont inclus sur un CD qui l'accompagne. / Piano

Lisztkomponierte dieses virtuose Werk für die Einweihung der renovierten Orgel im Merseburger Dom. Das Manuskript wurde jedoch erst nach dem Festkonzert fertig die Erstausgabe erschien um 1859 in Holland. Heute wird das Werk vor allemin seiner zweiten Fassung von 1872 gespielt die Liszt auf Anregung seines Schülers A. W. Gottschalg erarbeitete. ? Gottschalg überzeugte den Komponisten die technischen Anforderungenetwas zu vereinfachen was den Intentionen des späten Liszt entgegenkam. Unsere Urtextausgabe bringt diese Fassung von 1872; der Anhang enthält darüber hinaus eine Ossia-Version der Takte 130 166. Im Textteil werden dieÄnderungen Liszts gegenüber der ersten Fassung kommentiert.

Franz Liszt
Années de pèlerinage, Première Année - Suisse
Peter Jost (Editeur)
Francesco Piemontesi (Doigtés)
Edition Urtext, reliure paperback
édition révisée
remplace HN 173
Les trois volumes des Années de pèlerinage appartiennent au noyau central de l’œuvre pour piano de Liszt. Dans le premier volume, Suisse, le compositeur traite des impressions recueillies lors d’un long séjour en Suisse, en 1835/36. Les pièces, en majeure partie publiées dès 1840/41, furent ensuite substantiellement révisées par Liszt, et le recueil enrichi de deux numéros, pour atteindre sa forme définitive en 1855. Pour la refonte de l’édition urtext Henle, il a été possible de prendre pour la première fois en compte l’exemplaire – redevenu accessible – ayant servi à la gravure de la première édition. La préface et les remarques exposent de manière détaillée la réévaluation des sources qui en a résulté, ainsi que d’autres avancées dans la recherche lisztienne. Pour la réalisation des doigtés, nous avons pu compter sur le pianiste suisse Francesco Piemontesi. / Partitions classique / Piano - instruments à clavier / Piano / HENLE VERLAG

This authoritative edition presents full-score reproductions of three of Liszt’s best-known symphonic poems. Les Preludes (Symphonic Poem No.3) grew out of the composer’s unpublished choral setting of Joseph Autran’s poem “The Four Elements”, blending stirring martial music and lovely pastoral themes to make this work the most popular of the symphonic poems. Mazeppa (Symphonic Poem No.6) evokes Victor Hugo’s portrayal of the Cossack leader and the symbolic triumph that comes only after defeat: “He runs, he flies, he falls, and he stands up king!” Heroide Funebre (Symphonic Poem No.8) is the last vestige of the monumental Revolutionary Symphony, planned but never completed, suggesting universal brotherhood: a fine, heroic, dignified funeral march. In these richly sonorous works, Liszt explored the concept of the one-movement “transformation of themes,” an approach to composition that Wagner would carry forward in his development of the leitmotif. Liszt’s expanding chromaticism would be no less influential, anticipating the twentieth century’s embrace of atonality. Frequently performed favourites of audiences around the world, these three works are reprinted from the original Breitkopf & Härtel edition.

Die 14 Stationen Des Kreuzwegs. Par LISZT FRANZ. Franz Liszts orgelbegleitete 'Via crucis' für Soli und Chor ist eine musikalische Kreuzwegdarstellung und als solche ein Unikum in der Musikliteratur. Dies gilt nicht nur für das Genre als solches, sondern auch für die musikalische Faktur: ihre progressive Harmonik, ihr Expressivität, ihr abwechslungsreiches Formvokabular. Die Hälfte der 14 Kreuzwegstationen sind reine Orgelsätze bzw. vorwiegend Orgelstücke, technisch zwar nur mäßig anspruchsvoll, musikalisch aber höchst raffiniert. Die Ausgabe enthält ein detailliertes Verzeichnis der vokalen Besetzungsmöglichkeiten, bei denen auch eine Aufführung ganz ohne Solisten denkbar ist. / Musique religieuse / Répertoire / Solistes SATB, Choeur SATB et Orgue

Die 14 Stationen Des Kreuzwegs. Par LISZT FRANZ. Franz Liszts orgelbegleitete 'Via crucis' für Soli und Chor ist eine musikalische Kreuzwegdarstellung und als solche ein Unikum in der Musikliteratur. Dies gilt nicht nur für das Genre als solches, sondern auch für die musikalische Faktur: ihre progressive Harmonik, ihr Expressivität, ihr abwechslungsreiches Formvokabular. Die Hälfte der 14 Kreuzwegstationen sind reine Orgelsätze bzw. vorwiegend Orgelstücke, technisch zwar nur mäßig anspruchsvoll, musikalisch aber höchst raffiniert. Die Ausgabe enthält ein detailliertes Verzeichnis der vokalen Besetzungsmöglichkeiten, bei denen auch eine Aufführung ganz ohne Solisten denkbar ist./ Répertoire / Solistes SATB, Choeur SATB et Orgue

New Liszt Edition III Vol. 1. Par LISZT FRANZ. Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft. Schubert's Fantasy in C major (also known as the 'Wanderer' Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862. This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English. / Date parution : 2023-03-11/ Répertoire / 2 Pianos

Complete Edition. Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes.

Concert Paraphrase for Piano-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?. Infact 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 tocompose 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 afurther milestone in Henle Publishers? series of Liszt?s Wagner arrangements.

Par LISZT FRANZ. This final volume in Liszt?s Années de pèlerinage in the Urtext edition by renowned Liszt scholar, Leslie Howard, contains the Troisième Année ? Italie S163, together with Trois Odes funèbres S516, S516a

Second volume in a Dover series of Liszt's piano transcriptions of Beethoven's nine symphonies includes Symphony No. 6 in F major, Op. 68, Pastorale; Symphony No. 7 in A major, Op. 92; Symphony No. 8 in F major, Op. 93; and Symphony No. 9 in D minor, Op. 125, Choral. Also contains Liszt's handwritten French preface to his transcriptions and an English translation, plus an introduction by Dr. Alan Walker, author of the definitive Liszt biography. Reprint of Volume 2 of Symphonies de Beethoven/Partition de Piano/dediée au Baron H. de Bülow/par F. Liszt, originally published by Breitkopf and Härtel, Leipzig, 1865.

Supplement 8 of the New Liszt Edition contains first versions of Hungarian Rhapsodies Nos 12-21 and two shorter Liszt pieces with a Hungarian connection. All works in the volume appear here for the first time in a scholarly edition. This version of the Hungarian Rhapsodies ensued in 1846-50 from Magyar dallok (Hungarian Songs) Nos 1-11, published in Supplement 7. Piece #13 is based on the Rákóczi March, which Liszt set on several occasions. It had been a vital encore piece since his first concert in Hungary in 1839. Inclusion in this volume of the first version of the piece known as the Mosonyi Funeral March (a forerunner of the much later #7 in the Hungarian Historical Portraits) is especially notable as its autograph manuscript only emerged recently. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This editions contents are identical to those of the hardcover edition with the exception that the critical notes are not included. / Piano