Hyperion Records

Piano Concerto No 2 in A major, S125
composer
1839/1849/1853/1857/1861; first performed in 1857, with Liszt conducting, by Hans von Bronsart to whom the publication in 1863 was dedicated

Recordings
'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: Complete Piano Music' (CDS44501/98)
Liszt: Complete Piano Music
MP3 £160.00FLAC £160.00ALAC £160.00Buy by post £200.00 CDS44501/98  99CDs Boxed set + book (at a special price)  
'Arthur de Greef – Solo and concerto recordings' (APR7401)
Arthur de Greef – Solo and concerto recordings
MP3 £15.49FLAC £15.49ALAC £15.49 APR7401  4CDs Download only  
'Liszt & Grieg: Piano Concertos' (CDA67824)
Liszt & Grieg: Piano Concertos
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 Studio Master: FLAC 24-bit 96 kHz £12.00ALAC 24-bit 96 kHz £12.00 CDA67824  Studio Master FLAC & ALAC downloads available
Details
Movement 1: Adagio sostenuto assai – Allegro agitato assai
Movement 2: Allegro moderato
Movement 3: Allegro deciso – Marziale un poco meno allegro
Movement 4: Allegro animato
Part 1: Adagio sostenuto assai – Un poco più mosso
Track 1 on CDA67403/4 CD1 [3'36] 3CDs
Track 1 on CDS44501/98 CD97 [3'36] 99CDs Boxed set + book (at a special price)
Part 2: L'istesso tempo
Track 2 on CDA67403/4 CD1 [1'42] 3CDs
Track 2 on CDS44501/98 CD97 [1'42] 99CDs Boxed set + book (at a special price)
Part 3: Allegro agitato assai – Un poco più mosso – Tempo del Andante
Track 3 on CDA67403/4 CD1 [1'57] 3CDs
Track 3 on CDS44501/98 CD97 [1'57] 99CDs Boxed set + book (at a special price)
Part 4: Allegro moderato – In tempo
Track 4 on CDA67403/4 CD1 [4'57] 3CDs
Track 4 on CDS44501/98 CD97 [4'57] 99CDs Boxed set + book (at a special price)
Part 5: Allegro deciso – L'istesso tempo
Track 5 on CDA67403/4 CD1 [2'27] 3CDs
Track 5 on CDS44501/98 CD97 [2'27] 99CDs Boxed set + book (at a special price)
Part 6: Sempre allegro – Marziale, un poco meno allegro – Un poco animato
Track 6 on CDA67403/4 CD1 [1'41] 3CDs
Track 6 on CDS44501/98 CD97 [1'41] 99CDs Boxed set + book (at a special price)
Part 7: Un poco meno mosso – Allegro animato – Stretto – Sempre animato
Track 7 on CDA67403/4 CD1 [4'42] 3CDs
Track 7 on CDS44501/98 CD97 [4'42] 99CDs Boxed set + book (at a special price)
Section 1: Adagio sostenuto assai – Allegro agitato assai
Section 2: Allegro moderato – Allegro deciso – Marziale, un poco meno allegro
Section 3: Un poco meno mosso
Section 4: Allegro animato

Piano Concerto No 2 in A major, S125
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Concerto No 2 in A major has always been especially beloved of the most musicianly Liszt interpreters who are wary of the temptation of the tradition of performing the First Concerto for empty spectacle and in the shortest time possible (Alfred Brendel has written with typically incisive vigour and wit upon this subject and has noted that it has been whipped through in less than fourteen minutes by someone who ought to have known better) choosing instead the work which, for all its demands and grand gestures, remains fundamentally poetic. Of course, Liszt differentiates the characters of the two concertos clearly: the contrast in tonality is maximum, the openings could not be more unlike, the four-movement underlying structure of the First is replaced in the Second with a single movement which extrapolates the boundaries of the sonata principle in the same way that many of Liszt’s symphonic poems do, and the Second Concerto relies on fewer but more distinguished themes than the First.

The first theme is striking for its juxtaposition of distant seventh and ninth chords which nevertheless fail to unsettle the principal key, clear from the opening chord. The piano enters with gentle arpeggios for the second statement, which is then extended into the transition to the second theme in a mellifluous passage with solo horn, oboe and cello. In a reversal of the usual constituents of a sonata exposition, the second theme is powerful and triadic, and is presented in D minor. A second transition presents a new theme which takes the music to B flat minor and a forceful tutti, bringing the exposition to an end. The development may be said to begin from the moment the soloist rejoins the orchestra, when the connection between the tutti theme and the end of the first theme is made manifest, and underlined by the little piano solo which calms things almost to the state of the beginning of the concerto. The tutti theme is then transformed in the orchestra into a gentle introduction extended by a short cadenza, and a reworking of the first theme in 4/4 rather than 3/4, in D flat major, with a solo cello. This is lyrically continued by the piano, eventually joined by oboe then flute in another transformation of the tutti theme, under which the violins play a phrase which at once derives from the first two chords of the concerto and yet outlines the melody (and sentiment) of a Liszt song Freudvoll und leidvoll.

The material of the first transition informs the cadenza which leads to the recapitulation of the second subject, in a robust D flat major, the lower strings playing the tutti theme in counterpoint. The recapitulation continues with a further transformation of the first transition, development of the tutti theme and second subject combined, and a transformed version of the tutti itself. The second transition theme ensues, now in A minor, and the general increase in tempo is finally reigned in with the recapitulation in the original key of the first theme, now transformed into a march and punctuated with fragments of the ubiquitous tutti theme. (Various commentators have been rude about this passage, noting its martial vulgarity and generally failing to see that it is the permissible moment of triumph at the final point of recapitulation of the first theme and the first time we have seen the home key since the opening pages of the work. Even Searle refers to this passage as occurring in ‘the finale’, showing not much appreciation of the structure.) As if to silence potential critics, Liszt uses the second transitional theme again to reintroduce the first theme in the most magical form, running on with a version of the same lyrical extension we heard with the cello solo, and continuing in the same manner through the Freudvoll und leidvoll phrase to a short cadenza. This cadenza, like so much of the binding material of this work, is derived from the alternate falling semitone and tone from the first theme, and these intervals now immediately generate the material of the animated coda. The coda is so superficially appropriate a peroration that it requires a second look to see how well it draws the whole argument together, with every theme represented in one way or another, right to the closing bars.

from notes by Leslie Howard © 1998

Track-specific metadata
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Details for CDA67824 track 6
Allegro moderato – Allegro deciso – Marziale, un poco meno allegro
Artists
ISRC
GB-AJY-11-82406
Duration
8'57
Recording date
18 June 2011
Recording venue
Grieghallen, Bergen, Norway
Recording producer
Andrew Keener
Recording engineer
Simon Eadon
Hyperion usage
  1. Liszt & Grieg: Piano Concertos (CDA67824)
    Disc 1 Track 6
    Release date: November 2011
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