Liszt, Franz. (1811–1886) Sammelband of First and Early Editions

Liszt, Franz. (1811–1886)

Sammelband of First and Early Editions

Large ca. 1850's sammelband of piano works by Liszt, containing 19 separately issued early and first edition publications in folio (each approx. 10" x 13"). Light toning and foxing throughout, but overall in fine condition. Beautifully bound in modern red marbled boards, quarter green leather with crimson title plate to spine.

The contents bound in the following order:

* Illustrations du Prophète de G. Meyerbeer pour le piano. Leipzig: Breitkopf & Härtel. [1850]. No. 1, Prière, Hymne triomphal. Marche du sacre. Engraved. [PN] 8088. 31 pp. S.414/1 ; LW.A165/1 ; R 223/1.

* Illustrations du Prophète de G. Meyerbeer pour le piano. Leipzig: Breitkopf & Härtel. [1850]. No. 2, Les Patineurs. Engraved. [PN] 8089. 35 pp. S.414/2 ; LW.A165/2 ; R 223/2.

* Illustrations du Prophète de G. Meyerbeer pour le piano. Leipzig: Breitkopf & Härtel. [1850]. No. 3, Pastorale. Appel aux armes. Engraved. [PN] 8090. 29 pp. S.414/3 ; LW.A165/3 ; R 223/3.

Andante Final de Lucie de Lamermoor, 2r. Acte, pour piano seul. Paris: Bernard Latte [1845]. Engraved. [PN] B.L. 2207. 9 pp.

* Ouvertures de C. M. de Weber, Partitions pour piano. Paris: Schlesinger, Brandus, & co [ca. 1847]. No. 3, Oberon. Engraved. [PN] B. et Cie 4669. 17 pp. S. 574 ; LW.A122. R 288.

* Grande Fantaisie sur Don Juan de Mozart pour piano. Paris: Schlesinger [1843]. Engraved. [PN] M. S. 3930. 33 pp. S. 418 ; LW.A80. R 228.

* Grandes Etudes de Paganini, transcrites pour le piano et dédiées à Madame Clara Schumann. Leipzig: Breitkopf & Härtel [1851]. Cahier II (Etudes IV-VI). Engraved. [PN] 8369. 23 pp. S.141/4-6 ; LW.A173/4-6. R 3b.

* Grandes Etudes de Paganini, transcrites pour le piano et dédiées à Madame Clara Schumann. Leipzig: Breitkopf & Härtel [1851]. Cahier I (Etudes I-III). Engraved. [PN] 8368. 31 pp. S.141/1-3 ; LW.A173/1-3. R 3b.

* Rhapsodie hongroise pour le piano. Au Compte Ladislas Teleky. Leipzig: Bartholf Senff [ca. 1851]. No. 2. Engraved. [PN] 26. 19 pp. S. 244/2 ; LW.A 132/2 ; R 106/2.

* Liebesträume. 3 Notturnos für das Pianoforte. Leipzig: Kistner [1850]. Engraved. [PN] 1751. 22 pp. S.541 ; LW.A103. R 211.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 1. Engraved. [PN] C. S. 9300. 7 pp. S.427/1 ; LW.A131/1. R 252/1.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 2. Engraved. [PN] C. S. 9301. 11 pp. S.427/2 ; LW.A131/2. R 252/2.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 3. Engraved. [PN] C. S. 9302. 15 pp. S.427/3 ; LW.A131/3. R 252/3.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 4. Engraved. [PN] C. S. 9303. 11 pp. S.427/4 ; LW.A131/4. R 252/4.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 5. Engraved. [PN] C. S. 9304. 11 pp. S.427/5 ; LW.A131/5. R 252/5.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 6. Engraved. [PN] C. S. 9305. 11 pp. S.427/6 ; LW.A131/6. R 252/6.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 7. Engraved. [PN] C. S. 9306. 9 pp. S.427/7 ; LW.A131/7. R 252/7.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 8. Engraved. [PN] C. S. 9307. 15 pp. S.427/8 ; LW.A131/8. R 252/8.

* Soirées de Vienne. Valses-Caprices d'après F. Schubert dedié à son ami S. Löwy. Vienna: C. A. Spina [1852 or 1853]. Cahier 9. Engraved. [PN] C. S. 9308. 11 pp. S.427/9 ; LW.A131/9. R 252/9.

Liszt's technical advances as a pianist during the 1830's and 1840's made possible an ever-broadening variety of pianistic textures, colors, and effects. Among his innovations were "Liszt octaves," played with alternating hands to give the illusion of double octaves at breathtaking speeds. These new techniques, together with the advancing technology of louder and larger pianos (and not insignificantly, his enormous and flexible hands), helped Liszt to bring orchestral textures to life on the piano. At the same time, an important aspect of Liszt's oeuvre was the transcription and arrangement of the works of other composers for the piano, including Beethoven's string quartets, songs and chamber music by Schubert, and many operatic selections.

In an era before recording technology, these transcriptions and arrangements can be seen as crucial to the dissemination and reception history of the relevant works. However, to look at them as mere "arrangements" would be to neglect Liszt's pianistic brilliance, as John Michael Cooper writes: "His genius and originality in rendering these compositions in a fashion commensurate with his profound understanding of the expressive capabilities of the fortepiano makes the terms transcription and arrangement awkward half-truths for these works." (Historical Dictionary of Romantic Music, p. 341). (12933)

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