FRANZ LISZT (1811-1886) 　　 　　One of the most charismatic personalities to emerge from the nineteenth century, Franz Liszt was probably the greatest pianist who ever lived. Blessed with a natural facility and extraordinary technical command of the instrument, Liszt laid the foundation for grand-bravura romantic pianism. It was Liszt who opened the door for others to follow. Franz Liszt, the celebrated “pop star” of his time, remains the musical “godfather” of all pianists. 　　 　　Born in a little town in the German-speaking part of Hungary, Liszt was extremely proud of his magyar heritage. No matter that he barely spoke a word of Hungarian, he was attached to his homeland and received Hungary’s Sword of Honor for his many philanthropic activities—always generous, he gave to the poor and the needy, raised money for flood relief with his concerts, and also established a national music conservatory, the Liszt Academy. 　　 　　It is not surprising that Liszt was deeply shaken by the loss of three friends who had fought in the failed Hungarian Revolution of 1848 that was waged against Habsburg rule. He wrote Funerailles as part of his collection Harmonies poétiques et religieuses in October, 1849. Frequently mistaken as a lament for his good friend, Frédéric Chopin who died on October 17, 1849, Funerailles was dedicated to the memory of these three fallen Hungarian heroes, all close friends of Liszt. It is a moving tribute, a tone-poem full of gravitas and pathos. The piece recalls their triumphs, their demise and the void that was left in Liszt’s soul. Perhaps this beautiful expression of deep sorrow also served to inspire Tschaikovsky’s Marche Slave, written twenty-seven years later. 　　 　　And now a sorbet to cleanse the palette between two rich courses of a sumptuous feast— we hear Liszt’s miniature, Valse Oubliée No. 1 in F# minor (The Forgotten Waltz) in between two monuments from the piano repertoire. Written towards the end of Liszt’s life, this is a melancholic piece full of nostalgia. Perhaps this is Liszt as an old man looking back on his life and recalling happier memories from his past. How masterful is the ending—with memories reduced to just a shadow of what once had been or what might have been—he leaves us to ponder that uncertainty. 　　 　　 TWELVE TRANSCENDENTAL ETUDES 　　 　　The Twelve Transcendental Etudes are indeed transcendental in their pianism, their range of expression, orchestral sonorities and sheer passion. They go beyond the scope of just technical studies. In Liszt’s hands, they are symphonic tone-poems, written and orchestrated for his favorite instrument. Not surprising that Liszt during the height of his virtuoso career was the only pianist who could play these difficult works. 　　 　　 “Unfortunately one cannot hope to hear music of this kind too often. Liszt created it for himself, and no one else in the world could flatter himself that he could approach being able to perform it.” -Hector Berlioz 　　 　　That is the reason that Liszt revised the 1837 set after his retirement from the concert stage and while living in Weimar produced the 1852 version of his Etudes—so that other pianists might play them. 　　 　　 “My forty years of pottering around with the piano have now made me much more concerned not to torment the player unnecessarily, but to leave it to his discretion to produce the greatest possible effects of tone and strength through moderate effort.” -Franz Liszt 　　 　　Originally he had conceived a set of 48 pieces written in every major and minor key similar to what Bach had done with the Well Tempered Clavier. Only 12 of these came to be written; the first version of these studies dates from 1826, published when Liszt was just 15 years old. Most likely these earlier Etudes were inspired by Liszt’s beloved teacher Carl Czerny who was well known for his own set of technical exercises. Liszt was not happy with these pieces and withdrew the publication; an abridged version of just six etudes was released in 1831. (Interesting to note that Chopin did not publish his first set of Etudes that were dedicated to Liszt until 1833.) Over the years Liszt worked at revising these works, and a more technically difficult second version was published in 1837, probably only performed by Liszt himself. The 1852 version of the Twelve Studies is the one mostly heard today in concert performance—even though Liszt set out to simplify its technical requirements, these compositions still remain a challenge for most modern day performers. 　　 　　 “One ought to see their composer play the Etudes for just as the sight of any virtuosity elevates and strengthens, so much more does the immediate sight of the composer himself, struggling with his instrument, taming it, making it obey every tone.” - Robert Schumann 　　 　　The twelve etudes dedicated to Carl Czerny have been organized in a definite pattern of key relationships, starting with the key of C major as the tonic, followed by its relative minor a third below, and then progressing to its subdominant, also a third below the previous etude. This pattern of descending thirds continues, concluding with the final etude in Bb minor. 　　 　　I. Preludio in C major: Presto This is the warm-up piece for the set. The pianist is improvising with scales and arpeggios up and down the keyboard, preparing himself for what lies ahead. 　　II. Etude in A minor: Molto vivace Beethoven was Liszt’s greatest inspiration and Liszt pays homage to the rhythmic opening motive from Beethoven’s Fifth Symphony. 　　III. Paysage (Landscape) in F major: Poco adagio A lyrical and poignant statement with some unexpected harmonic surprises— much more Chopinesque than Lisztian. 　　IV. Mazeppa in D minor: Allegro Based on the poem by Victor Hugo, Mazeppa is a Polish nobleman tied to the back of a wild horse and condemned to death. Liszt captures the sounds of the horse’s hooves and the desperate ride through the forest. Miraculously Mazeppa survives to become a Cossack hero in Ukraine even if the horse seems too exhausted to join him. 　　V. Feux Follets (Will-o’-the-wisp) in Bb major: Allegretto One of the most technically demanding etudes of the entire set, this piece is characterized by its speed and its lightness. 　　VI. Vision in G major: Lento Accompanied by the dark sounds of the Dies Irae, visions of ghosts are brought to life. A wonderful study for exploring the darker sonorities of the keyboard. 　　VII. Eroica in Eb major: Allegro More homage to Liszt’s hero Beethoven! This etude also recalls the octave writing in Liszt’s Funerailles. 　　VIII. Wilde Jagd (Wild Hunt) in C minor: Presto furioso Fast and furious is this demanding chase through the forest! And after all is said and done, C major emerges victorious! 　　IX. Ricordanza (Remembrance) in Ab major: Andantino Liszt’s nod to Chopin. A beautiful recollection from the past performed with tenderness and a hint of melancholy. 　　X. Etude in F minor: Allegro agitato molto A tour-de-force in F minor. No title necessary for this exciting composition! 　　XI. Harmonies du Soir (Evening Sounds) in Db major: Andantino Unusual harmonies define this introspective tone-poem starting with the distant tolling of the bells in its opening measures. A wonderful study in building sonority and painting a colorful sound-canvas. 　　XII. Chasse-neige (The snowplow) in Bb minor: Andante con moto An exciting and convincing blizzard concludes this set of extraordinary pieces that exploit the technical possibilities of the instrument from top to bottom. Even the roaring of the wind in the left-hand passages of the middle section adds to the sound painting. 　　 　　Oh, to have heard the great Maestro Liszt perform these works! How extraordinary that must have been!!! 　　 Notes by Barbara Nissman