Franz Liszt (1811-1886)
Dante Symphony (arr. two pianos and choir by composer)
Concerto Pathétique (arr. two pianos by composer)
Marco Sollini & Salvatore Barbatano (pianos)
Coro dell’Almo Collegio Borromeo di Pavia
rec. 2022, Almo Collegio Borromeo di Pavia, Italy
Da Vinci Classics C00667 [70]
I’ve long been familiar with the Concerto Pathétique (S258), however, I got to know it in the version for solo piano entitled Grosses Konzertsolo (S176) and I spent many hours trying to master it. That solo version dates from a couple of years before Liszt arranged it for two pianos and published with the new title and that is what is performed here. The two works are not hugely different in terms of material, structure and development however, Liszt extended the themes at various parts of the two piano version so that it worked better for that instrumentation. Interestingly, Liszt’s pupil and protégé Hans von Bulow rewrote the final part before the ending and published it, with Liszt’s blessing. It is that version which is most often performed these days; however, here we have Liszt’s original conception which I personally think works better.
It’s a fantastic work, a sort of predecessor to the Sonata in B minor in its use of thematic transformation. The opening theme which is in E minor, is gradually modified through various keys and iterations to an amazingly virtuosic and powerful conclusion in E major. However, along the way we have a beautiful reflective section (in D flat major, from 8’05’’), a march like section (10’53’’) a crazy and exciting Stretto section (14’31’’) and, towards the end, a funeral march before the extraordinary ending. The two soloists here cooperate magnificently throughout this endlessly shifting transformation and always coney a sense of the piece flowing naturally from one part to another. Their virtuosity, power and dexterity of the two pianists are superb throughout. The ending is a really grand and thrilling edge-of-the-seat experience; I wholeheartedly recommend this to people who enjoy superb musicianship and exciting, dynamic pianism.
The second work on the disc is the magnificent Dante Symphony (originally for full orchestra with chorus, S109) but here in the two-piano version (S648) with the final six or so minutes utilising a chorus singing the ‘Magnificat’. Liszt was fastidious in all his transcriptions ; all the details from the original version are included but obviously altered to make them playable for two pianists. The work is divided into two movements with the chorus as a continuation of the second one. The opening movement ‘Inferno’ is very loud and full of dissonance and contains virtuoso writing for both instrumentalists. Familiarity with the orchestral version is useful for hearing the different timbres used to simulate the orchestra. Some powerful and terrifying sounds are generated here by the pianists – fitting the description of ‘Inferno’. Timings for the movement are similar to those found in the version for full orchestra which, as I have previously stated, is a good sign. The first movement broadly falls into three parts: the opening contains the loud and powerful writing and the middle section is more restrained before the peace is shattered by the return of the mocking, angry harmonies and themes from the start. Despite the changes in speed, dynamics and themes, the whole thing holds together very well and the two pianists bounce off one another splendidly. When the angry music begins to reassert itself, there is a definite lurch in the mood and you can almost hear that it’s going to happen. This last section wraps up what has come before and ends defiantly with a powerful blast of octaves.
The second movement is completely different from what we have heard before and is a depiction of purgatory. It opens quietly; all the bombast and anger of the first movement has dissipated and, as the work proceeds, some lovely shifting harmonies emerge. These combine and mix endlessly and after a lot of development, a hugely complex fugue appears. This slowly settles until a marvellous sense of calm begins to pervade the music. As in the first movement, you can almost sense that something is about to happen and it does – once the fugue has run its course, the choir emerges. It sings a selection of passages from the Magnificat before gently drifting off into the ether at the end.
I had previously only heard this work in the orchestral version and it is fascinating to compare the two different takes on the same idea. If I have one very small complaint, it is that the chorus is a little grating on my ears; however, they sing well and the sound soars effortlessly above the two pianists who played magnificently throughout. This is a thoroughly enjoyable performance of a sadly underrated and underperformed work. The cover notes are interesting and contain some interesting facts about the music, the running time is good and the quality of the booklet and case is high. I will be returning to this CD often.
Jonathan Welsh
Availability: Da Vinci Edition
