FERENC LISZT FREE ARRANGEMENTS XV [ii/15]
EDITED BY ISTVÁN KASSAI & IMRE SULYOK
POLONAISE AUS TSCHAIKOWSKIS OPER “JEWGENY ONEGIN”
(R 262, SW 429, NG2 A293)
Tchaikovsky (1840-1893) wrote his opera Eugene Onegin (op. 24) in
1877-1878 on the basis of a narrative poem by Alexander Sergeyevich Pushkin
(1799-1837). The composer himself compiled the libretto, with the help of
Shilovsky The opera had its premiere in
The present edition is based on the printed sources, together with the autograph kept in the Germanisches Nationalmuseum, Nürnberg, which is presumed to have been the first notation of the transcription.
PRÉLUDE Á LA POLKA DE BORODINE
(R 297, SW 207a, NG2 A296)
The Russian composers Alexander Porfiryevich Borodín (1833-1887), César Antonovich Cui (1835-1918), Anatoly Konstantinovich Lyadov (1855-1914) and Nicolay Andreyevich Rimsky-Korsakov (1844-1908) published in 1879 a joint work entitled Paraphrases. In it they worked up a little theme easily playable with two fingers, in the form of variations and character pieces for piano four hands, so that player number one (primo) played the little theme in unaltered form, continuously, right through the work. Liszt had a very high opinion of this series, and composed for the planned second edition in 1880 a variation on the introduction to Borodin’s polka. The Prélude was published in 1881 in the second edition of the series, as a facsimile of Liszt’s manuscript, placed between two variations. The older lists of works record this composition as one of those written for four hands, but Liszt’s variation was explicitly written for two hands, for player number two (secondo).
The only source for our edition was the above-mentioned facsimile.
2da MAZURKA PER PIANOFORTE DI TIRINDELLI VARIATA DA F. LISZT
(R-, SW 573a, NG2 A297)
In 1880 the pianist
Helen Augusz (1850-?), daughter of Liszt’s admirer and friend, Baron Antal
Augusz (18071878), sent Liszt three compositions
by the Italian violinist, composer and conductor Pier Adolfo Tirindelli
(1858-1937). Presumably these works had
been written and published not long before that.
Liszt marked alterations in these scores: “Hier je me suis permis de noter
plusieurs variantes dans sa mélodie [...]” - and sent them back to
Baroness Helen Augusz together with a letter praising Tirindelli’s talent.
The sources of only one of the three compositions reworked by Liszt, the 2da
Mazurka, are known: the edition published in 1880 by Giudici e Strada,
Our edition is based on these two sources, which we also compared with the Giudici e Strada edition of the original piano work.
LIEBESSZENE UND FORTUNAS KUGEL AUS DEM ORATORIUM “DIE SIEBEN TODSÜNDEN” VON ADALBERT VON GOLDSCHMIDT FANTASIESTÜCK
(R 165, SW 490, NG2 A298)
Goldschmidt (1848-1906) was an Austrian bank official who became a composer and
poet; his salon in Vienna was a centre of social and artistic life, and in
April 1885 Liszt too paid it a visit. His first success as a composer was with his oratorio Die sieben
Todsünden, which he wrote to a text by Hamerling and which was given its first performance in 1876 in
As a source for our edition we
used this first edition. Additional sources were provided by an autographed
copy kept in the Skhsisches Staatsarchiv,
O! WENN ES DOCH IMMER SO BLIEBE! LIED VON ANTON RUBINSTEIN Op. 34 No. 9
(R 239/1, SW 554/1, NG2 A304)
The Russian conductor Anton Grigorievich Rubinstein (1829-1894) the second greatest pianist of the 19th century after Liszt, was a many-sided composer who founded the St. Petersburg conservatoire and was a protégé of Liszt Rubinstein’s song was composed to a poem by the German poet, translator and teacher Friedrich Martin Bodenstedt (1819-1892), from his volume entitled Lieder des Mirza-Schaffy, and was published in 1854 or slightly later by Friedrich Kistner in Leipzig as number 9 in the series Zwölf Lieder des Mirza-Schaffy von Anton Rubinstein. Op. 34. In 1880 Liszt transcribed the song for piano. The transcription, which he dedicated to Rubinstein’s wife, was also published by Kistner in 1881.
This edition, together with an
autograph (ragment, part of the first notation of the work, which is kept in
the Österreichisches Nationalbibliothek,
DER ASRA LIED VON ANTON RUBINSTEIN Op. 32 No. 6
(R 239/2, SW 554/2, NG2 A329)
The title is that
of a poem by Heinrich Heine (1797-1856), to which Anton Rubinstein wrote his
song. The latter is number 6 in a volume entitled 6 Lieder von Heine von
Anton Rubinstein, Op. 32, published by Kistner in
Our edition is based on that one. The copy numbered 1606 in the so-called Heyer catalogue was not available to us for this edition.
PROVENZALISCHES MINNELIED VON ROBERT SCHUMANN
(R 254, SW 570, NG2 A306)
Robert Schumann (1810-1856) composed his ballad entitled Des Sängers
Fluch for solo voices, choir and orchestra (Op. 139) in 1852. The text of
the ballad was written by Ludwig Uhland
and reworked by Richard Pohl.
Liszt transcribed for piano the 4th movement of the 14-movement work (Provençalisches
Lied) in 1881..
The transcription, entitled Provenzalisches Minnelied, was published in
that same year by Adolph Fürstner in
As sources for the present edition we used not only these two printed editions but also the copy kept in the Library of Congress, Washington, signed by Liszt and containing his corrections and additions. We took the Uhland-Pohl text extract from the following edition of the Schumann work: Robert Schumann’s Werke, hrsg. von Clara Schumann. Serie IX. Grössere Gesangwerke mit Orchester oder mit mehreren Instrumenten. Partitur. Vierter Band. Verlag von Breitkopf & H irtel in Leipzig. Plate number: A.F. 2624 / R.S. 90. Ausgegeben 1885. Pp. (208)-(214).
DREI LIEDER ZU JULIUS WOLFF’S EPOS “TANNHÄUSER” KOMPONIERT VON OTTO LESSMANN
(R 177, SW 498, NG2 A316)
The German composer
and writer about music Otto Lessmann (1844-1918), who was for a long time
responsible for the Allgemeine Musikzeitung, was an enthusiastic, combative
supporter of the music of Wagner and Liszt. Lessmann wrote three songs to parts
of the epic poem “Tannhuser” by the German poet and writer Julius Wolff
(1834-1910), published in 1880. In 1882 Liszt transcribed these songs for
presumably in return for Lessmann’s study of Liszt, published in 1881.
The three transcriptions were first published in 1883 by Theodor Barth,
These two editions served as
sources for the present one, together with the autograph of the transcriptions,
which is held in the Staatsbibliothek zu
RÉMINISCENCES DE BOCCANEGRA DE VERDI
(R 271, SW 438, NG2 A314)
Giuseppe Fortunino Francesco Verdi
(1813-1901) wrote his opera Simon Boccanegra to a libretto by Piave, and it had its first performance on March 12, 1857 in Venice. More than
two decades later the composer rewrote the opera after having the libretto
revised by Boito. In its new form the opera was
first performed in
Apart from the two editions just mentioned, the sources for the present
edition included a copy kept in the archives of the Ricordi publishing house,
corrected by Liszt and used as the engraving manuscript for the first edition,
and the first notation, which is in the possession of the
FEIERLICHER MARSCH ZUM HEILIGEN GRAL AUS DEM BÜHNENWEIHFESTSPIEL “PARSIFAL” VON RICHARD WAGNER
(R 283, SW 450, NG2 A315)
On July 26, 1882 in Bayreuth
Wilhelm Richard Wagner (1813-1883) premiered his last opera, Parsifal Ein
Bühnenweihfestspiel in 3 Aufzügen. Liszt, who since getting to
know Wagner in Paris had supported and assisted him in every way and admired
all his work, was present at not only the premiere but also at least four subsequent
performances and several rehearsals, and in the Wahnfried villa he performed
extracts from the opera on the piano for visiting guests It was at this time that he wrote his last Wagner transcription, the Feierlicher
Marsch zum heiligen Gral, based on several motifs from the first act of the
Our edition is based on the
three editions mentioned, together with the engraving manuscript for the Schott
edition, a copy corrected by Liszt and kept in the publishers’ archives in
MARCHE HONGROISE D’APRÈS SCHUBERT: DIVERTISSEMENT À L’HONGROISE Op. 54 No. 2 - D 818/2 Troisième édition 1883
(R 250, SW 425, NG2 A48)
Divertissement à l’hongroise, a series of pieces for piano four hands by Franz Peter Schubert (1797-1828), was transcribed by Liszt for two hands in 1838-39. The transcríption was published in 1840, and again in 1846 with “auf eine leichtere Art gesetzt” inscribed on the title-page, by the Diabelli publishing house in Vienna. Much later, Liszt again reworked the second piece in the series (Marcia). This revised version was published as an independent work, under the title Marche hongroise (Fr. Schubert) Troisième édition revue et augmentée, first in Vienna by C. A. Spina (Alwin Cranz), and not long afterwards, in 1883, in Hamburg by August Cranz. The new arrangement is based on the thematic material of the earlier one and in the same key, but it contains significant expansions.
The two editions mentioned served as the sources for our edition.
We also used as sources three documents kept in the Library of Congress, Washington, which together contain the complete score of the new arrangement: a copy of the second volume of Schuberts Ungarische Melodien auf eine leichtere Art gesetzt and of Mélodies hongroises d’après Schubert. with Liszt’s autograph jottings and instructions for the troisičme édition, together with autograph music manuscript pages belonging to the former, bearing Liszt’s inscription Correctur Blätter.
We were not able to use as a source the autograph written for Sophie Menter and also kept in the Library of Congress, Washington. This manuscript contains changes and additions affecting several hars in five places, marked Nach dem Trio. The edition, however; to which these alterations refer is not given, and the precise locations of the changes are not indicated.
VALSE DE CONCERT D’APRÈS LA « SUITE EN FORME DE VALSE » DE JEAN DE VÉGH DE VEREB
(R 263, SW 430, NG2 A318)
János Verebi Végh’s set of waltzes for piano four hands entitled Suite en forme de Valse was transcribed by Liszt in 1882-83 for two hands, as a token of his
appreciation of János Végh’s arrangement of the Dante symphony for two pianos,
eight hands. Liszt’s transcription for two hands was first published by Harmonia in
The present whereabouts of the
autograph of the final form (see SW 430) are unknown. The edition by Friedrich
(R 104, SW 251, NG2 A324)
The Russian pianist and conductor Alexander Ilyich
Siloti (1863-1945) was a pupil of Liszt’s in
The two editions mentioned, together with the
autograph first notation kept in the National Library of Russia,
TARENTELLE DE CÉSAR CUI
(R 147, SW 482, NG2 A327)
In 1885 Liszt
transcribed the orchestral Tarantella by Cui
for piano. He dedicated this Tast
transcription to Louise Mercy-Argenteau,
a friend of his and enthusiastic promoter of Russian music.
The transcription was published in 1886 by Durand & Schœnewerk of
István Kassai, Imre Sulyok
(English translation by Lorna Dunbar)
ABKÜRZUNGEN - ABBREVIATIONS
Br. = Franz Liszts Briefe. Hrsg. von La Mara, Bd. (Leipzig: Breitkopf & Härtel, 1893-1905). D = Franz Schubert, Thematisches Verzeichnis seiner Werke in chronologischer Folge von Otto Erich Deutsch. In: Franz Schubert, Neue Ausgabe sämtlicher Werke, Serie VIII, Supplement Band 4 (Kassel: Bärenreiter-Verlag, 1978).
DLD = Anik Devriès-François Lesure: Dictionnaire des éditeurs de musique français Volume II. De 1820 á 1914 (Genève: Éditions Minkoff, 1988).
ELEB = Acta academiae artis musicae de Francisco Liszt nominatae, 3. Franz Liszt’s Estate at the Budapest Academy of Music, II. Music. Edited by Mária Eckhardt (Budapest: Liszt Ferenc Zeneművészeti Főiskola, 1993).
ELMM = Studies in Central and Eastern European Music 2. Edited by Zoltán
Falvy. Mária Eckhardt: Franz Liszt’s Music Manuscripts in The National
F = Chronologisch-systematisches Verzeichnis sämtlicher Tonwerke Franz Liszts von Ludwig Friwitzer. In: Musikalische Chronik (III. Jahrgang der “Wiener Musikalischen Zeitung”) Bd. 5, Nrn. 3-8. Wien, 5. 11. 1887-31. 1. 1888.
HM = Musikalisch-literarischer Monatsbericht neuer Musikalien, musikalischer Schriften und Abbildungen. Angefertigt von Adolf Hofmeister. (Leipzig: Hofmeister, 1834-).
HMW = Wolfram Huschke: Musik im klassischen und nachklassischen Weimar (Weimar: Hermann Böhlaus Nachfolger, 1982).
L-K = Franz Liszts Klavierunterricht von 1884-1886. Dargestellt an den Tagebuchaufzeichnungen von August Göllerich. Hrsg. von Wilhelm Jerger (Regensburg: Gustav Bosse Verlag, 1975).
LLC2 = Dezső Legány: Ferenc Liszt and His Country, 1874-1886 (Budapest: Occidental Press, 1992)
L-P = Liszt-Pädagogium. Klavierkompositionen Franz Liszts nebst noch unedirten Veränderungen, Zusätzen und Kadenzen. Nach des Meisters Lehren pädagogisch glossirt von Lina Ramann. Serie I-V (I,eipzig: Breitkopf & Härtel, 1901).
ML = Jakov Iszakovics Milstejn: Liszt (Budapest: Zeneműkiadó, 1965).
MND = Musikverlags Nummern von Otto Erich Deutsch (Berlin: Verlag
Merseburger, 1961). NG2 = Franz Liszt, Works by Mária Eckhardt, Rena Charnin Mueller, in: The
New Grove. Dictionary of Music and Musicians. Second Edition. Ed. by
R = Dr. Felix Raabe: Verzeichnis aller Werke Liszts nach Gruppen geordnet. In: Peter Raabe, Liszts Schaffen, S. 241-377, Zusätze S. 7-40. 2. Ausgabe (Tutzing: Hans Schneider, 1968).
SW = Franz Liszt, Works. Compiled by Humphrey Searle. Rev. by Sharon Winklhofer. In: The New Grove. Early Romantic Masters 1: Chopin, Schumann, Liszt (New York & London: Macmillan, 1985).
WL3 = Alan Walker: Franz Liszt, Volume Three, The Final Years 1861-1886 (New York: Alfred A. Knopf, 1996).
 Konstantin Styepanovich Shilovsky (1848-1893), who wrote under the pen-name K. Glebovsky, was a friend of Tchaikovsky and a member of the Moscow Little Theatre company.
 Karl Klindworth (1830-1916), pianist, conductor and teacher. He studied under Liszt in Weimar in 1852-53. From 1854 to 1868 he líved in London, then from 1868 to 1884 he taught piano at the Moscow conservatoire.
 Br. II, p. 291. Plate number of the edition: 3987.
 Plate number unchanged: 3987.
 HM, October 1880, p. 287. Plate number of the edition: 2060.
 Shelf-mark: (HS) 107022.
 Br. II, pp. 285 and 376.
 “»All’Ideale«, sa 2’ Mazurka, et l’Adagio du Trio”. See Br. II, p. 296.
 Cf. Ettore Montaro: Pier Adolfo Tirindelli a la sua musica. A. F. Formiggini Editore in Roma, 1933, p. 13.
 The 2d° Mazurka was published by Giudici e Strada,
 See Br. II, p. 296.
 Plate number: 14261 z.
 Stiftung Weimarer Klassik / Goethe- und Schiller-Archiv, Weimar, shelf-mark: GSA 60 / 91.
 WL3, p. 468.
 Robert Hamerling (original name: Rupert Johann Hammerling, 1830-1890) was an Austrian teacher, a well-known poet and writer; one of his chief works, which he wrote in 1872, was the narrative poem used as the text of the oratorio.
 The two parts that served as the basis for the transcription are the 3rd and 5th formai sections of the second movement of the oratorio.
 HM, March 1881, p. 58. Plate number of the edition: A. 151 S.
 Shelf-mark: 6697.
 Shelf-mark: W 13, 461 and W 13, 462.
 Rubinstein first met Liszt during his European tour between 1840 and
1843. His opera entitled The Siberian Hunters was first performed, with
Liszt himself conducting, in
 On this occasion Bodenstedt published his own verses under the name of his former teacher, Mirza-Schaffy, who at one time taught oriental languages in what was then Tiflis (Tbilisi in Georgia). The volume was first published in 1851, and later appeared in more than 250 editions in a variety of languages.
 MND, p. 18. Plate number of the edition: 2096.
 The autograph is dated thus: 4-10 Octobre 80/ Villa d’Este F. Liszt.
 Cf. Br. II, pp. 296-297.
 HM, Jan.1881, p.7. Plate number of the edition: 5720.
 Shelf-mark: Mus. HS. 37818 A/Liszt 5.
 MND, p. 18. Plate number of the edition: 2181.
 MND, p. 18; HM, Jan. 1884, p. 5. Plate number of the edition: 6358.
 Katalog des Musikhistorischen Museums in Köln, von Georg Kinsky.
 Ludwig Uhland (1787-1862), German literary historian and poet, a collector of legends and folksongs.
 Richard Pohl (1826-1896), German composer and writer about music, a fervent supporter and friend of Liszt, Wagner and Berlioz.
 NG2, p. 818, no. A306.
 MND, p. 12. Plate number of the edition: F. 2180.
 Albert Ross Parsons (1847-1933), American pianist, organist and teacher.
 On the title-page
of the copy kept in the Bibliothèque Na-tionale de France, Paris (shelf-mark: A
355-15) a stamped impression can be seen: “DEPOSITO / LUG. / 1882 / F.
 Shelf-mark: ML96 .L58.
 Br. II, p. 334.
 Otto Lessmann: Franz
Liszt. Eine Charakterstudie.
 NG2, p. 818, no. A316. Plate numbers: B 3788, B 3789, B 3790.
 Plate numbers: k
37069 k, k 37070 k, k 37071 k. On the titlepages of the copies we used
(Biblioteca del Conservatorio Statale di Musica “Giuseppe Verdi” di Milano:
shelf marks: I-A-355-11a/11b/11c), the stamped inscription “DEPOSITO
/ LUG. / 1883 / F.
 Shelf-mark: Mus. ms. autogr. Liszt, 8.
 Francesco Maria
Piave (1810-1876), Italian librettist, made famous by the librettos he wrote
for Verdi’s operas (Ernani, I due Foscari, Macbeth, II corsaro, Stiffelio [=
Aroldo], Rigoletto, La Traviata, Simon Boccanegra, La forza
 Arrigo Boito (1842-1918), Italian composer and poet. Among other things, he wrote the librettos of Otello, FaIstaff and, the revised version of Simon Boccanegra.
 The piano reduction
was published as a “nuova edizione” by Ricordi in
 Shelf-mark: LH Z 5992.
 HM, May 1883, p. 91; ELMM, p. 199, footnote 50. Plate numbers: z 48485-48767 z and z 48485 z resp.
 Shelf-mark: EG 2735.
 Wagner wrote Parsifal to his own text in 1877-1882. The piano reduction was published in May 1882, and the score in 1883, in Mainz.
 With reference to this, see the two letters that he wrote to Princess
Wittgenstein on July 20 and
 LLC2, p. 201; WL3, pp. 417-418.
 The dispatch of the manuscript is mentioned in his letter to Ötto
Lessmann dated “16ten Sept. 82 -
 HM, Dec. 1883, p. 330; F, p. 82. Plate number of the edition: 23700.
 On the title-page of the copy used by us (Biblioteca
 Eugène Francis Charles d’Albert (1864-1932), German composer and
pianist. He studied under Liszt in
 LLC2, p. 203, p. 308, footnote 193; WL3, p. 418.
 See: Mélodies hongroises d’après Schubert (R 250, SW 425, NG2 A48); NLA vol. 11/3, pp. XIV, 93, 111, 161.
 HM, July 1883, p. 163. Plate number of the edition: 35681.
 All three sources can be found under shelf-mark ML96.L58.
 Sophie Menter (1846-1918), German pianist, one of Liszt’s most talented pupils.
 In Rosenthal Collection.
 János Verebi Végh (1845-1918), Hungarian judge and composer, from 1881 to 1887 vice-president of the Music Academy in Budapest.
 Published by “Harmonia”
Société Anonyme des Artistes Musiciens Hongrois,
 Cf. PLB, nos. 497 and 532.
 Plate number of the
edition: H. 108. The supplement to the weekly “Harmonia” (the music review of
the share company) on January 25, 1885 was a publication printed from plate
number H. 101 (Ede Schwarz: Naturalizmus Polka-Mazur) while on July 26,
1885 it was a publication printed from plate number H. 111 (József Konti -
József Szigeti: songs from the Czigány Princz [Gipsy Prince]). This
suggests that, in contradiction to the data given in the lists of works, the
publication printed from plate number H. 108 was presumably issued in the
second quarter of the year 1885. The copy kept in the Liszt Ferenc Academy of
 Sotheby’s NY, Cat. 14, 12. 1988, No. 216.
 Shelf-mark: Ms. mus. L 627b.
 Cf. MND, p. 18.
 The folksong is a variant of the well-known Russian song “Степъ Моздокская”.
 L-K, p. 93.
 HM, Sept. 1885, p. 247. Plate number of the edition: E.W.F. 444 L.
 Plate number of the edition: М. 70 Б.
 Shelf-mark: E 298 A. I. Ziloti N8.
 César Antonovich Cui (1835-1918), Russian composer, military engineer and teacher, writer about music, an active member of “The Five”, an international movement promoting new Russian music.
 Cf. Br. II, p. 382 and ML, Chapter 6, p. 414-415.
 Countess Louise Mercy-Argenteau (1837-1890), Belgian pianist. Biography: Therese Caravan-Chimay: Violets for the Emperor (London, Harvill Press, 1972).
 Br. II, p. 382. Mercy-Argenteau wrote the first biography of Cui, in 1888.
 DLD, p. 153. Plate number of the edition: D. S. 3750..
 Charles Camille Saint-Saëns (1835-1921), composer, the most important representative of French neo-classicism, one of the founders of the Société Nationale de Musique, and friend of Liszt
 See Liszt’s
unpublished letter from
 Shelf-mark: F 28 Göllerich 610.