SKU: HL.50511775

ISBN 9790080144848. Bach (23 x 30,2 cm) inches. Hungarian, English. Zsolt Serei.

The piano series entitled Album leaves is an open piece, like an imaginary keepsake album which is continually added to, and the pages are connected through the owner of the album. The movements that form the series begun in 1983 can be played singly, independently of each other and also in a freely chosen sequence. If the work is played as a cycle, the order of subsequent movements is optional, but the sequence must begin with the movement Introduction, and must end with Postludium. The loose album-leaf series of the 19th century piano literature (the works of Schumann, Mendelssohn, Liszt) or Gyorgy Kurtag's piano-piece cycle Jatekok (Games) can equally be considered as the antecedents of or inspiration for the series.

SKU: BT.EMBZ14499

English-German-Hungarian.

Of this series of twenty-four études planned by Liszt only twelve were actually written, but the contemporary printed editions of the completed pieces (in the hope of a continuation) appeared with the series title '24 grandes études'. By publishing these 12 concert studies it makes the earlier and technically more difficult version of the Transcendental Studies available for the first time since 1911 for study by performers and those engaged in music research. Contrary to the 1911 edition among the volumes of the first complete Liszt edition, NLE will publish also the text variants of some studies, an album leaf in F sharp major in facsimile and in transcription considered asthe 13th study planned by Liszt for the series, and the earlier versions of so-called Mazeppa and Ab irato studies. In the volume will be published the puzzling album leaf, the so-called 'Prélude omnitonique' and some similar album leaves, too.

Von den 24 Etüden dieser Serie, die Liszt ursprünglich geplant hatte, wurden tatsächlich nur 12 fertig, die zeitgenössischen gedruckten Ausgaben erschienen in der Hoffnung auf eine Fortsetzung dennoch unter dem Serientitel ‚24 große Etüden'. Mit der Veröffentlichung dieser zwölf Konzertetüden wird die frühere und technisch schwierigere Version der Transzendenten Etüden seit 1911 erstmalig für die Interpreten und Forscher zugänglich. Im Gegensatz zur 1911 als Band der ersten Liszt-Gesamtausgabe erschienenen Ausgabe werden in der NLA auch die Textversionen mancher Etüden publiziert, ebenso wie das Fis-Dur Albumblatt (als Faksimile und moderne Transkription), welches auch alsSkizze der geplanten dreizehnten Etüde angesehen werden kann, außerdem die früheren Versionen der sog. Mazeppa- und Ab irato-Etüden. Auch das geheimnisvolle Albumblatt, das sog. ‚Prélude omnitonique' wurde, ebenso wie weitere ähnliche Albumblätter in diesen Band aufgenommen.

Des 24 études prévues initialement, seules 12 furent terminées, mais elles furent toutefois éditées sous le nom initial de 24 Grandes Études. Cette édition contient également des textes et de nombreuses autres pièces tels que des esquisses, des études de perfectionnement et des versions antérieures de la Mazeppa.

SKU: BT.EMBZ20004A

English-German-Hungarian.

Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes.

SKU: BT.EMBZ14505A

English-German-Hungarian.

Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included.

Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement” that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume.

Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.