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Konzertstück 'C. M. v. Weber Op. 79', S576a
J282 Op 79
circa 1868

'Liszt: The complete music for solo piano, Vol. 49 – Schubert and Weber Transcriptions' (CDA67203)
Liszt: The complete music for solo piano, Vol. 49 – Schubert and Weber Transcriptions
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'Liszt: Complete Piano Music' (CDS44501/98)
Liszt: Complete Piano Music
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Track 9 on CDA67203 [17'10]
Track 9 on CDS44501/98 CD79 [17'10] 99CDs Boxed set + book (at a special price)

Konzertstück 'C. M. v. Weber Op. 79', S576a
Liszt prepared the four sonatas and six other works of Weber in practical editions for publication in 1868 and 1870. Corrected reprints were issued in 1883. The six other works include the Momento capriccioso, Op 12 (which had been in Liszt’s repertoire since he was eleven years old), the Grande Polonaise, Op 21, the Rondeau brillant, Op 62, the Invitation to the Dance (the oft-encountered references to a Liszt paraphrase of 1843 upon the same work seem to be inaccurate—in any case, the text here is not only presented unencumbered by additions, but also the interested performer is urged in Liszt’s footnote to acquire the concert versions of Henselt or Tausig), and the Polacca brillante, Op 72. They are preceded by the version for solo piano of the Konzertstück, Op 79, composed for piano and orchestra by Weber in 1821. Liszt incorporates the reduction of the orchestral parts and the original solo part on the same two staves (as it had appeared in earlier editions—the original arranger of the orchestral part is not given). Liszt provides many suggestions of alternative texts and, where necessary, of a combination of the solo part and its orchestral accompaniment playable—even if with difficulty—by two hands. The structure of this single-movement concerto was of great importance to the development of Liszt the composer. Liszt first played the work in 1833, when he was not yet twenty-two, and Weber’s fusion of several sections into one movement was to be a lifelong influence upon him, if not quite such an obsession as the Schubert ‘Wanderer’ Fantasy.

from notes by Leslie Howard © 1998

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