This work, in which Liszt draws on five different folk themes, is surely one of his most ingenious Hungarian Rhapsodies. It offers a unique mix of melancholy, glittering keyboard acrobatics and stormy, rousing dance. The rhapsody was dedicated to Joseph Joachim; it was so popular that the original version for piano was soon arranged for violin and piano, for piano four hands and also for orchestra. We now present the original in proven Urtext quality. As with all the other rhapsodies published to date, a preface by the Hungarian Liszt scholar Mária Eckhardt precedes the musical text.
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Liszt’s active interest in the national music of Hungary began in the late 1830s. In 1840, Haslinger in Vienna published two volumes of Hungarian national melodies, Magyar Dallok – Ungarische Nationalmelodien, containing Liszt’s arrangements of seven tunes (vol. 1: nos. 1–6; vol. 2: no. 7). Two further volumes with four tunes appeared in 1843 (vol. 3: nos. 8, 9; vol. 4: … more
About the composer
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.|
|1871||Appointed Hungarian court councilor; he lives in Rome, Weimar, and Budapest.|
|1886||Death in Bayreuth on July 31.|
About the authors
Although the music of Liszt has been edited by some of the great pianist-composers of the twentieth century, including Ferruccio Busoni and Ignacy Jan Paderewski, any pianist interested in both the technical and musicological complexities of Liszt’s music will benefit greatly from Henle’s new edition of the Hungarian Rhapsody no. 12.
La edición crítica que publica Henle, en sus siempre cuidadísimas ediciones, restituye la exactitud editorial proporcionando mayor realce al excepcional brillo de la obra.
Having recently welcomed Henle’s remarkable editions of Liszt’s second and sixth Hungarian Rhapsodies, it is a pleasure to strongly recommend its new version of no. 12. … The music is beautifully presented with excellent notes in the preface by Mária Eckhardt and sensible fingering from Andreas Groethuysen.