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Liszt's Published Music

Liszt Society Journal & Music Section

Liszt Society Newsletters

 

** OUP Discount for Liszt Society Members **

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Liszt Society members enjoy a discount on purchases of Society publications by Hardie Press and Sarastro Music.

The Franz Liszt Stiftung

The Neue Liszt-Ausgabe

Liszt Society Publications

The Sarastro Liszt Series

Liszt Rarities

The Liszt Society Journal – Music Section

Henle editions

Other editions

 

Sadly, there is no complete Urtext edition of the music of Liszt, not even of the complete piano music.  In some respects it is Liszt’s fault: he did not “tidy up” his work-desk, and many early drafts, alternative texts and odd manuscript versions which differ from published scores continue to turn up.  He was also one of the most prolific composers, with a composing life of some sixty-five years, matched with a daily industry and conscientiousness which parallels Schubert, but at greater length.  There remain many works which have never been printed.

 

There have been two major attempts to publish “complete” Liszt editions, and both have considerable merits, despite neither of them being actually complete:

 

The Franz Liszt Stiftung, through Breitkopf and Härtel, published 33 volumes until the Second World War brought the enterprise to a premature conclusion.  This edition produced the two symphonies, the symphonic poems, various orchestral works, some of the concertante works for piano and orchestra, two of the masses, the Requiem and most of the sacred choral works without orchestra, eleven volumes of original piano music and three volumes of transcriptions and fantasies [Wagner and Beethoven].  These volumes were all reissued in smaller format by Gregg Press in the late 1960s, and in paperback by Kalmus - without the critical apparatus - in the late 1970s.  Some selected works from this edition have been reprinted in various volumes published by Dover.  The edition is generally of a very high standard for its day, and it strives to include many variant versions of the works, especially in the songs, choral works and piano music.

 

The Neue Liszt-Ausgabe, from Editio Musica Budapest, has been appearing regularly since 1968, in hardback, paperback [without the critical apparatus, but with the historical information provided in the prefaces] and in paperback offprints of single works or small groups of kindred works.  Although the critical apparatus of this version does not reprint unfinished fragments or cancelled passages - which the Breitkopf edition often does - this edition will represent the standard text of the final versions of Liszt’s completed works.  Earlier versions of some pieces are included on what seems to be a pretty haphazard basis.  [Works requiring editorial completion, like the Paganini Fantasy or the Figaro/Don Giovanni Fantasy, appear in separate editions from EMB.]  To date, eighteen volumes of original piano music have been published, and more than three quarters of the projected twenty-four volumes of fantasies and transcriptions have also appeared.  The only complaint one could raise is that many probable slips of Liszt’s pen go unremarked - for example, the Dante Sonata still awaits a really good edition, since more than half of the so-called Urtext is reproduced from the hand of a copyist who was not entirely reliable, and some of Liszt’s over-writes were made in apparent haste and without scrupulous attention to accidentals.

 

In addition to these vast enterprises, the following reliable collections are important:

 

Liszt Society Publications - originally published by Schott [vols. 1-7] but now by The Hardie Press.  Much of the material in the early volumes came reprinted from the Breitkopf collected edition, but various works appeared for the first time.  As each volume has required reprinting, the texts have been carefully corrected and supplemented. Full details and ordering can be found on the Hardie Press website at http://www.hardiepress.co.uk.

 

Volume 1: Csárdás macabre & other late works for piano [to be edited for republication], S224; S207; S199; S200i; S200ii; S201; S192/1-4; S206; S208; S216

 

Volume 2: Mephisto Waltz no. 4 & other rare works for piano [to be edited for republication], S154; S155/1&2; S156/1; S438; S202

 

Volume 3: Two Pieces in the Hungarian Style & other late works for piano [revised edition in preparation]: Deux Marches dans le genre hongrois, S693; Mosonyi gyászmenete - Mosonyis Grabgeleit, S194; Petőfi szellémenek - Dem Andenken Petőfis, S195; Öt magyar népdal - Fünf ungarische Volkslieder [transcribed from settings by Kornél Ábrányi, snr.], S245; Csárdás obstinée, S225/2; Première Élégie, S196; Zweite Elegie, S197; Schlaflos! - Insomnie!, S203

 

Volume 4: Four Waltzes and a Galop for piano [revised edition in preparation]: Valse mélancolique, S210 and S210a; Valse de concert sur deux motifs de Lucia et Parisina, S214/3; Deuxième valse oubliée, S215/2; Troisième valse oubliée, S215/3; Galop [in A minor]

 

Volume 5: Fleurs mélodiques des Alpes & other works for piano [to be edited for republication]; S156/7-9; S156/3&4; S157; S217; S221

 

Volume 6: Twenty-One Songs [revised edition]: Angiolin dal biondo crin, S269iii; Tre Sonetti di Petrarca, S270ii; Und wir dachten der Toten, S338; Des Tages laute Stimmen schweigen, S337; Vergiftet sind meine Lieder, S289iii; Morgens steh’ ich auf und frage, S290iii; Ich möchte hingehn, S296iii; Ein Fichtenbaum steht einsam, S309iii; Ein Fichtenbaum steht einsam, S309a; J’ai perdu ma force et ma vie, S327; Ihr Glocken von Marling, S328; Go not, happy day, S335; Enfant, si j’étais roi, S283iii; Ich scheide, S319ii; Einst, S332; Gebet, S331; Sei still, S330; Die tote Nachtigall, S291ii; Isten veled!, S299ii

 

Volume 7: La romanesca & other rare works for piano [revised edition]: Magyar Dalok, S242 nos. 1, 2, 3, 6, 8, 9 & 10; Sancta Dorothea, S187; In festo transfigurationis Domini nostri Jesu Christi, S188; Klavierstück in fis-dur, S193; Die Zelle in Nonnenwerth, S534iii; Romance, S169; Romance oubliée [Vergessener Romanze], S527; Vive Henri IV, S239; La romanesca, S247i & S247ii

 

Volume 8: [Copies of the King Lear Overture (Berlioz) transcription, S474 originally issued as vol. 8, and the Piano Piece in A flat, S189, originally issued as vol. 9 are still available.  It is planned to issue them with other rare piano works in a future volume 8.]

 

Volume 9: Großes Konzertstück & Concerto pathétique for two pianos [S257 & S258 – both versions]

 

Volume 10: The Complete Music for Violoncello and Pianoforte: Élégie, S130 [Première Élégie - with optional parts for harp and harmonium/organ; Zweite Elegie, S131; Romance oubliée, S132; La lugubre gondola, S134; Die Zelle in Nonnenwerth, S382; Consolations - Six Pensées poétiques pour piano, S172 transcrites par Jules de Swert: no. 1 - enchainement de F. Liszt, S382a - no. 4 [optionally for cello and organ/harmonium]; Appendix: Consolations [transcrites par Jules de Swert] nos. 2, 3, 5 & 6; O du mein holder Abendstern - Rezitativ und Romanze aus der Oper Tannhäuser von Richard Wagner, S380 reconstruction by Leslie Howard

 

Volume 11: The Complete Music for Pianoforte, Violin and Violoncello: Rapsodie hongroise no. 9 - Le carnaval de Pest, S379; Tristia - La vallée d'Obermann, S378 in three versions; Orphée - Poème symphonique S98, transcribed in 1885 with Liszt's imprimatur by Saint-Saëns

 

Volume 12: The Complete Music for Violin and Pianoforte [in preparation]: Romance oubliée, S132ter; [Première] Élégie, S130ter with harmonium/organ ad lib.; Zweite Elegie, S131bis; La lugubre gondola, S134bis; Die drei Zigeuner - Paraphrase, S383; Epithalam zu E[duard]. Reményis Vermählungsfeier, S129; Benedictus und Offertorium aus der ungarischer Krönungsmesse, S381; Grand Duo concertant sur la romance de M. [Charles-Philippe] Lafont “Le départ du jeune marin,” S128; Rapsodie hongroise [XII], S379a; Zwei Walzer, S126b; La notte, S377a; Walther von der Vogelweide [Wartburg-Lieder, no. 3: “Der Mönch und die Nonne”], S345/3a for tenor and piano with violin obbligato; Die Zelle in Nonnenwerth, S382bis; Offertorium und Benedictus, S678 for violin and organ/harmonium; Duo [sur des thèmes polonais], S127

 

Volume 13: The Complete Music for Viola and Piano [projected publication]

 

Volume 14: Die vier Jahreszeiten, Angelus! & Am Grabe Richard Wagners for strings [projected publication]

 

The Sarastro Liszt Series a joint enterprise between The Liszt Society and Sarastro Music. This enterprise was launched in 2002, and promises to include music often sought but seldom found:

 

Volume 1: Zigeuner-Epos: 11 piano pieces, S695b; Célèbre mélodie hongroise, S243a

 

Volume 2: Cinq Choeurs [in preparation]: 5 choruses to French texts for unaccompanied mixed voices, 4 and 3 part, S18

 

Volume 3: Weimars Volkslied [in preparation]: Liszt’s version for four horns, S381a

 

Volume 4: Ungarischer Romanzero [in preparation]: 18 piano pieces on Hungarian songs, S241a

 

Volume 5: Weihnachtsbaum [in preparation by Mº Carlo Botti]: the original versions of the Christmas Tree suite for solo piano and for piano duet, S185a & S612a

 

Volume 6: Two Episodes from Lenau’s Faust and Les Préludes [projected publication]

 

Volume 7: Tu es Petrus, no. 2 and other unpublished pieces for the organ [projected publication, prepared by Iain Quinn]

 

Liszt Rarities an occasional scholarly edition of Liszt pieces from unpublished manuscripts, jointly produced by the Liszt Society and by the Istituto Liszt in Bologna, published by Rugginenti:

 

Volume 1: [Variations on] Le carnaval de Venise, S700 [piano]

 

Volume 2: La lugubre gondola – the Venice manuscripts, S199a [piano]

 

The Liszt Society Journal – Music Section: The Music Sections of the annual Liszt Society Journal have published or reprinted with corrections many piano pieces and songs, often in versions not included in the collected editions. This material (for solo piano unless otherwise indicated) is issued each year to all members of the Liszt Society, who may also apply to purchase copies of back numbers. See The Liszt Society Journal & Music Section page for a full contents listing.

 

The Russian State Publishers issued a long series of volumes of solo piano music, in excellent editions by Milstein, including a vast selection of the operatic fantasies and many transcriptions otherwise very hard to come by, but sadly all of these Russian volumes are out of print and frequently “missing” from libraries that had the foresight to acquire them.  Some of the works in these volumes have been selected and reprinted by Dover.  The Liszt Society can supply archive copies to members of this, and much other music by Liszt.

 

Henle editions are few but fine - but it is necessary to remember that the critical apparatus is not always present, and that some of Liszt’s personal peculiarities of notation are not always explained.  For example, the “8” sign placed under a note in the left hand always means “add the lower octave”, whereas if Liszt wants a note to be played an octave lower he always writes “8va [or 8ttava] bassa”.  This sheds light on the required text of the last bar of the Sonata - seldom encountered correct in performance.  [Henle also issued an excellent but very expensive facsimile edition of the manuscript of the Sonata, while EMB have done likewise with the Hungarian Rhapsody XIX.]  Henle has issued the Sonata, three volumes of Années de pèlerinage, the Ballades, the Consolations [in an excellent edition by Mária Eckhardt which includes the earlier versions with the original no. 3] and the Harmonies poétiques et religieuses.

 

Before these collections came the editions published in Liszt’s lifetime and those printed in the years immediately after his death.  Although these are often our best primary sources, much care must be taken to note that Liszt often altered a work between one edition and another, and in the case of some piano pieces it is very difficult to establish how many authentic editions there are that nonetheless differ in major or minor details.

 

The editions prepared by various disciples are sometimes reasonable: the Durand editions of the late nineteenth century are quite good, the Schirmer volumes are less so, and there are many famous errors in the Peters volumes edited by Emil von Sauer [although even these are outstripped by the appalling volumes of organ music from Peters “edited” by Karl Straube] which have been reprinted decade after decade without correction.  For example, one can only cringe at the famous D sharp introduced into the first Mephisto Waltz at bar 763 - an error played by practically everybody - and that is only one of many mistakes in that work as presented by von Sauer.  The Peters edition should be avoided unless it can be diligently compared with an authentic edition.  Other editions - Augener, Litolff, Schott - for example - are mostly out of print and, although not entirely dreadful, may be easily bettered.  The editions groaning under the weight of performing suggestions such as those of Cortot or Bolet are in the end not particularly helpful, nor yet particularly accurate, and they should only be used on a supplementary basis.  Most of the volumes of “Selections” or single pieces printed on either side of the Atlantic [OUP and Associated Board excluded] may be cheerfully passed over.  Busoni’s meddlings with Liszt’s texts [like what he called the Figaro Fantasy: leaving out about half of it, such as all the references to the minuet from Don Giovanni, and altering the rest, or his extensive rewrites of the Paganini Studies - as distinct from his editing of the originals in the Breitkopf collected edition] are superfluous, as are the various alterations “for effect” introduced into performances or editions by various pianists who should have known better and whose anonymity will be preserved here.  Just as Liszt became a stickler for observing the printed texts of others, so should we treat his texts seriously.  If Liszt is only played as a vehicle for the performer, rather than the performer allowing himself to be a medium for the expression of Liszt’s message, then Liszt’s music is lost. Then, perversely, he is also blamed for not being a good composer.  Surely there is enough fire and fantasy, wit and intelligence, fervour of faith and hearty humanity in Liszt’s musical texts as they stand!

 

Leslie Howard © 2003

 

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