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This edition comprises the first six parts of the early version of the the cycle Harmonies poétiques et religieuses by Franz Liszt, published for the first time in 1997 by the Dutch Publishing House XYZ. These piano pieces, written down in Sketchbook N9 kept in the Goethe- und Schiller-Archiv at Weimar (GSA 60/N9), were created in late 1847, when Franz Liszt was a guest in the wooden country house of Carolyne von Sayn-Wittgenstein near the village Woronince (Woronowce) in the Ukraine.
This edition comprises Nos. 7, 8, 9, 10 and 12 of the early version of the the cycle Harmonies poétiques et religieuses (1847) by Franz Liszt, published for the first time in 1997 by the Dutch Publishing House XYZ in two volumes. With a Foreword by Peter Scholcz, chairman of the Dutch Franz Liszt Kring, an illustrated Introduction and detailed ‘Critical notes and some suggestions for performance’.
This volume comprises all the piano works from the first phase of the genesis of the cycle Harmonies poétiques et religieuses. First of all the piano piece of that name from 1833. Then the first version of Hymne de l’enfant à son réveil , inspired by the homonymous poem by Lamartine. However, the majority of the pieces, published here for the first time, came into being in the autumn of 1845, shortly after the definite break with Marie d’Agoult. These compositions, among which very beautiful ones, are derived from Sketchbook N5.
Hymne de l’enfant à son réveil occupies a special place in the group of piano pieces assembled under the title Harmonies poétiques et réligieuses. For there exist no less than six versions of this composition: three for piano and three for choir. The piano works date from 1840 (published in AB II-11), 1847 (published in AB II-10) and 1853 (Part VI of the definitive cycle). The three choral versions date from 1862, 1865 and 1874. Of these only the last was available in print until recently. The present edition represents the first publication of 1862 (‘Rome, 18 Février’).
The current edition is the first printed edition of an unknown childhood sonata by Carl Philipp Emanuel Bach. There are two versions of this early work, from 1736 and 1744, respectively. These are first given in Urtext, exactly as they were written in manuscript, and then as an annotated score (with added articulation, dynamics, fingering, etc.). With an extensive preface about the genesis of this composition, a text-critical commentary and observations concerning interpretation. Both versions are recorded on cd (AB I-07).
The three works published here for the first time all stem from Liszt’s sketchbook N6 kept in the Goethe- and Schiller-Archiv in Weimar. Of the nine surviving sketchbooks, this is the oldest; Liszt worked in it from 1829 up to and including 1833. The works concerned are: a Largo in b minor, Essai sur l’indifférence in E-flat major and Mazeppa, a composition in F minor that has nothing to do with the famous study of that name. The three sketches show that between 1829 and 1832 the young composer was developing his style in many ways, especially in the harmonic and metric sense.
Frédéric Chopin wrote his Introduction et Polonaise brillante for cello and piano, opus 3, in 1829-30. When exactly Carl Czerny made a transcription for piano-solo of this early work, it is not known, but the plate number of the first edition, published by Pietro Mechetti in Vienna, points to the end of the 1830s. In France in particular, this arrangement has been considered for decades as being written by Chopin himself. All the more reason to rescue this fine transcription from oblivion.