Liszt - The Six Hungarian Rhapsodies for Orchestra (ct.rc.: Antal Doráti, London Symphony Orchestra)

Album available // Liszt: The Six Hungarian Rhapsodies for Orchestra by Antal Doráti
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00:00 No. 1 in F minor (No. 14 in F minor, S. 244)
10:45 No. 2 in D minor (No. 2 in C-sharp minor, S. 244)
20:28 No. 3 in D Major (No. 6 in D-flat Major, S. 244)
28:54 No. 4 in D minor (No. 12 in C-sharp minor, S. 244)
39:35 No. 5 in E minor "Héroïde Elégiaque" (No. 5 in E minor, S. 244)
49:35 No. 6 in D Major "Carnival in Pesth" (No. 9 in E-flat Major, S. 244)

London Symphony Orchestra
Conductor: Antal Doráti
Recorded in 1963, at London
New mastering in 2023 by AB for CMRR
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The Rhapsody No. 1 was later arranged twice more, for piano-four hands and as the well-known "Hungarian Fantasy" for piano and orchestra. In some editions, it bears the title "Mohàcs Field," referring to the Battle of Mohàcs in 1526, in which the Turkish victory brought ruin to Hungary. One might point out the rather curious fact that Liszt, the Hungarian, using the Hungarian term lassan (slowly) or lassú (slow) for the first part, resorts to the Slavic form friska rather than the Hungarian friss (fast) for the second.

The Rhapsody No. 2, familiar as it is, needs little comment. The form is typically lassú-friska. The manuscript is dated at the end: 27.11.47. It was published by Bartholf Senff in Leipzig and dedicated to Count László Teleki.

The Rhapsody No. 3 differs from most of the others in that it has a succession of different tempi. It was compiled from a series of Magyar Dalok (Hungarian songs) of 1839-47, where its four sections were Nos. 4, 5, 11, and 20. The third section is omitted in the orchestral version, and the key changed from D-flat to D Major (both versions, however, ending in B-flat). Published by Karl Haslinger in Vienna, successor to the better-known Tobias Haslinger, it was dedicated to Count Antal Apponyi.

Liszt maintained close connections with the aristocracy of Hungary; Sacheverell Sitwell writes that he "was drawn naturally... to this kind of society, and he liked to alternate between it and the company of his fellow musicians. His exquisite manners may have been a little wasted in entirely professional circles (Sitwell: Liszt. London: Cassell & Co. Lid., 1955, p. 308.) The Apponyi family, in particular, had been instrumental in furthering Liszt's career, one of the Counts having headed a subscription to guarantee his musical education after a recital at Pozsony (now Bratislava) in 1820, when the young pianist was only nine years old.

The Rhapsody known as No. 4 is an exceedingly popular work and justly so, with its richly orchestrated low introduction, masterly juxtaposition of themes, and ingenious use of high winds and harp throughout.

The Rhapsody No. 5 has exactly the same number and key as the original. Titled "Héroïde Elégiaque," it avoids the lassú-friska pattern and is a deeply felt funeral march scored mainly for strings. It bears comparison with the slow movement of Liszt's finest work, A Faust Symphony.

The Rhapsody No. 6 actually exists in two piano versions; also for piano-four hands and as a Trio for violin, piano, and cello. Titled "Carnival in Pesth," it is just that: a national celebration replete with brass calls, gypsy violins, and wild cadenzas. As George Bernard Shaw said of one of the Rhapsodies in a London performance before the turn of the century, it sparkled, tinkled, warbled, soared, swooped, and raced along so that it was impossible to resist the itch to get up and dance.

Album available // Brahms: 16 Hungarian Dances, Variations on a Theme by Haydn by Antal Doráti
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Ferenc Liszt PLAYLIST (reference recordings):    • Ferenc Liszt (1811-1886)