The fact that Franz Liszt wrote two piano concertos tailored to his own abilities is nothing unusual for one who was perhaps the greatest pianist in the history of music. In the 19th century such concertos were by all means expected of every piano virtuoso as “visiting cards”. But it is astonishing that Liszt’s concertos (apart from a few sketches and ideas) were not written in his early virtuoso period in Paris, but during his Weimar years. Thus the premiere of his 1st Piano Concerto in E flat in fact only took place in 1855. The process of maturing as a composer which Liszt had undergone up to that point in his symphonic poems is evident in this concerto, with its colourful orchestration and innovative formal conception of four interlinking, motivically-interwoven movements. The 1st Piano Concerto remains a firm staple of the piano repertoire today. This Urtext edition describes the protracted genesis and revision of the concerto, examines the large number of surviving manuscript and printed sources, and offers a reliable musical text of the composer’s final version. The brilliant pianist Claire Huangci, who regularly performs Liszt’s works, has contributed the fingering.
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Franz Liszt
The most famous piano virtuoso of the nineteenth century is regarded as the most influential artist and composer (with Berlioz, Wagner) of the so-called New German School. His immense musical oeuvre comprises, above all else, works for solo piano, including numerous transcriptions; he also devised the symphonic poem. Important, too, are his sacred and secular choral works and songs.
| 1811 | Born in Doborján/Raiding (Sopron) on October 22, son of an official in the service of Prince Esterházy. First piano lessons from his father, early first attempts at composition, first public performance at age nine. |
| 1822 | Relocation of the family to Vienna, studies with Carl Czerny and Antonio Salieri. |
| 1823 | Relocation of the family to Paris. Composition studies with Ferdinando Paër and Antonín Reicha (1826). Performances in salons, concerts. |
| 1824–27 | Concert tours through France, to England and Switzerland. Composition of opera paraphrases for piano. |
| 1830 | Acquaintance with Berlioz, self-study by reading. He becomes Parisian society’sfavourite pianist and piano teacher. |
| 1835 | He moves to Switzerland with Countess Marie d’Agoult: their first child together, Blandine-Rachel, is born here. He continues concertizing in Paris. |
| from 1839 | Continuous concert tours throughout Europe. |
| from 1847 | Symphonic poems, including No. 2, “Tasso: lamento e trionfo”; No. 1, “Ce qu‘on entend sur la montagne” (‘Bergsymphonie,’ ‘Mountain Symphony’); “A Faust Symphony in Three Character Pictures”; “A Symphony to Dante’s Divine Comedy” (‘Dante Symphony’); as well as [No. 11], “Hunnenschlacht” (“Battle of the Huns”). |
| 1848–61 | Kapellmeister in Weimar; he advocates for progressive music (Wagner, Schumann, Berlioz). |
| 1857–62 | Oratorio, “The Legend of St. Elisabeth.” |
| 1861–68 | Resident in Rome. |
| 1865 | Takes minor holy orders. |
| 1866–72 | Oratorio, “Christus.” |
| 1871 | Appointed Hungarian court councilor; he lives in Rome, Weimar, and Budapest. |
| 1886 | Death in Bayreuth on July 31. |