Tarentelle di bravura d'après la Tarentelle de La muette de Portici d'Auber, S386iii
The Tarentelle di bravura
is certainly based on music by Auber (and also includes a further theme from the same work, which Liszt uses as a finale, and then combines with the tarantella), and was written for Marie Pleyel in 1846. Apart from a later edition which cuts an optional variation the piece remained in its original form until 1869 when Liszt prepared a new version. The manuscript outlining the changes is in the Library of Congress under the title Veränderungen in der Tarantella aus der Stumme von Portici [für] Fräulein Sophie Menter
and bears in Liszt’s hand the date ‘Rome, September 1869’. These alterations, mainly of texture but incorporating some extra passages and a few harmonic improvements, were published for the first time in a parallel-text edition by the present writer in the Liszt Society Journal
in 1995. The piece itself is really an introduction, theme and variations, and finale, much more Liszt than Auber, and is full of the especial pleasure that such works produce when virtuoso pianistic invention is turned to subtle musical account, even in the context of a showpiece.
from notes by Leslie Howard © 1996