Franz Liszt
Resting Place, from “Schwanengesang” D 957
Franz Liszt was a Schubert fan his whole life. In his concerts he performed Schubert’s songs in transcriptions for piano solo with such great effect that publishers also took notice. Thus, from 1838, numerous Liszt-Schubert arrangements appeared in print –with, of course, easier alternatives provided for the most difficult passages in order to attract a wider audience. That this was a successful strategy is clear from the numerous editions and reprints of these pieces that already appeared throughout Europe during Liszt’s lifetime. With this Urtext edition of “Aufenthalt” (Resting Place), G. Henle Publishers starts a series of individual editions of these fascinating testimonials to Liszt’s enthusiasm for Schubert. For this purpose, editor Andrea Lindmayr-Brandl has sifted through the surviving editions; and fingerings are provided by no less than Evgeny Kissin, who also assisted in the choice of pieces.
About the Composer
Franz Schubert
He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering; modifications occur mostly not in continuous unfolding, but through sudden eruptions. His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers; they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. His immense oeuvre in spite of his brief life comprises 600 songs, including his two famous song cycles; seven complete and several unfinished symphonies (including the “Unfinished” in B minor); other orchestral works; numerous pieces of chamber music; fourteen complete and several unfinished piano sonatas as well as other piano pieces; dances for piano and four-hand works; six masses and other sacred compositions; numerous pieces for choir or vocal ensemble, especially for male voices. Although he also contributed to every genre of music theater and his friends predicted a career for him in opera, only two of his ten finished operas were performed during his lifetime, as was the incidental music to “Rosamunde.”
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.
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G. Henle Verlag
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