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Hyperion Records

CDA67187 - Liszt: The complete music for solo piano, Vol. 47 – Litanies de Marie
Madonna and Child Enthroned by Alois Hans Schram (1864-1919)
Christie's, London
CDA67187
Recording details: May 1996
St Martin's Church, East Woodhay, Berkshire, United Kingdom
Produced by Tryggvi Tryggvason
Engineered by Tryggvi Tryggvason
Release date: November 1997
Total duration: 71 minutes 29 seconds

'Howard is a match for all that Liszt throws at his performers' (Gramophone)

'This is surely one of the most valuable of Leslie Howard's pioneering series, and all Lisztians should have it' (The Penguin Guide to Compact Discs)

'What Lisztian, indeed what pianophile, could resist this?' (Classic CD)

'Ce nouveau volume mérite une fois de plus notre respect' (Répertoire, France)

The complete music for solo piano, Vol. 47 – Litanies de Marie
[Hymne]  [5'34]

This forty-seventh volume in the series presents the early versions of pieces from the Harmonies poétiques et religieuses. The history of this work is fully detailed in the accompanying booklet and is complex, Leslie Howard having painstakingly restored order to various manuscript sources and sketches. Extraordinarily, the 1847 set of the Harmonies turns out to be a rather more coherent work than the final, better known version. Yet is has never before been properly edited. These performances are therefore genuinely significant: none of this music has been recorded before, and it is unlikely that any will have been performed at all since Liszt's own time.


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The history of Liszt’s Harmonies poétiques et religieuses is long and complex: the eventual series of ten works was published by Kistner in 1853, having been finally revised and prepared by the end of 1851. Many of the pieces in that collection started life somewhat earlier. This present recording completes the picture begun with volume 7 of this series (‘Harmonies poétiques et religieuses and other pieces inspired by sacred texts’) where all of the other related works appear. The works may be divided into three groups: the early pieces; the 1847 series; and the 1851 series.

The earliest pieces were never grouped together as they stood, although all of them were at some stage expected to form part of a collection: the single piece Harmonies poétiques et religieuses of 1834 (recorded in volume 7) was the starting-point. By 1841, Liszt wrote of several pieces sketched at Fontainebleau towards the end of 1840. In fact only one, Prière d’un enfant à son réveil (to give it the title as in Liszt’s correspondence – the manuscript is untitled), survives from this period. In 1844, and again in 1846, Liszt sketched a piano solo on the De profundis, a chant which he had already employed in his grand De profundis – Psaume instrumental for piano and orchestra of 1835, and to which he would return later in an early version of Totentanz. In 1845 Liszt composed a piano piece apparently intended to inaugurate a cycle. The manuscript itself bears only the generic title Harmonies poétiques et religieuses, with a bracketed alternative Préludes et Harmonies poétiques et religieuses. There is also in Weimar an 1846 manuscript, although not in Liszt’s hand, of a four-part setting of a verse of the Miserere, erroneously attributing the music to Palestrina (as Liszt was to do in his piano piece in the 1851 collection). Litanies de Marie was composed probably in 1846 but certainly by early the following year.

The second group of pieces was all completely worked out in Sketchbook N9, over a period from October 1847 to early January 1848, during which time Liszt was staying with the Princess zu Sayn-Wittgenstein at her Polish estate, Woronince. At some point that book was mutilated, probably by Liszt himself – it is clear that he used it as the basis for the later version of all the similar material in the final published collection. Further, a previous archivist in Weimar replaced some torn-out pages (all from La lampe du temple) in haphazard order, and, not noticing that a further page had been removed after Litanies de Marie (leaving only the last bar of Miserere, and none of the Pater noster), numbered the pages in the sketchbook continuously. One of the pieces looks like unconnected sketches until one realizes that it needs to be used to replace two sections in the otherwise complete and published 1834 piece Harmonies poétiques et religieuses. It is necessary to restore the double-sided sheet which is now in Paris, correct the order of the leaves in La lampe du temple, collate the insertions with the published piece, identify carefully throughout the collection which passage Liszt has decided upon in the places where he offers apparently unresolved choices, to decipher various passages in shorthand notation, and, exceptionally, to complete the final bars of the penultimate number. Liszt’s unequivocal ‘Laus Deo’ at the end of the last number signifies that he, at least, thought that the collection was complete and finished. Unfortunately, the editors of the Neue Liszt-Ausgabe did not get to the bottom of these mysteries at the time when their volume I/IX was published, and they chose to publish only those pieces from the beginning of the sketchbook which present no problems: Élevez-vous, voix de mon âme (Invocation, first version), Hymne de la nuit and Hymne du matin. (These pieces are recorded in volume 7.) Then follows Litanies de Marie (second version) which has often been described as unfinished but which is undoubtedly complete, once Liszt’s shorthand is deciphered and the correct selection of material is made from Liszt’s many overwrites and alternatives. Then, properly inserting the Paris leaf, two further numbers are complete: Miserere (untitled in the manuscript, but with the Latin text of the hymn underlaid) and Pater noster, d’après la Psalmodie de l’Église. Despite the many short cuts in the notation, the following Hymne de l’enfant à son réveil (second version) is also complete. The eighth piece is a pair of replacement sections for the early single piece Harmonies poétiques et religieuses (later to become Pensée des morts but here untitled, although an earlier sketch of similar material to the first inserted passage gives Prose des morts – De profundis). Here some serious detective work is required. The ninth is La lampe du temple (first version of the Andante lagrimoso) and is complete, even if the pages are out of order and badly torn. The tenth piece is without title (and tempo direction), and its conclusion must have seemed obvious to Liszt because he began the next piece on the next page and only allowed a few blank systems at the end of this one for filling in final chords (which may be deduced easily enough). The eleventh and final piece is likewise untitled in the sketchbook, although here the material is familiar: the music derives from the earlier Prélude and eventually finds itself incorporated into Bénédiction de Dieu dans la solitude.

The third group is the familiar published set of ten pieces.

Thus, the following pieces are published, and have already appeared in volume 7:

S154 Harmonies poétiques et religieuses (single piece of 1834)
S172a/1 Élevez-vous, voix de mon âme (Invocation, first version) (formerly S173b)
S172a/2 Hymne de la nuit (formerly S173a/1)
S172a/3 Hymne du matin (formerly S173a/2)
S173 Harmonies poétiques et religieuses (1851 series of ten pieces)

Right from the start, Liszt intended this music to revolve around the poetry and prose of Lamartine, and many of the pieces derive their titles or proems from Lamartine’s work. As several scholars have shown, the relationships of Liszt with, on the one hand, the Countess d’Agoult and, on the other, the Princess zu Sayn-Wittgenstein had considerable effect upon the general thrust of the project. (Whilst Liszt was finishing the 1847 set under the Princess’s roof, he was still corresponding with the Countess on the subject.) Certainly, the Lamartine influence decreases by the 1851 set, and two works are included there which, masterpieces though they may be, have little to do with the project: Funérailles and Cantique d’amour (the one a lament for the execution of the Hungarian government in October 1849, the other a love-song for the Princess). Whereas Litanies de Marie has been quietly dropped – a circumstance which may relate to Liszt’s earlier habit of confusing some aspects of his love for Marie d’Agoult with his veneration of the Virgin Mary. Be that as it may, there does appear to be a scribbled reference to Princess Carolyne in a shorthand bar of the Litanies de Marie (second version). We do not know why Nos 2, 3 and 10 of the 1847 cycle were dropped, either, and nor does there seem to be a reason why the choral Ave Maria of 1842 found its way in transcription into the 1851 set but not the 1847 set.

The first three numbers of the 1847 set having been issued previously, we may begin here with a consideration of Litanies de Marie. As Albert Brussee has rightly shown, the earlier, monothematic version of the work was much extended in the second version (track 1), and a new, contrasting theme was added. The principal theme, as he likewise observed, clearly recalls the rhythm of the prayer ‘Sancta Maria, ora pro nobis’. The whole work is of that particular blend of formal solemnity in the face of the eternal mysteries and fervent ardour of which Liszt was such a master, and it is a great pity that he never returned to the work or else its future would have been more worthily assured. (The manuscript of the first version (11) lacks its ending, which it seems would have been imminent, and the piece has been completed here by using the parallel passage from the second version.) There is a thematic connection between this piece and Invocation, but it is impossible to establish that the collection is truly cyclic in any way.

The Miserere (2) is not as florid as its later version, but consists of a simple statement and a variation of the opening of Psalm 51 (Vulgate 50):

Miserere mei, Deus,
secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum,
dele iniquitatem meam.
Have mercy upon me, O God,
according to your steadfast love;
according to your abundant mercy
blot out my transgressions.

(Liszt’s source for the Latin text is as faulty as its attribution to Palestrina.) The Pater noster (3) is a transcription of a setting for men’s chorus of the Lord’s Prayer which Liszt had originally composed in 1846. This is a very restrained arrangement, even more straightforward than the 1851 revision.

The Prière d’un enfant à son réveil (9), a simple lullaby/prayer of 1840, almost certainly refers to Liszt and Marie’s third child, their one-year-old son Daniel. When the piece underwent much change and extension, adapted to poetry of Lamartine to produce a choral work and then transcribed for piano (and both choral and piano pieces underwent further revision), all entitled Hymne de l’enfant à son réveil (4), the reference becomes universal: a child pondering the relationship between himself, his parents, and his and their heavenly Father.

Prose des morts – De profundis (5) is an extraordinary piece, as astounding as its 1834 conception as Harmonies poétiques et religieuses, and, on the whole, more original than the final version Pensée des morts. As far as the present writer can determine from the N9 Sketchbook which contains no instruction but two passages of music – one of some thirty-one bars, and another of eighteen bars, the end of which has been mutilated when the following pages were torn from the sketchbook – Liszt’s apparent plan was to substitute the two passages in the original piece (for those who have the published score of that work, bars 40-62 and bars 120-123) in order to introduce the chant De profundis, which is underlaid with the appropriate text from Psalm 130 (Vulgate 129):

De profundis clamavi ad te Domine:
Domine exaudi vocem meam.
Fiant aures tuae intendentes
in vocem deprecationis meae.
Out of the depths I cry to you, O Lord:
Lord, hear my voice!
Let your ears be attentive
to the voice of my supplications.

Liszt weaves the chant and his previous material together, in a way which he dropped in the final version which presents the chant unadorned. Thereupon he returns to the Andante religioso section of the original – material which was much altered or dropped completely in 1851. The peroration is extended, and right at the end of the second insert the rhythm of the chant returns, on a static augmented triad, and the promised G major tonality is avoided as in the original version.

Although La lampe du temple (6) was the basis for the later Andante lagrimoso, this is a much larger piece, and possesses rather a different poem by Lamartine as preface. In this case La lampe du temple ou l’âme présente de Dieu, to quote Brussee, ‘is expressive of adoration, speaking of the immortality of the Lord and His creation … [and] demands music of an expansive character’. In contrast, the poem Une larme (which prefaces the Andante lagrimoso) opens with the words ‘Tombez, larmes silencieuses, sur une terre sans pitié’ (‘Fall, O silent tears, upon an earth without pity’), words which suggest a silent, tragic mood.

The tenth piece, which can safely be entitled Hymne (7), is a simple and grand hymn-like melody, swathed in robust arpeggios expressive of joy unclouded by doubt. The central section is more turbulent, but the reprise and coda are all bathed in the brightest light. After such affirmative grandeur, the only requirement is some kind of envoi, and, taking a cue from Liszt’s later use of the material in the central section of Bénédiction de Dieu dans la solitude, the title Bénédiction (8) seems reasonable enough. This work is itself a revision of a piece which, following Albert Brussee and Rena Charnin-Mueller, we may call Prélude (10), for want of an alternative. The manuscript of the earlier piece shows some incomplete attempts at revision, but all of these have been ignored in the present reading in order to present the work – a peaceful little composition – in its original finished shape. Most of the revisions were incorporated or further revised in the second version which develops the material on a somewhat larger scale. (Interestingly, the music contracts again when Liszt inserts it into the newly composed Bénédiction de Dieu dans la solitude.)

Taken all in all, the 1847 series is rather more homogeneous than the later set, and cries out for complete Urtext publication.

The kind assistance of the Goethe- und Schiller-Archiv, Weimar, and particularly the Curator Evelyn Liepsch in providing copies of original manuscripts is gratefully acknowledged.

A certain amount of detective work has been an integral part of the preparation for this series, but this seventy-second disc is the first occasion upon which a whole recording consists of hitherto unpublished material. It should be acknowledged at once that several other musicological sleuths have assisted: Imre Mez. of Editio Musica Budapest, who first drew my attention to Sketchbook N9 in Weimar; Albert Brussee of The Hague, who alerted me to the existence of three earlier manuscripts in Weimar, who gave probably the first public performance of Litanies de Marie II, and who published an article on the whole history of the music for Harmonies poétiques et religieuses in the 1995 Liszt Society Journal; Michael Short, who located a single folio in the Bibliothèque Nationale in Paris, which I was able to establish had been removed from Sketchbook N9, almost certainly by Liszt himself; and Adrienne Kaczmarczyk, whose paper at a recent Liszt conference in Budapest independently confirmed many of my conclusions. Illuminating articles by Rena Charnin-Mueller (in La Revue Musicale, 1987) and Serge Gut (1996 Liszt Society Journal) were especially helpful in establishing historical detail. Particular thanks must go to the production team at Modus Music: my producer Tryggvi Tryggvason, engineer Andrew Hallifax and especially editor Emma Stocker, as well as my patient page-turner Marcus Spreitzer (no matter how well I have memorized a piece of music, I need to have it in front of me in a recording session!), all of whom had to deal with photocopied prints from microfilm of the manuscripts – it is one thing to be able to play from a Liszt manuscript after many years’ familiarity with his calligraphic idiosyncracies; to produce, page-turn or edit using such copy is a very tall order.

Leslie Howard © 1997


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Liszt: The complete music for solo piano, Vol. 50 – Liszt at the Opera V
'Liszt: The complete music for solo piano, Vol. 51 – Paralipomènes' (CDA67233/4)
Liszt: The complete music for solo piano, Vol. 51 – Paralipomènes
MP3 £7.75FLAC £7.75ALAC £7.75Buy by post £20.00 CDA67233/4  2CDs   Download currently discounted
'Liszt: The complete music for solo piano, Vol. 52 – Ungarischer Romanzero' (CDA67235)
Liszt: The complete music for solo piano, Vol. 52 – Ungarischer Romanzero
MP3 £6.00FLAC £6.00ALAC £6.00Buy by post £10.50 CDA67235  Download currently discounted
'Liszt: The complete music for solo piano, Vol. 53 – Music for piano & orchestra I' (CDA67401/2)
Liszt: The complete music for solo piano, Vol. 53 – Music for piano & orchestra I
'Liszt: The complete music for solo piano, Vol. 53 – Music for piano & orchestra II' (CDA67403/4)
Liszt: The complete music for solo piano, Vol. 53 – Music for piano & orchestra II
'Liszt: The complete music for solo piano, Vol. 54 – Liszt at the Opera VI' (CDA67406/7)
Liszt: The complete music for solo piano, Vol. 54 – Liszt at the Opera VI
'Liszt: The complete music for solo piano, Vol. 55 – Grande Fantaisie' (CDA67408/10)
Liszt: The complete music for solo piano, Vol. 55 – Grande Fantaisie
MP3 £10.00FLAC £10.00ALAC £10.00Buy by post £26.00 CDA67408/10  3CDs Last few CD copies remaining   Download currently discounted
'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
MP3 £12.00FLAC £12.00ALAC £12.00Buy 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
'Liszt: Piano Music' (LISZT1)
Liszt: Piano Music
MP3 £4.50FLAC £4.50ALAC £4.50 LISZT1  2CDs Super-budget price sampler — Deleted  
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