Liszt: Piano Concertante Works
Prelude
For this seventh Works Series entry of Franz Liszt's orchestral music, I will be covering the composer's efforts into the genre of piano concertante music. While I have inserted older cover art above and below, this blog post actually covers my listening of the seventh volume (of seven) from EMI / Warner's 2011 box set of Liszt's orchestral and concertante music with Kurt Masur and the Gewandhaus Orchestra performing.
If I complained about Liszt's piano concertos being little more than an expression of his pianistic prowess, these fantasies-on-a-theme are egregious examples of showboating. Of course, this is how Liszt made his bread and butter early on in his career, so can one fault Liszt for being successful in this realm?
My main concern lies with the musical worth of these pieces. Yes, they have a flair for pianistic spectacle, but do they offer anything more? I must admit; I do get tired of endless chromatic flourishes, no matter how impressive they are. One almost begs for something of more substance by this program's end.
Totentanz rises above this somehow. I think its success lies in its stricter theme-and-variations structure as opposed to the looser fantasy format of the other pieces. Of course, maybe it is my familiarity with the Dies Irae chant which works so well. I find the composer's Malédiction rather curious as well, for it is the one work on this program which is entirely original. Liszt seems to relish opposites here as well, striking out harshly in 'The Curse', but giving equal time to softer, moodier passages. Of all these pieces, this might be the closest Liszt comes to creating a symphonic poem with solo piano and orchestra.
Of the three fantasies, it is the Hungarian Fantasy which is the most familiar. I am sure audiences of the time ate up the exotic qualities of Liszt's Hungarian background, and indeed the musical themes are strong. I had forgotten, though, what a stop-and-start piece this was, where the orchestra is constantly passing over the spotlight to the piano. It is a frustrating musical experience.
I found much the same in the Ruins of Athens Fantasy based on Beethoven's incidental music. Once again, I am quite familiar with the tunes, mainly taken from Beethoven's overture and march, but Liszt is more concerned with his pianistic take over than a musical piece of worth.
I will admit I am more taken with the Lélio Fantasy based on a work by Berlioz. Perhaps it is my unfamiliarity with Liszt's piece, but moreso I think there is more contrast, particularly of the lyrical, pastoral vein. The music is more pert and clean rather than slathered with the excesses of Romanticism. At 23 minutes, it is also the longest work on the program, yet I find I was, more often than not, along for the ride.
What the listener should have no worried of is the talents of French pianist Michel Béroff. He launches himself at these continuously exposed piano flourishes with no fear. His playing is certainly an exciting ride. I do wish he was on a more equal footing with the orchestra, where interactions between the soloist and ensemble are unbalanced, giving spotlight to the piano. In these works, Liszt rarely utilizes the whole orchestra, picking and choosing specific instruments and ensemble sections to play alongside the piano, so it would have been nice to have a more equal partnership.
That said, I am not unhappy with these performances. Neither Kurt Masur, the Gewandhaus, nor Michel Béroff try to make more of this music than is needed. This music is nothing but an avenue for pianistic fireworks, and that is what the listener receives in spades.
Work Series
Vol. 7 from Liszt Orchestral Works on Warner
Works
Lélio Fantasy, S 120 (23.19)
Malédiction, S 121 (13.40)
Ruins of Athens Fantasy, S 122 (10.41)
Hungarian Fantasy, S 123 (14.11)
Totentanz, S 126
Soloist
Michel Béroff, piano
Performers
Gewandhaus Orchestra
Kurt Masur, conductor
Label: EMI / Warner
Year: 1977-80; 2011
Total Timing: 77.51
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