Editio Musica Budapest

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.

Volume 18 of series II of the New Liszt Edition contains the transcriptions for piano of Beethoven’s Symphonies Nos. 5-7. 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). 
CONTENTS:
Symphonie No. 5
Symphonie Pastorale (No. 6)
Symphonie No. 7 
 
Pages: 180
Language: English / German
Publusher: Edition Musica Budapest

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

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

This third volume of free arrangements contains three sets of pieces. The Hexameron variations were written by Liszt, Thalberg, Pixis, Herz, Czerny, and Chopin, on a theme by Bellini, and Liszt combined this unusual collection into a single work. The Soirées musicales de Rossini contains 12 pieces, and Schuberts ungarische Melodien has three. In addition, the volume features the transcription for piano of the Schubert male-voice choir piece Der Gondelfahrer, while the appendix contains the original version of Schuberts ungarische Melodien, the Mélodies hongroises. The hard clothbound copies are published as part of the New Liszt Edition, and the grey soft paper bound copies as part of the Liszt: Klavierwerke series. In both versions, excerpts from the manuscript sources precede the musical score. The prefaces to the series and to each individual volume in German and English are the same in both versions. The English critical notes are only given in the clothbound copies.

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 HUNGARIAN RHAPSODIES I Z6210

Contents

Trois Études de Concert – Trois Caprices poétiques 1. Il lamento R. 5 G. 144
Trois Études de Concert – Trois Caprices poétiques 2. La leggierezza R. 5 G. 144
Trois Études de Concert – Trois Caprices poétiques 3. Un sospiro R. 5 G. 144
Ab irato R 4/b G. 145
Two Concert-Studies – 1.Waldesrauschen R. 6 G. 145
Two Concert-Studies – 2. Gnomenreigen R. 6 G. 145
Grandes Études de Paganini 1. Preludio; Etude (g-moll – G minor – g-Moll) R. 3/b G. 141
Grandes Études de Paganini 2. (Esz-dúr – E-flat major – Es-Dur) R. 3/b G. 141
Grandes Études de Paganini 3. La campanella (gisz-moll – G-sharp minor- gis-Moll) R. 3/b G. 141
Grandes Études de Paganini 4. (E-dúr – E major – E-Dur) R. 3/b G. 141
Grandes Études de Paganini 5. (E-dúr – E major – E-Dur) R. 3/b G. 141

 
 
Pages: 128Language: English, GermanPublisher: Editio Musica Budapest