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Franz Liszt: Grand duo - Franz Schuberts Grosse Fantasie: Klavier Duett

New Liszt Edition III Vol. 1

KOMPONIST: Franz Liszt
VERLAG: Editio Musica Budapest
PRODUKTFORMAT: Sammelband
Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third
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Details
Komponist Franz Liszt
Herausgeber Agnes Sas
Verlag Editio Musica Budapest
ERSCHEINUNGSJAHR 2022
Detaillierte Instrumentierung Piano Duet
Instrumentengruppe Klavier oder Orgel
PRODUKTFORMAT Sammelband
PRODUKTTYP Buch
SEITENZAHL 176
Genre Klassik
Epoche Romantic
ISMN 9790080201039
NR. EMBZ20103A
Sprache Deutsch;Englisch;Ungarisch
Beschreibung
Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft. Schubert's Fantasy in C major (also known as the "Wanderer" Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862.
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