Description
https://youtu.be/QdRH4soPAGw
来自Andrei Cristian Anghel
Franz Liszt - Piano Concerto No. 3, S125a Op posth.
Pianist: Jenő Jandó
Conductor: Lamberto Gardelli
Orchestra: Hungarian State Symphony Orchestra
The story of this Concerto's resuscitation is a classic case study in musical archaeology, involving widely dispersed manuscripts (East/West Germany, Russia), misidentifications by library cataloguers, long slow work and elements of pure chance. The work, tentatively dated from 1839, was identified and assembled from the multiple sources by Jay Rosenblatt in 1989, a feat which required a considerable degree of detective work. Being in the key of E-flat major caused careless archivists at some undetermined time in the past to mistake some of the manuscripts for an early or rejected version of the composer's first Concerto (in the same key) but it soon became evident that the score was a self-contained composition in one movement. Looking through Rosenblatt's research shows that Liszt did in fact refer to this Concerto alongside his other two (a letter to a publisher from 1839 requests: "Be so good as to have Carl send to me in Pest as soon as possible the Maometto Fantasie and three scores (accompaniment to three new piano concertos [of my] composition).") however there is no evidence that any performance of the work took place, and we will probably never know whether Liszt abandoned the work or, as Rosenblatt suspects, just never got around to the planned revision.
In composing the concerto, Liszt used thematic material from works composed during the 1820s; he wrote to his mother in 1836 to send him copies of some of his earliest published compositions: two sets of Variations, the Allegro & Rondo di bravura and the early set of Études (Opp 1, 2, 4 and 6). These last became the basis of the Douze Grandes études, and three of the other works provided material for the present concerto.