Hyperion Records

Ungarns Gott, S543

'Liszt: The complete music for solo piano, Vol. 11 – The Late Pieces' (CDA66445)
Liszt: The complete music for solo piano, Vol. 11 – The Late Pieces
Buy by post £10.50 CDA66445 
'Liszt: Complete Piano Music' (CDS44501/98)
Liszt: Complete Piano Music
Buy by post £200.00 CDS44501/98  99CDs Boxed set + book (at a special price)  
Track 24 on CDA66445 [3'01]
Track 24 on CDS44501/98 CD19 [3'01] 99CDs Boxed set + book (at a special price)

Ungarns Gott, S543
Those pieces all have Hungarian connections. Hungary’s God exists in many versions, but was originally a song with chorus and piano, as was the Song to the Hungarian King. The Epithalam (‘Wedding Song’) was written for the marriage of the violinist Reményi, for whom Liszt drafted his unfinished violin concerto, and was also published for violin and piano. Mosonyi’s Funeral Procession and In Memory of Petöfi were both later incorporated in an altered form into the Historical Hungarian Portraits, as was a shortened version of the Trauermarsch in the piece commemorating Ladislaus Teleki. None of these works uses any traditional Hungarian material, but the flavour of the rhythms and cadences is unmistakable. The last three pieces are all very powerful elegies, and the last, the Funeral Prelude and Funeral March builds to a mighty climax over a repeated four-note motif of F sharp, G, B flat and C sharp, where the listener is constantly mystified about whether the piece is really wanting to be in G minor, despite the overwhelming insistence on the C sharp which triumphs at the end without ever giving the feeling that there is any real tonality adhering to it.

from notes by Leslie Howard © 1991

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