Liszt Piano Works
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Liszt
Label: Masters
Magazine Review Date: 1/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: MCC10
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Etudes d'exécution transcendante |
Franz Liszt, Composer
Franz Liszt, Composer Janice Weber, Piano |
Composer or Director: Franz Liszt
Label: Hyperion
Magazine Review Date: 1/1990
Media Format: CD or Download
Media Runtime: 78
Mastering:
DDD
Catalogue Number: CDA66357
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Etudes d'exécution transcendante |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
| Mariotte, valse de Marie |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
| Adagio |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
| Elégie sur des motifs du Prince Louis Ferdinand, Movement: Version II, S168ii |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
Composer or Director: Franz Liszt
Label: Masters
Magazine Review Date: 1/1990
Media Format: CD or Download
Media Runtime: 73
Mastering:
DDD
Catalogue Number: MCD10
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Etudes d'exécution transcendante |
Franz Liszt, Composer
Franz Liszt, Composer Janice Weber, Piano |
Composer or Director: Franz Liszt
Label: Hyperion
Magazine Review Date: 1/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: KA66357
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Etudes d'exécution transcendante |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
| Mariotte, valse de Marie |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
| Adagio |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
| Elégie sur des motifs du Prince Louis Ferdinand, Movement: Version II, S168ii |
Franz Liszt, Composer
Franz Liszt, Composer Leslie Howard, Piano |
Author: James Methuen-Campbell
Perhaps I should begin with a brief history of these studies. The 15-year-old Liszt's Op. 1 was a set of 12 pieces with the title Etude en douze exercices, 11 of which were to be the models for the greatly expanded 12 Grandes etudes of 1838. The latter were of such difficulty that in 1851, during the early Weimar years, Liszt revised them, and they were published as the 12 Etudes d'execution transcendante—the version that is almost always performed today. All of the pianists listed above follow this last version, with the exception of the American Janice Weber. In between the last two publications mentioned appeared one solitary piece from the set—''Mazeppa''—in an expanded form of the 1838 piece. This appeared in 1847.
Personally I think that the merits of the final version are rather obvious, in that it constitutes Liszt's final and fully worked-out thoughts on the pieces. In listening to Weber tackle the 1838 version one soon becomes aware of the awkwardness of much of the writing and this is reflected in her inability to reveal more than the general feel of the most taxing pieces. She neglects to pay attention to many details of dynamics and her tempos do not quite match those specified at the opening of the faster ones (the only study bearing a descriptive title here is ''Mazeppa'', but in this Weber wisely opts for the 1847 version, which has extended introductory bars). However, she, like Jorge Bolet (Decca), is much more impressive in the slow studies than in the virtuoso ones. The Lento assai No. 11 (later ''Harmonies du soir'') has a masterfully controlled accumulation of sonority and she displays a real feeling for its idyllically romantic imagery.
Although Leslie Howard attacks the venture with a tremendous amount of verve and panache, I wasn't entirely convinced that he is ready to record the studies. Maybe the music is meant to sound brash, but certainly not to lack in clarity. Unlike Ovchinikov (EMI), who maintains a firm and brilliant touch, Howard can be obscure—witness the ascending double-note quavers in the main theme of ''Mazeppa'', which do not have rhythmic focus. Liszt emerges as a rather loud and over-emphatic personality with Howard and the fast studies all tend to sound similar in mood. ''Wilde Jagd'' degenerates into a sort of thoughtless bluster and little in the way of grandeur is achieved. Nor is definition of rhythm very good when the hunting-theme surfaces in the left-hand part.
I recognize, of course, that this is very demanding music (although much less so than the Chopin Etudes). There is nothing wrong with Howard's approach, it is just that I know he could have played many of them better. Only in ''Harmonies du soir'' did I feel that things worked ideally. The iciness of ''Chasse-neige'', which rounds off the set, is caught to much greater effect in Dino Ciani's performance from a live recital (Dynamic/Pinnacle (CD) CDS55,8/89).
The Pickwick CD conveys Weber's sumptuous use of sonority well—she has a warm tone that is never ugly. I was less happy about the Hyperion. It is slightly boomy and over reverberant at times and the instrument would have benefited from more frequent tuning between takes. I much enjoyed Howard's enterprising 'encore' pieces, all of which were unfamiliar.
If I were thinking of buying my first version of the Transcendental Studies I think I would definitely opt for Arrau's magnificent account on Philips. He may not have the youthful elan of Ovchinikov or Howard, but he is a consummate master in communicating the spirit of the music and he has an all-embracing technique to match. I would also await the reissue of Lazar Berman's DG version on CD.'
Personally I think that the merits of the final version are rather obvious, in that it constitutes Liszt's final and fully worked-out thoughts on the pieces. In listening to Weber tackle the 1838 version one soon becomes aware of the awkwardness of much of the writing and this is reflected in her inability to reveal more than the general feel of the most taxing pieces. She neglects to pay attention to many details of dynamics and her tempos do not quite match those specified at the opening of the faster ones (the only study bearing a descriptive title here is ''Mazeppa'', but in this Weber wisely opts for the 1847 version, which has extended introductory bars). However, she, like Jorge Bolet (Decca), is much more impressive in the slow studies than in the virtuoso ones. The Lento assai No. 11 (later ''Harmonies du soir'') has a masterfully controlled accumulation of sonority and she displays a real feeling for its idyllically romantic imagery.
Although Leslie Howard attacks the venture with a tremendous amount of verve and panache, I wasn't entirely convinced that he is ready to record the studies. Maybe the music is meant to sound brash, but certainly not to lack in clarity. Unlike Ovchinikov (EMI), who maintains a firm and brilliant touch, Howard can be obscure—witness the ascending double-note quavers in the main theme of ''Mazeppa'', which do not have rhythmic focus. Liszt emerges as a rather loud and over-emphatic personality with Howard and the fast studies all tend to sound similar in mood. ''Wilde Jagd'' degenerates into a sort of thoughtless bluster and little in the way of grandeur is achieved. Nor is definition of rhythm very good when the hunting-theme surfaces in the left-hand part.
I recognize, of course, that this is very demanding music (although much less so than the Chopin Etudes). There is nothing wrong with Howard's approach, it is just that I know he could have played many of them better. Only in ''Harmonies du soir'' did I feel that things worked ideally. The iciness of ''Chasse-neige'', which rounds off the set, is caught to much greater effect in Dino Ciani's performance from a live recital (Dynamic/Pinnacle (CD) CDS55,8/89).
The Pickwick CD conveys Weber's sumptuous use of sonority well—she has a warm tone that is never ugly. I was less happy about the Hyperion. It is slightly boomy and over reverberant at times and the instrument would have benefited from more frequent tuning between takes. I much enjoyed Howard's enterprising 'encore' pieces, all of which were unfamiliar.
If I were thinking of buying my first version of the Transcendental Studies I think I would definitely opt for Arrau's magnificent account on Philips. He may not have the youthful elan of Ovchinikov or Howard, but he is a consummate master in communicating the spirit of the music and he has an all-embracing technique to match. I would also await the reissue of Lazar Berman's DG version on CD.'
Liszt Piano Works
Liszt Piano Works, Vol. 4
Liszt Piano Works
Liszt Piano Works, Vol. 4
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.