Liszt: Concerto Bits 'n Bobs
For this entry of my Bits 'n Bobs series, two further piano concertos from Liszt are on tap. I can't say I even knew of either of these pieces beforehand, so this is still a discovery area for me as far as Liszt is concerned.
Piano Concerto no. 3
Concerto Pathétique
Both concertos are formatted akin to Liszt's two piano concertos proper, assigned as a single-movement work with many inner contrasting sections. What frustrates me most regarding Liszt's concertos exists in these two as well, that is, the constant starting and stopping to change gears towards small, occasionally lengthy, cadenza bits for solo piano.
Piano Concerto no. 3 in E-flat Major contains an upbeat march I rather enjoy, although the march portion is rather short lived, only to come back to form part of a rousing conclusion. Otherwise, the concerto is quite lightweight in terms of content, especially in shorter overall lengths, if not rather moody in its overall atmosphere.
While Liszt's Concerto Pathétique moves in similar ways to the aforementioned Third Piano Concerto, I like the Pathétique's musical material much more. Perhaps there is a touch more solo instrument to orchestral action for me to latch on to, plus a wonderful brass chorale buoyed by timpani.
It takes until about halfway through the piece for the music to pick up, and this is where I am particularly on board with Liszt's music. There is a dread march here, where the piano is simply formidable in its conveying of fear for the listener. What follows is a smattering of contrasting portions, typical of the composer in works such as these, but much more captivating for me.
One aspect I enjoy regarding Chandos' recording is the balance of piano and orchestra, but this may also be its problem as well. The piano is not gargantuan in front of the orchestra; more a member with the orchestra. This makes the interactions between soloist and ensemble much more natural to my ears. However, this being Liszt, something is lost having the piano somewhat backwards and not pounding at the fore.
I also sense a rather buttoned-up quality from Louis Lortie and The Hague orchestra in music which should probably at least loosen a button or two at the neck. Of course, Lortie handles all of the octaves and virtuosic figures Liszt throws at the pianist with panache, thus their is no question of the Canadian's technique or skill.
A La Chapelle Sixtine
Not a concertante work, but instead a piece which fuses two previously composed works with Liszt's imagination - Mozart's Ave Verum Corpus and Allegri's Miserere. While I am listening to the orchestral version, A la Chapelle Sixtine can be found as a piano or organ solo as well.
It had been a great, long time since I last heard the Miserere Mei from early Baroque composer Gregorio Allegri. I didn't really recognize Liszt's nod in the opening music, and I am not sure I do now either. The Mozart motet is unmistakable, for it is not only set in a Major key, but is given over to chamber strings and a few winds most memorably.
The stormy transition between these two Allegri/Mozart portions find Liszt in an inventive mood, with the bass drum and brass making a fearsome effect upon the listener. The composer revisits each of these sections twice, making sure to remind the listener of each part of the music. Liszt concludes gently on Mozart's music.
I really enjoy the sound of the Netherlands Philharmonic Orchestra here, who are amply engaged in the music, well-captured by Capriccio. I am not familiar with German conductor Hartmut Haenchen, but he gives a lovely and impactful reading here, not that I expect A la Chapelle Sixtine to have been oft recorded over the years.
Summary
While I have the same issues with these piano concertante items as I do Liszt's more famous concerto iterations, I think I enjoyed my time here more, maybe due to my relative unfamiliarity with them. The orchestral work was an unexpected bonus. I will definitely be checking out its different versions.
Bits 'n Bobs
Piano Concerto 3, S. 125a post. (12.44)
Concerto Pathétique, S. 365a (16.19)
Louis Lortie, piano
The Hague Residential Orchestra
George Pehlivanian, conductor
Chandos; 2002
A la Chapelle Sixtine, S. 360 (23.43)
Netherlands Philharmonic Orchestra
Hartmut Haenchen, conductor
Capriccio; 1998
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