Editio Musica Budapest

Contains piano works written between 1848 and 1850, and free arrangements. After transcriptions of 13 songs by Robert Franz, there are transcriptions of works by Mendelssohn, Verdi, Ernst (Duke of Saxe-Coburg and Gotha), and Schumann. Schumann is represented by the transcription of his famous song Widmung. This series of transcriptions is concluded by a grand, three-movement operatic paraphrase, the Illustrations du Prophete de Meyerbeer. At the end of the volume the editors have included an early version of the Verdi transcription Salve Maria (from the opera I lombardi). It is published in a hard blue clothbound edition with a preface in German and English, a critical commentary in English, and illustrations of Liszt’s original manuscripts. The soft paper bound version is part of the series Liszt: Klavierwerke, has no critical commentary, and serves practical purposes.

1. ‘La cloche sonne’
2. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 1. (A flat major – As-Dur)
3. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 2. (A flat major – As-Dur)
4. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 3. (E major – E-Dur)
5. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 4. (D flat major – Des-Dur)
6. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 5. (G flat major – Ges-Dur)
7. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 6. (A minor – a-Moll)
8. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 7. (A major – A-Dur)
9. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 8. (D major – D-Dur)
10. Soirées de Vienne. Valses-caprices d’apres Francois Schubert 9. (A flat major – As-Dur)
11. Zwei Stücke aus R. Wagners Tannhäuser und Lohengrin. Einzug der Gäste auf Wartburg. March (Tannhäuser)
12. Zwei Stücke aus R. Wagners Tannhäuser und Lohengrin. Einzug der Gäste auf Wartburg. March (Tannhäuser)
13. Zwei Stücke aus R. Wagners Tannhäuser und Lohengrin. Einzug der Gäste auf Wartburg.Elsas Brautgang zum Münster-Lohengrin
14.Bénédiction et Serment. Deux motifs de Benvenuto Cellini de Berlioz
15.Andante Finale und Marsch aus der Oper: König Alfred von Joachim Raff – Andante Finale
16.Andante Finale und Marsch aus der Oper: König Alfred von Joachim Raff – Marsch
17.Ungarischer Romanzero 2. (A minor – a-Moll)
18.Ungarischer Romanzero 3. (Allegretto)
19.Ungarischer Romanzero 5.  (D minor – d-Moll)
20.Ungarischer Romanzero 6. (Primatialis nóta)
21.Ungarischer Romanzero 7. (A major – A-Dur)
22.Ungarischer Romanzero 8. (D minor – d-Moll)
23.Ungarischer Romanzero 9. (A major – A-Dur)
24.Ungarischer Romanzero 10. (G minor – g-Moll)
25.Ungarischer Romanzero 11. (Makói csárdás)
26.Aus Richard Wagners Lohengrin 1. Festspiel und Brautlied Choeur des fiancailles
27.Aus Richard Wagners Lohengrin 2. Elsas Traum – Reve d’Elsa
28.Aus Richard Wagners Lohengrin 3. Lohengrins Verweis an Elsa – Romance

Volume 19 of series II of the New Liszt Edition contains the transcriptions for piano of Beethoven’s Symphonies Nos. 8 and 9 written in 1863. Liszt himself remarked that the symphony transcriptions are not piano reductions but piano scores (‘partitions de piano’) which do not merely consist of the notes of the works transcribed, but are able to convey the overall effect and spirit of the work. The EMB edition is the only one to follow Liszt’s express intention by correcting the transcriptions in many places to accord with the original works (Beethoven’s scores). This volume completes the new edition of the symphony transcriptions, and those interested now have access to all of the transcriptions. 
CONTENTS:
Symphonie No. 8
Symphonie No. 9
Pages: 152
Language: English / German
Publisher: Editio Musica Budapest

Volumes I/13-14 of the New Liszt Edition contain dance pieces, marches, and scherzos. As far as possible, in the volumes the pieces are given in chronological order. The works in volume 14 were composed over a period spanning 35 years, with the earliest written in 1849, and the latest in 1885. Liszt wrote the Ungarischer Geschwindmarsch (Hungarian quick march) in 1870 in Szekszárd, where, with minor breaks, he spent the months from August to November. In the footnotes, as well as editorial comments we give the performance indications that August Göllerich noted down in 1884-86, when he took piano lessons from the composer.
Pages: 160
Language: English / German
Publisher: Editio Musica Budapest

Liszt was enthralled by the natural beauty of Switzerland when he stayed there in 1835-36. His experiences there inspired him to compose the 19 pieces in Album d’un voyageur. The series was published in 1842, but Liszt reworked it between 1848 and 1854, and in 1855 he published Années de pelerinage, Premiere année, Suisse, a new series of nine works (of which seven come from the Album d’un voyageur), and he withdrew the earlier collection. The pieces conjure up the atmosphere of Swiss experiences and the Alpine landscape of Switzerland, with one exception: the title Vallée d’Obermann refers not to a Swiss valley, but to a novel by Sénancour (1770-1846), although the novel is indeed set in Switzerland. The appendix to the volume includes the pieces from Album d’un voyageur that were not used, and the early version of three of the works, where there are significant differences. As customary, there are two versions of the publication: a blue clothbound edition and a grey softcover edition. The preface, which gives the most important information on the contents and technical details, is identical in both versions, but only the former includes an English description of the sources and a critical commentary. Both versions include facsimiles of pages from Liszt’s original autograph manuscript.

The present volume contains the free arrangements and fantasias Liszt composed in the second half of the 1830s, which demonstrate not only the breadth of the now mature, celebrated piano virtuosoÝs concert repertoire but also his skills as a composer. In the Trois morceaux de salon with which the volume begins, the themes of the first two pieces are taken from Swiss and Spanish melodies, while those of the third piece are from Giovanni Pacini’s opera Niobe. This ‘trilogy’ is followed by melodies from the latest and most successful grand operas by Bellini, Donizetti, Meyerbeer and Mercadante premiered in Milan and Paris, in fantasias based on I puritani, Lucia di Lammermoor, Les Huguenots and Il giuramento (‘The Oath’). The latter is a particularly interesting feature of the volume, since to the best of our knowledge this piece has so far never appeared in print. As usual, the volume is published in two versions: in blue linen binding (A 8767), or boards (B 8767). The linen-bound edition contains a detailed description of the sources, together with critical notes.   

Volumes I/15-17 of the New Liszt Edition contain versions for piano of works by Liszt written for other instruments or for voices. Of the pieces in volume 17, many works appeared here in print for the first time: the Festpolonaise, the O Roma nobilis (whose melody can be traced back to a seventh- or eighth-century pilgrims’ hymn), the San Francesco, the Cantico di San Francesco (in which the melody In dulci jubilo can be found) and In domum Domini ibimus. One interesting feature of A magyarok istene [God of the Hungarians] is that as well as the version for two hands, Liszt also made a piano transcription for left hand alone.
As far as possible, the pieces are given in chronological order. As customary, there are two versions of the publication: a blue clothbound edition and a grey softcover edition. The informative preface giving the most important information on the contents and technical details is identical in both versions, but only the former version includes an English description of the sources and a critical commentary. Both versions include facsimiles of pages from Liszt’s original autograph manuscript.
Works marked by an asterisk in the Contents are published here for the first time in print.
Content1.Festpolonaise *R. (196) G. 5282.Der blinde Sänger – SlepojR. 216 G. 5463.Salve PoloniaR. 185 G. 514.Deux polonaises (de l’oratorio St. Stanislas) Polonaise IR. 186 G. 5195.Deux polonaises (de l’oratorio St. Stanislas) Polonaise IIR. 186 G. 5196.O Roma nobilis *R. (514) G ľ7.San Francesco * (preludio per il Cantico del Sol, di San Francesco d’Assisi)R. (392) G. 6658.Cantico di San Francesco *R. 191 G. 4999.2. Mephisto-WalzerR. 182 G. 51510.A magyarok istene – Ungarns GottR. 214 G. 54311.Von der Wiege bis zum Grabe – Du berceau jusqu’ a la tombeR. 179 G. 51212.Die Zelle in Nonnenwerth (4. változat – 4th version – 4. Fassung)R. 213 G. 53413.Magyar király-dal – Ungarisches KönigsliedR. 215 G. 54414.In domum Domini ibimus – Zum Haus des Herrn ziehen wir *R. 178 G. 50515.Feuille d’album No. 2 (als ‘Die Zelle in Nonnenwerth’, 3. Fassung)R. 64/2 G. 16716.Ungarns Gott – A magyarok istene (Klavier-Transkription für die linke Hand – zongoraátirat bal kézre)R. 214 G. ľ

192 Pages
Volumes I/15-17 of the New Liszt Edition contain the piano versions of Liszt’s own works for other instruments or voices. Volume 16 features the piano version of several works with a Hungarian connection, such as the fantasy written to the melodies of the Szózat and the National Anthem, the Hungarian Coronation Mass and the Hungarian March for Coronation Ceremonies; several piano works are keyboard transcriptions of excerpts from large-scale compositions for orchestra or choir and orchestra, such as a few movements of the oratorio Christus or the Legend of Saint Elizabeth. As far as possible, the pieces are given in chronological order. In the footnotes, as well as editorial comments we give the performance indications that August Göllerich noted down in 1884-86, when he took piano lessons from the composer.
As customary, there are two versions of the publication: a blue clothbound edition and a grey softcover edition. The informative preface giving the most important information on the contents and technical details is identical in both versions, but only the former version includes an English description of the sources and a critical commentary. At the beginning of the volume can be found a facsimile of a page from Liszt’s original autograph manuscript.
Content
 1.
 Totentanz
 R. 188 G. 525
 2.
 Le triomphe du Tasse
 R. 184 G. 517
 3.
 Zwei Orchestersätze aus dem Oratorium Christus 1. Hirtengesang an der Krippe
 R. (478) G ľ
 4.
 Zwei Orchestersätze aus dem Oratorium Christus 2. Die heiligen drei Könige
 R. (478) G ľ
 5.
 Drei Stücke aus der Legende der heiligen Elisabeth 1. Orchester Einleitung
 R. (477) G. ľ
 6.
 Drei Stücke aus der Legende der heiligen Elisabeth 2. Marsch der Kreuzritter
 R. (477) G. ľ
 7.
 Drei Stücke aus der Legende der heiligen Elisabeth 3. Interludium
 R. (477) G. ľ
 8.
 Aus der Ungarischen Krönungsmesse 1. Benedictus
 R. 192 G. 501
 9.
 Aus der Ungarischen Krönungsmesse 2. Offertorium
 R. 192 G. 501
 10.
 Ave maris stella
 R. 195 G. 506
 11.
 Gaudeamus igitur (Humoreske)
 R. 200 G. 509
 12.
 Ungarischer Marsch (zur Krönungsfeier in Ofen-Pest am 8ten Juni 1876)
 R. 55 G. 523
 13.
 Szózat und Ungarischer Hymnus –  Szózat és Magyar Himnusz
 R. 158 G. 486
 14.
 Gretchen (Aus Faust-Symphonie)
 R. 180 G. 513
 15.
 Ungarischer Sturmmarsch (Neue Bearbeitung 1876)
 R. 54/b G. 524
 16.
 Seconde marche hongroise –  Ungarischer Sturmmarsch (1. változat -1st version -1. Fassung)
 R. 54/a G. 232

The history of Liszt’s intensely virtuosic and unwaveringly popular Transcendental Etudes dates back to his 12 Etudes composed around 1826. Liszt later reworked 11 pieces of this not-so-technically-difficult series into virtuoso concert etudes, and replaced one of the etudes with a new piece. This version was published in 1837 under the name Grandes études. However, Liszt reworked these 12 big etudes again: the final version of the series – in which, with two exceptions, the pieces were titled – was published in 1851 under the series title Études d exécution transcendante. Transcendental Etudes was the very first volume of the New Liszt Complete Critical Edition, first published in 1970 based on the previous editions of the work. This edition includes footnotes highlighting common performance difficulties and English and German forewords, facsimiles, and critical notes in English.