Embarking on the journey of recording orchestral works by Franz Liszt and Ferruccio Busoni for my latest album, “Liszt & Busoni: Orchestral Works” (Naxos, 2021), has been a captivating exploration into the intricate world of musical interpretation, historical rediscovery, and the transformative power of orchestration. This endeavor goes beyond mere performance; it delves into the essence of musical creation and the evolving nature of a composer’s oeuvre.
The Hungarian Fantasy, S. 123, serves as the opening piece on this album, a composition that demands the performer’s active participation in the creative process. Liszt, known for his innovative pianistic practices, envisioned a symbiotic relationship between composer and performer. In approaching the Hungarian Fantasy, I embraced this tradition, adopting the role of a co-author. Liszt’s fantastical style allows for subjective interpretations, and I seized the opportunity to infuse my own artistic voice. Through nuanced cadenzas and added counterpoints to orchestral tuttis, I aimed to breathe new life into this original masterpiece.
The inclusion of Busoni’s transcription of Liszt’s Rhapsodie espagnole adds another layer of complexity to the album. Busoni’s arrangement mirrors Liszt’s penchant for orchestrating his own and other composers’ works. This practice, exemplified by Liszt’s solo-to-orchestra transformations such as the Hungarian Fantasy, underscores the fluidity of musical expression. The Rhapsodie espagnole, in its orchestral rendition, becomes a testament to the symbiosis between two great composers and their shared commitment to pushing musical boundaries.
“De Profundis,” described as “excerpts completed by J. Rosenblatt,” provides a glimpse into the mystique of young Liszt’s compositional style. Jay Rosenblatt’s meticulous completion of the unfinished orchestral sections unveils moments of rare beauty. In making artistic decisions for this piece, I opted to omit a proposed Coda, allowing the listener to immerse themselves fully in the evocative fragments left by Liszt.
A significant revelation on the album is the alternate version of Totentanz, uncovered and edited by Busoni. This earlier rendition, published in the 20th century, offers a refreshing perspective on the composition. The inclusion of the De Profundis section, absent in the more familiar version, adds a central lyrical dimension. Despite the apparent simplicity of the orchestration in the recorded version, I believe this Totentanz deserves greater recognition and frequent appreciation.
Having previously released Liszt-centric albums, including “Poems” (2018), “Dances” (2018), and a collection featuring both versions of the Paganini Études and the Carnaval de Venise (2016), my pianistic and personal affinity for Liszt’s unconventional repertoire has deepened. The Grand Prix International du Disque from the Budapest Liszt Society further affirmed the connection between the interpreter and Liszt’s visionary compositions.
In the words of Busoni, a musical work is but one arrangement of an abstract idea—a singular interpretation among countless possibilities. The unconventional Liszt repertoire has taught me valuable lessons about the fluidity of musical creation. Examining different versions of a composition prompts reflections on the permutations inherent in the compositional process. There exists no definitive musical work or performance; instead, creativity unfolds as an endless, improvisational journey.
Conclusions: A Tapestry of Musical Evolution
As I reflect on the intricacies of interpreting Liszt and Busoni, I am reminded that music is a living, breathing entity that evolves across time and interpretations. The orchestral works presented in this album underscore the dynamic relationship between composer and performer, where each rendition becomes a unique tapestry woven from the threads of artistic expression.
The rediscovery of alternate versions, as seen in Totentanz, reinforces the notion that the compositional process is fluid and open to reinterpretation. It invites us to explore the layers of creativity embedded within the music, transcending the boundaries of a definitive version. Through this exploration, I hope to inspire a deeper appreciation for Liszt’s visionary spirit and the collaborative interplay between composers and interpreters in shaping the ever-evolving landscape of classical music.
In embracing Liszt’s fantastical realm and Busoni’s orchestrative prowess, this album becomes a testament to the enduring vitality of classical music—a realm where the past and present converge, creating a harmonious dialogue that resonates across generations. As I navigate this artistic odyssey, I invite listeners to embark on their own journey of discovery, uncovering the nuances, mysteries, and timeless beauty woven into the fabric of Liszt and Busoni’s orchestral works.
Goran Filipec Website: goran-filipec.com
