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Stepping before a stiffly attired aristocratic audience in Weimar on 17 February was not only the composer as soloist, but also Hector Berlioz as conductor.
He had already retired from regular concertizing.
The fact that Liszt did not publish an original concerto of his own until well over forty years of age was, however, utterly bizarre, and could not help but give grist to the mill of the numerous critics who claimed that he was a pianist of genius with zero creativity as a composer.
To understand this, we have to look a little at the typical career path of a concert pianist in the early nineteenth century. In other words, a celebrated virtuoso like Johann Nepomuk Hummel mostly played Hummel including over six piano concertosHenri Herz played Herz eight concertosand Chopin played Chopin two concertos when he could be persuaded to perform in public at all.
It was, admittedly, a pretty miserable piece, but at least it was there. A piano concerto, in other words, functioned like a standard calling card for an itinerant performer. Liszt initially intended to conform to this custom. This seems to have been one of two adolescent essays in the genre composed around They were, however, never published, and are long lost.
He had evidently completed a tentative draft by The couple eloped from Paris to Geneva. Plans for Liszt to burst forth fully fledged as a creative genius were reluctantly put on hold.
Not only did he revise it thoroughly, but he also worked on a new concerto in A major eventually to become the Piano Concerto No 2 and, confusingly for future musicologists, yet another concerto in E flat. Yet Liszt was still not happy with the two concertos that remained.
He notably neither performed nor published them during nearly a decade of concert touring. It was only when he settled down in as Kapellmeister in Weimar that he returned to the manuscripts, subjecting them to further rounds of revisions.
The E flat major concerto was, at long last, published in But the second concerto had to wait until before appearing in print, when it was graciously dedicated to its original soloist.
After this more than elephantine gestation period, Liszt knew that expectations would be high for both concertos. And he responded with two of the most remarkably original pieces of the era.
Liszt had long shown an interest in reshaping the concerto form. In a journal article ofhe openly mused on the future of the genre. Traditionally, a concerto comprised three distinct movements, he wrote, yet Mendelssohn, Moscheles and others were beginning to join these together, treading a path towards a new form in which individual movements would be blended into one.
We might add that Beethoven, as so often, had anticipated the procedure in his Emperor Concerto.
Here the slow movement is subtly linked to the last. We first hear an imposingly concise Allegro maestoso in E flat major, which functions like an introductory overture. Here the piano takes on the role of an opera singer, further underlined by the appearance of passionate recitative passages against an agitated orchestral accompaniment.
We can easily imagine suitably heartbreaking words. A mischievously scherzo-like Allegretto vivace, piquantly characterized by a tinkling triangle, quickly changes the mood. Present-day listeners are, once more, unlikely to be especially appalled.
The final Allegro marziale animato acts as a comprehensive recapitulation, rounding up themes from all three previous sections, but also changing their character. Most strikingly, the soulful tenor of the Adagio now appears in uniform, and makes a swaggering entry with a brusque military march.Silvester Feuerwerk online kaufen hat Vorteile.
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