This volume in the Complete Piano Music edition focuses on march transcriptions, a genre that often symbolised national identity and one that Liszt arranged and transcribed throughout his entire compositional career. Marches often appeared in Liszt’s recitals and allowed him to pay respect to the culture in which he was performing. These brilliant works are spiced with Hungarian timbres, suggesting native scalic patterns and the sound of the cimbalom, as well as Liszt’s Romantic flamboyance.
Liszt: Complete Piano Music Vol. 67 – Paul Williamson
Introduction and Hungarian March of Count Imre Széchényi (Bevezetés és magyar induló Gróf Széchényi Imrétől), S573/R261
Grand Paraphrase on the March of Giuseppe Donizetti composed for His Majesty Sultan Abdul Medjid Khan, S403/R157
Revue Szeged, Hungarian march of Szabady transcribed for piano after the orchestration of J. Massenet, S572/R260
Introduction to the variations on a march from Rossini’s Siège de Corinthe, S421a
Funeral March from L. van Beethoven’s Eroica Symphony. Piano partition by F. Liszt, S464/R128 (first version)
Marche militaire (Franz Schubert) – Grande paraphrase de concert, S426a
Circassian March from Glinka’s Opera: Russlan and Ludmilla, S406/R164 (first version)
Grand Paraphrase on the march of Giuseppe Donizetti composed for His Majesty Sultan Abdul Medjid Khan, S403/R157 (simplified version)
Festival March for Schiller’s 100th Birthday Celebration by G. Meyerbeer, S549/R226
Paul Williamson
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