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Hyperion Records

CDA67235 - Liszt: The complete music for solo piano, Vol. 52 – Ungarischer Romanzero
The Arrival of the Bride (1856) by Miklos Barabas (1810-1898)
Magyar Nemzeti Galéria, Budapest / Bridgeman Art Library, London
CDA67235

Recording details: Various dates
Various recording venues
Produced by Tryggvi Tryggvason
Engineered by Tryggvi Tryggvason
Release date: September 1998
DISCID: 2B11BC14
Total duration: 75 minutes 24 seconds

'These arrangements are quite elaborate and charming' (Classic CD)

The complete music for solo piano, Vol. 52 – Ungarischer Romanzero
F minor  [2'46]
A minor  [3'36]
A minor  [1'22]
A minor  [3'18]
D minor  [1'53]
A major  [3'28]
A major  [3'47]
D minor  [4'26]
A major  [2'19]
G minor  [4'05]
F major  [6'33]
C major  [2'44]
F sharp minor  [4'07]
D major  [3'34]
D major  [2'37]
C major  [2'38]
A major  [3'37]
A major  [1'47]
D minor  [5'55]
B flat minor  [10'52]

Most Liszt catalogues fail to mention an important unpublished manuscript which is lodged in the Richard Wagner Museum in Bayreuth: a volume of Hungarian dance melodies arranged for the piano with varying degrees of harmonization, extension and elaboration. The pieces are based on music by several known and unknown composers of Hungarian light music—effectively dance-band 'standards' of the day.

Liszt's manuscript consists of eighteen pieces, some of which are quite fully worked out, even though there are almost no markings of tempo, phrasing, fingering, pedalling, dynamics or other indications of touch. The title Ungarischer Romanzero, using a Spanish word to describe Hungarian melodies, signifies merely 'collection of Hungarian songs'. Many of the pieces are complete in the sense that, with a little imagination in terms of tempo and style, they may be played as they stand. Some contain notes written to remind Liszt how to proceed, and many of these continued figurations and varied reprises can be postulated without too much fear of undue liberty.

The Deux marches dans le genre hongrois come from an untitled manuscript from Weimar which was published by the Liszt Society in 1954. They were composed at some point around 1840, and thus are roughly contemporary with the Marche héroïque dans le genre hongrois (Heroischer Marsch im ungarischen Styl), and they bear obvious musical kinship to that imposing work.


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Introduction  EnglishFrançaisDeutsch
Most Liszt catalogues fail to mention an important unpublished manuscript which is lodged in the Richard Wagner Museum in Bayreuth: a volume of Hungarian dance melodies arranged for the piano with varying degrees of harmonization, extension and elaboration. The pieces are based on music by several known and unknown composers of Hungarian light music—effectively dance-band ‘standards’ of the day. The first part of this volume is in the hand of Liszt, and the remainder is in the hand of Ede Reményi, who dedicated his section of the volume to Liszt, and dated it Weimar, 22 June 1853—giving, one presumes, a terminus ad quem for Liszt’s part of the volume. (Géza Papp has established that Liszt wished to extend his collection of Hungarian traditional melodies in early 1853, and that Bülow had then acquired further pieces for him from István Fáy’s collection.)

Of course, music of this nature had already supplied Liszt with much material for his recently issued volumes of Rapsodies hongroises Nos 1–15, and it is interesting to see that he was thinking of producing more in the same vein, if on a slighter scale. We have no information relating to the circumstances of the volume’s composition or its intended destination—Liszt seems to have abandoned it completely, apart from using one of the melodies in the Reményi section of the book in his oratorio Die Legende von der heiligen Elisabeth. The present writer was first made aware of the collection’s existence by a splendid article Unbekannte ‘Verbunkos’-Transcriptionen von Ferenc Liszt—‘Ungarischer Romanzero’, by Géza Papp (in Studia Musicologica Academiae Scientiarum Hungaricae 29, 1987), to whom all due and grateful acknowledgement is immediately extended for much of the information reproduced below. Imre Mezđ of Editio Musica Budapest kindly supplied a photocopy of the Liszt section of the manuscript, and the whole volume was seen at the Richard Wagner Museum, where thanks are due to Frau Gudrun Föttinger for the subsequent generous provision of a copy of the entire manuscript. And, thanks to the indefatigable Mária Eckhardt (who also assisted Géza Papp in his research), the writer is also in possession of an excellent volume containing quite a number of the original pieces which Liszt used for the Ungarischer Romanzero: Magyar Nóták Veszprém Vármegyébđl (‘Hungarian recruiting dances from Veszprém county’) reprinted in 1994 from early-nineteenth-century editions. It can be seen that Liszt frequently alters details of some of the original melodies, and occasionally does not even follow their original structures.

Liszt’s manuscript consists of eighteen pieces, some of which are quite fully worked out, even though there are almost no markings of tempo, phrasing, fingering, pedalling, dynamics or other indications of touch. The title, at least, was provided by Liszt, although he added ‘(?)’ after it, perhaps not content at using a Spanish word to describe Hungarian melodies. At any event, the title Ungarischer Romanzero signifies merely ‘collection of Hungarian songs’. Many of the pieces are complete in the sense that, with a little imagination in terms of tempo and style, they may be played as they stand. Some contain notes written to remind Liszt how to proceed, and many of these continued figurations and varied reprises can be postulated without too much fear of undue liberty. Several, unfortunately, present very little apart from the basic melody and a hint as to the intended accompaniment pattern, but it was thought best to provide some discreet additions in order to render the whole set performable rather than make a series of decisions over eliminating certain pieces. The following notes make quite clear the extent of any conjectural reconstruction.

No 1 is based on a theme and trio by Antal Csermák known from an 1826 publication. The first section is playable as it stands, and Liszt’s alternative reading in the first bar is played in the da capo reprise. The trio section, which Liszt marks Friska, is not really complete: the second of its two repeated eight-bar sections is followed by ‘etc.’ and the piece is rounded off here by a further reprise of the first eight bars of the trio. No 2 is headed ‘Csermák’, but the origin of the theme has not been traced. Liszt’s noble account is quite complete. No 3, which is also complete, is based on two melodies, the first by Janós Bihari, the second of unknown provenance.

No 4 is based on a Csermák arrangement of a traditional tune. Although at first glance the Liszt version seems unfinished, it is full of instructions to himself about how to vary the reprises of each passage: after the first eight-bar statement he only gives one bar of its reprise with the indication da capo con 8ttavi e ornamenti—easily done. There follows a two-bar sketch of the second section—in F major, marked ‘etc.’—but then the same theme fully worked out in D minor. A note at the end of the page ŕ changer nach E Pedale Dominante refers to a further variation of the opening material sketched on the left facing page, and also marked ‘etc.’—again easily extended to eight bars, which is followed by the trio in D major. Another self-suggestion—all 8ttava (?)—is taken up in the reprise of the trio.

No 5, based on a theme by Gábor Mátray, is a brisk little tune, and, so long as one interprets the shorthand indication in the lower margin on the first page in order to make a repeat, the piece is complete. So is No 6, where Liszt gives the name of the melody: Primatialis nota (‘Melody for the installation of the Prince-Primate’) as well as that of its original composer, Bihari. No 7 begins with the Butsuzó Lassú Magyar (‘Slow Hungarian Farewell-Melody’) of Csermák, but continues with unidentified material. Apart from a shorthand indication of a tranposed reprise of four bars, the piece is fully written out. Serious Liszt-sleuths may recognize in the Bihari melody—Hatvágás-Werbetanz (‘Hatvágás Recruiting Dance’)—of No 8 one of the pair of dances he had previously arranged as a boy (sometimes known as Zum Andenken; see Volume 26 of the present series). Here it is extended in rather a rhapsodic way and, although the manuscript is untidy and one or two left-hand chords are missing, the piece is complete. No 9 is also complete, even though Liszt does not use the trio section of this melody by Csermák.

No 10 is a miniature rhapsody with typical slow and fast sections, the first based on Beni Egressy’s Kornéliához (‘For Kornelia’), the second—marked Allegro guerriero—on an unidentified theme. Although much shorthand is employed, the piece is finished, and it ends with a very jolly coda which (pace Mr Papp, who sees no connection) is derived from the Allegro. No 11 is the largest piece in the set, and is similarly cast as a two-part rhapsody. The first part is based on the Makó Csárdás in a published arrangement by János Travnyik. The fast section is based on several themes, most of whose origins are unknown. The first of these themes will be instantly recognized as the same melody which Brahms employed in his Hungarian Dance No 9; the second is a dance-tune from Kálló.

The Friska which constitutes No 12 is so attractive a medley of dance tunes (of unknown origin) that one must be forgiven the minor surgery necessary to render the piece complete and playable: Liszt’s note—etc. Durchführung—occurs at a point where he is repeating a theme in transposition, so the eight-bar statement can be completed. A little eight-bar theme written separately at the end of the piece is then incorporated, and repeated an octave higher, and the coda has been supplied by a brief repetition of previously heard material with the addition of three closing chords.

The remaining pieces, with the exception of the sixteenth number, are in rather a sketchy state, even though most of them are written out complete as far as the sequence of melodies and variations are concerned. But the accompaniment is most often left blank or only hinted at in shorthand. No 13 is only fully worked in the opening eight bars, marked Bevezetés (‘Introduction’); the succeeding eight bars require elaboration over a sketched series of harmonies. The fast section contains only seven bars where any accompaniment is suggested, but the right-hand is more or less completely indicated. The themes are unidentified.

No 14 is based on Vágy Pannónia felé (‘Longing for Pannonia’) by Janós Lavotta. Only from time to time does Liszt give a fully worked-out accompaniment—none at all in the closing section. No 15 is marked Bihari by Liszt, but Géza Papp has shown that the theme is in fact by Márk Rózsavölgyi. The trio is a melody by Csermák. Liszt only indicates a few bass notes in the first section, but quite a bit of figuration in the second. No 16 is ascribed to József Zomb, although its source has not come to light. Liszt has written a note to himself—(oder 6?)—suggesting a possible change in the opening rhythmic pattern, given as four semiquavers and two quavers in each bar, but suggesting six semiquavers and two quavers. The sextolets are adopted throughout the present performance. Curiously, at the end of this number Liszt writes the opening of number four of this collection again, finishing with ‘etc.’, so perhaps he was thinking of linking these numbers together (a possibility easily explored on a CD player).

No 17 begins with a theme by Bihari and continues with a theme by Jancsi Polturás Lóczi. Liszt supplies a lot of the accompaniment and gives further instructions to add sixths and play with the hands in unison. Otherwise, the accompaniment requires filling out. The tiny romance No 18 has a strangely valedictory quality about it. The melody is ascribed to Bihari, but may be by Ignác Ruzitska, and it might not even be originally Hungarian—its lilting 68 melody against 24 accompaniment is quite uncharacteristic. Some very minor completion of the accompaniment is required.

In 1954, the Liszt Society (in association with Schott and Co.) published Two Pieces in the Hungarian Style from a manuscript in Weimar which bears no title. That edition prints the two unfinished pieces in reverse order to that of the manuscript, and provides the B flat minor piece with a rather rhapsodic ‘concert ending by Louis Kentner’. With best respects to the Liszt Society, and with undiminished admiration for the wonderful artistry of Mr Kentner, it has been decided here to restore the original order of the pieces, affix a title which more nearly corresponds to their character and period (they were composed at some point around 1840, and thus are roughly contemporary with the Marche héroďque dans le genre hongrois (Heroischer Marsch im ungarischen Styl), and they bear obvious musical kinship to that imposing work), and supply conclusions that maintain the style and dignity of the extant music. The first of the Deux marches dans le genre hongrois—a stately slow march in D minor, full of Hungarian ornamentation—breaks off at bar 54, and shows several changes of heart about the composition of the last episode. What seems clear enough is that the original theme must return for its third statement, varied and ornamented at a more florid level than the second appearance. To this end, the present writer has supplied a further twenty-one bars to conclude the work. The manuscript of the B flat minor piece, like that of its companion, contains no tempo direction, dynamics or other performance indications. It seems reasonable to conclude that this is another noble march, full of pictorial Hungarianisms. This march is so close to being complete—the whole structure of varied reprise of march and trio sections, with coda, is plainly all but finished – that only five bars were added to bring the piece to a conclusion.

Leslie Howard © 1998


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'Liszt: The complete music for solo piano, Vol. 56 – Rarities, Curiosities, Album Leaves and Fragments' (CDA67414/7)
Liszt: The complete music for solo piano, Vol. 56 – Rarities, Curiosities, Album Leaves and Fragments
Buy by post £30.00 CDA67414/7  4CDs for the price of 3 — Last few CD copies remaining   Download currently discounted
'Liszt: The complete music for solo piano, Vol. 57 – Hungarian Rhapsodies' (CDA67418/9)
Liszt: The complete music for solo piano, Vol. 57 – Hungarian Rhapsodies
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'Liszt: Piano Music' (LISZT1)
Liszt: Piano Music
LISZT1  2CDs Super-budget price sampler — Deleted  
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