【钢琴与管弦乐队】李斯特 - 悲怆协奏曲 S.365a

Description

Franz Liszt - Concerto Pathetique S.365a
Performer: Louis Lortie (piano)
George Pehlivanian (conductor)
Hague Residentie Orchestra

In 1851 Breitkopf & Härtel published the solo piano work Grosses Concert-Solo (in modern editions as Grosses Konzertsolo) (S.176) by Franz Liszt. Though not as popular as the later Piano Sonata in B minor by the same composer, the work achieves significance by the fact that it anticipates the Sonata as a large-scale nonprogrammatic work. It shows structural similarities to the Sonata and obvious thematic relationship to both the Sonata and the Faust Symphony.

One unpublished earlier version of the work exists, titled in French in the manuscript Grand Solo de concert (S.175a). This version differs structurally from the published Grosses Concert-Solo, thus revealing the existence of interesting material for a study on the genesis of Liszt’s gradual innovations in constructing a large-scale musical organism, which were to come to full fruition in the Sonata.

In 1866 a two-piano version was published under the title Concerto pathétique (S.258/2) which, though not differing structurally from the Grosses Concert-Solo, introduces a more effective layout of the musical thoughts, mainly due to an innovative concerto-like treatment of the two-piano ensemble. The initial conception of a projected piano concerto can further be proved by a number of extant piano concerto arrangements by various composers, including orchestra sketches by Liszt himself (the unpublished manuscript containing the piece's original (French) title Grand solo de concert) (S.365).

While the solo piano version is rarely performed today, the Concerto pathétique has become a repertoire piece of the two-piano genre.

Comments

CalciumFluoride_ 2020-04-30

维基百科 The experimental nature of the Concerto pathétique gives it an outstanding presence in the Liszt oeuvre. The composer made many attempts to find an appropriate title — Grand solo de concert, Grand Concert, Morceau de Concert, etc. — indicating that this work was an experiment with new forms. Even the Piano Concerto No. 2 in A Major which Liszt begun work on in the same year (1849) as the Grand Solo de concert/Grosses Concert-Solo had its genesis ten years earlier in a seemingly self-contradictorally entitled work Concerto sans orchestre (S.524a). The fact that the solo Grosses Concert-Solo has been overshadowed by the later two-piano version has obscured the importance of the former as one of Liszt’s largest and most ambitious original works for the instrument. The Grosses Concert-Solo anticipates several of the most salient features of Liszt's undisputed masterwork, the Piano Sonata in B minor, namely the nonprogrammatic "four-movements-in-one" form.

♥ 15 ↩ 1

Hau-Hao 2020-09-04

1851年，Breitkopf & Härtel出版了李斯特的钢琴独奏曲《Grosses Concert-Solo》（现代版为《Grosses Konzertsolo》）（S.176）。虽然没有后来同一作曲家的B小调钢琴奏鸣曲那么受欢迎，但这部作品的重要性在于它预示着奏鸣曲是一部大型的非程式化作品。它与《奏鸣曲》在结构上有相似之处，与《奏鸣曲》和《Faust Symphony》的主题关系也很明显。这部作品有一个未发表的早期版本，在手稿中用法语命名为《音乐会大独奏曲》（S.175a）。这个版本在结构上与已出版的《Grosses Concert-Solo》不同，从而揭示了李斯特在构建大型音乐有机体方面的渐进式创新的起源，而这些创新将在《奏鸣曲》中得到充分的体现。 1866年，双钢琴版本以《pathétique协奏曲》(S.258/2)为题出版，虽然在结构上与《Grosses Concert-Solo》并无不同，但却引入了更有效的音乐思想布局，这主要是由于对双钢琴合奏进行了类似协奏曲的创新处理。现存的一些不同作曲家的钢琴协奏曲编曲，包括李斯特本人的草图（未出版的手稿中包含了该曲的原（法）标题《Grand solo de concert》）（S.365），可以进一步证明投影钢琴协奏曲的最初构想。虽然钢琴独奏版今天已很少上演，但《pathétique协奏曲》已成为双钢琴流派的曲目。

♥ 8