Liszt - Piano Concerto No. 2 in A Major / Remastered (Ct.rc.: György Cziffra, André Vandernoot)

Full Album available // Liszt: Piano Concertos Nos. 1 & 2 by György Cziffra
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Franz Liszt (1811-1886) Piano Concerto No. 2 in A Major, S 125
00:00 I. Adagio sostenuto (Remastered 2023, London 1958)
03:55 II. Allegro agitato assai (Remastered 2023, London 1958)
07:07 III. Allegro moderato (Remastered 2023, London 1958)
13:20 IV. Allegro deciso (Remastered 2023, London 1958)
16:13 V. Marziale, un poco meno allegro (Remastered 2023, London 1958)
20:29 VI. Allegro animato (Remastered 2023, London 1958)

Complete Remastered edition (Liszt: Piano Concertos Nos. 1 & 2 by György Cziffra) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, Youtube Music...:    • Piano Concerto No. 1 in E flat Major,...  

Piano: György Cziffra
Philharmonia Orchestra
Conductor: André Vandernoot
Recorded in 1958, at London
New mastering in 2023 by AB for CMRR
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COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT
The most important innovation of the concertos, however, was the absence of real movements. Although the First Concerto can be divided into four main sections, these follow one another without interruption; in the Second Concerto, there is no division at all. By writing a successful one-movement concerto, Liszt solved a problem that had nagged the Romantics ever since they rebelled against the rigidity of classical forms and their strict movements. Without this rigid form, it was difficult to preserve a sense of unity. Liszt's solution was a "thematic transformation" - a theme reappearing many times in the course of the concerto, each time transformed but recognizable enough to bind the piece together. The idea was not entirely new, since Schubert had used it in his 'Wanderer-Fantasie', and it was suggested by Berlioz's use of repeated motifs ("idée fixe") whereby a particular tune played on a given instrument represents a character. Other composers also toyed with the idea, but Liszt was the first to put it into practice.

Liszt left no room for doubt in his score as to how he wanted his first concerto to open. Above the music, he inscribed marcato (with emphasis), deciso (with firmness) and tempo giusto (exactly in time), and the opening bars are indeed full of decision. The strings abruptly launch into unison in a menacing cascade of firm, brief bow strokes that etch themselves penetratingly into the ear. A strident confusion of brass and woodwinds punctuates this phrase like an exclamation mark, and the strings take up the motif with even greater force, a more strident fanfare providing the punctuation. Clearly, Liszt does not want us to forget these string motifs, which are to form the dominant theme of the concerto.

In contrast to the dynamic First Concerto, the Second Concerto is much more romantic and lyrical in character. It has the bewitching poetic quality of a starry night, though its atmosphere is sometimes sinister. It opens not with a dramatic fanfare, but in a dreamy, romantic vein, with a peaceful, haunting woodwind melody, led by the clarinet and then the oboe, returning to the clarinet, and the theme introduced is destined to play an important role.

The first Cziffra/Vandernoot versions reveal the pianist's exceptional flamboyance and physical commitment...

Liszt: The 15 Hungarian Rhapsodies, Spanish Rhapsody by György Cziffra
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