Piano Solo. By Franz Liszt. Edited by M. Eckhardt. This edition: HN763. Piano (Harpsichord), 2-hands. Henle Music Folios. Urtext edition (Paper-bound). 54 pages. Published by Henle Urtext Edition.

The Carnival at Pest. By Franz Liszt. Edited by E. Herttrich. Piano (Harpsichord), 2-hands. Pages: VIII and 29. Urtext edition (Paper-bound). Published by G. Henle.

The Procession by Night / The Dance in the Village inn (Mephisto Waltz No. 1). By Franz Liszt. Edited by Leslie Howard. For piano. This edition: Urtext edition. Collection. 52 pages. Published by C.F. Peters.

Composed by Franz Liszt, arranged by Franz Bendel. For piano. Format: piano solo single. Romantic period. 16 pages. 9x12 inches. Published by Schirmer.

Score. By Franz Liszt. Arranged by Imre Sulyok. EMB. 110 pages. Published by Editio Musica Budapest.

Piano Solo. By Franz Liszt. Edited by E.-G. Heinemann. For piano solo. This edition: HN717. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: IX and 123. Urtext edition (Paper-bound). 131 pages. Published by G. Henle.

Piano SKU: HU.HN717 Composed by Franz Liszt. Edited by Ernst-Gunter Heinemann. Piano Solo, Piano and Keyboard, Repertoire, Solos. Transcendental Studies. Classical, Romantic. Softcover Book. 132 pages. G. Henle #HN717. Published by G. Henle (HU.HN717). 12.2 x 9.3 x 0.4 inches. Liszts Transcendental Studies (Etudes d'execution transcendante) of 1852 are without doubt among the triumphs of virtuoso piano music, and their visionary language and poetic expression make them a milestone of the romantic age. This set of twelve etudes represents the results of the composers own revision of a collection already published in 1827 and 1839. Accordingly, the principal source for this edition was a printed copy of the earlier version with myriad changes in the composers hand. Each of these pieces, including the famous Harmonies du soir and Mazeppa, bears its own title and has entered the concert repertoire less as an etude than as a tone-poem with its own distinctive flavour. Edited by Ernst-Gunter Heinemann with fingerings by Franz Liszt and preface by Maria Eckhardt.

Composed by Franz Liszt (1811-1886). Edited by Ates Orga and Nils Franke. For Piano. Piano. Softcover. 48 pages. Schott Music #ED9054. Published by Schott Music

Cello; Piano Accompaniment

SKU: HL.50512037

Cello and Piano. Composed by Franz Liszt. Edited by Csiky Boldizsar. Arranged by Csí, ky Boldizsá, and r. Romantic. EMB. Classical. Softcover. 14 pages. Editio Musica Budapest #Z14779. Published by Editio Musica Budapest (HL.50512037).

ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.

The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.

Concert-Paraphrase about the quartet by Franz Liszt. Composed by Franz Liszt (1811-1886) and Giuseppe Fortunino Francesco Verdi. Arranged by Franz Liszt. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. 16 pages. Duration 6'. Schott Music #ED9474. Published by Schott Music

Nos. 1-6. Composed by Franz Liszt (1811-1886). Edited by Zoltan Gardonyi and Istvan Szelenyi. Romantic. Separate editions from the New Liszt Complete Critical Edition. Studies and Exercises. Book Only. 68 pages. Editio Musica Budapest #EMBZ6500. Published by Editio Musica Budapest

SKU: HL.49015495

Edited by Giselher Schubert. This edition: Hardback/Hard Cover. Book. Edition Schott. Beitrage zu einer aktuellen musikasthetischen Diskussion. Classical. 326 pages. Schott Music #ED 8547. Published by Schott Music (HL.49015495).

ISBN 9783795703202. German.

Die mittlerweile gangige Kontrastierung von biographischer und philologischer Forschung tauscht einen Gegensatz vor, der in Wirklichkeit nicht besteht. Philologische Arbeit ist mit biographischen Fragen eng verbunden, setzt im Einzelfall sogar die Auseinandersetzung mit derartigen Daten in einer Fulle und Detailliertheit voraus, wie sie fur biographische Darstellungen gar nicht zwingend erscheint, und hat nicht zuletzt zu spektakularen Revisionen scheinbar gesicherter Biographien gefuhrt. Andererseits finden sich Beispiele, die deutliche philologische Defizite gegenuber der biographischen Forschung erkennen lassen. Das vom Paul-Hindemith-Institut, der Hochschule fur Musik und Darstellende Kunst und dem Institut fur hermeneutische Sozialforschung in Frankfurt/Main veranstaltete Symposium hat sich einerseits einer Bestandsaufnahme des Verhaltnisses von Philologie und Biographik anhand spezieller Forschungsbereiche (u.a. zu Liszt, Strauss, Mahler, Schonberg, Strawinsky, Hindemith, Messiaen und Stockhausen) gewidmet, andererseits aber auch versucht, allgemein den derzeitigen Stand der Diskussion zum Autonomiestatus von Musik als emphatischer Kunst zu betrachten und auf mogliche aktuelle Konsequenzen zu untersuchen.

By Franz Liszt (1811-1886). For piano. 23 pages. Published by Wiener Urtext/Vienna Urtext