Warsaw Philharmonic

with Valentina Lisitsa, Pianist

Piano Concerto no. 1, E-flat major

FRANZ LISZT Born October 22, 1811 in Raiding, near Sopron Died July 31, 1886 in Bayreuth If it were not so well documented the prowess of Franz Liszt as a pianist would by now be a matter of legend. We are fortunate in having the testimony of some of his great contemporaries to beat out the facts.

Robert Schumann, a man of letters as well as critical discernment in music, reflected some of the awe that a Liszt concert aroused in his audiences: “The instrument glows and its notes cascade under the hands of its master. It is no longer piano playing of this or that kind, but the natural expression of a bold personality.”

It is probable that Schumann, a pianist who learned his way in music at the keyboard, was setting down his reactions to the historic first performance of the E-flat major Concerto in February, 1855. It must have been a stormy session, not only because of the tumultuous nature of the concerto, but because the strongly individualistic Liszt was making his first major assault on conventional structure. Not every one was favorably impressed by the concerto. The ubiquitous Eduard Hanslick took a backhanded swipe at it by calling it a “Triangle Concerto,” a nickname by which it is still sometimes distinguished.

At this time, Liszt was turning to experimentation, especially in the tone poem. So it is small wonder that he was not content to compose his piano concertos in the established three or four-movement manner. Each of his concertos (the E-flat and A major) is, like the symphonic poems, in one movement, with a single poetic idea threading its way from end to end. In the A major, a lyrical theme is used in free variations.

The E-flat major Concerto, on the other hand, is still similar to the symphony in four movements, but these movements, so-called, are closely linked, with their relationship emphasized by their dependence on the powerful motive heard at the beginning. Liszt had sketched out the ideas for the concerto as early as 1830. The work was completed in 1849 and was revised in 1853 and 1856. The first performance was under the direction of Hector Berlioz, with the composer as the soloist.

The concerto opens and closes with the familiar theme which Liszt identified by singing his amiable little doggerel “Das versteht ihr alle nichts” (This you do not understand). The motive is announced in unison by strings, with chords in woodwinds and brass. The piano joins in powerfully with chords in both hands. A cadenza, still in the grand manner, begins with a C major triad and exploits it from end to end of the keyboard. Other cadenzas for the solo instrument are firmly set in their relationship to the opening motive. There is a duet for clarinet and piano, after which the piano presents the second subject in C minor. The orchestra more or less retires from the scene, leaving things to be discussed by the piano in duet, first with the clarinet, then with violins, and finally with cello. There is a period of modulation climaxed by an orchestral restatement of the opening theme. The piano takes the theme for runs in octaves. The movement ends softly.

Muted cellos and basses open the next section, Quasi adagio. Muted violins repeat the melody and the piano then takes it over for a solo interlude. The piano suddenly bursts into a flight of operatic intensity. As it decists with the cello, a new melody appears, with the flute, clarinet, oboe and horn taking it in turn. The opening quasi-adagio melody, with the clarinet as soloist, leads without interruption into the next movement.

It is at this point that the triangle makes its bow and is heard in its distinctively shining tone all the way through this delightful scherzo. A solo cadenza recalls the opening theme of the concerto, building in momentum to the final statement of the imperious principal theme.

The finale is a summing up of the concerto, with the earlier thematic material being, in Liszt’s own words, “a binding together” of the whole piece. The work concludes with the first motive shouting its demand in no uncertain mood.

© 2000 Columbia Artists Management Inc.