Nederlands 
AB II-24
Description
Franz Liszt
MAZEPPA
an intermediate version (Urtext)
edited by
Albert Brussee
When I first researched Franz Liszt’s Mazeppa music in the Goethe- und Schiller-Archiv in Weimar in the summer of 1986, I found under catalogue number GSA60/I80 a sketch that evidently had to do with the Mazeppa study. The sketch was written on two pages. The first five bars were noted down on p. 23 of Vol. I of the Grandes études, removed from the Haslinger edition. The notes for the left hand were crossed out and replaced with a ‘Correctus’, which was pasted on the bottom of the same page. The completely different sequel was written on a blank sheet of music paper. Inserting this total of 20 bars in the first version of the Mazeppa study (1841) creates an alternative version of this work, which can be considered as the ‘missing link’ between the early and final versions of this composition, the fourth of the Études d’exécution transcendante. When this ‘Intermediate Version’ was composed is uncertain – the sketch in undated – but it must have been somewhere between 1847 and 1851, the year in which the final version of the Mazeppa etude came into being, in which Liszt followed the harmonic path presented in the sketch.
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COPYRIGHT, AVAILABILITY AND PRICE:
© 2019 AB Music Productions & Editions – The Hague, The Netherlands.
Preceded by a Preface in Dutch and English and followed by a detailed text-critical comment and some remarks concerning the interpretation (only in English); 32 pages.
Available directly from the editor/publisher or via your music shop (distribution in the Netherlands: Hal Leonhard MGB – Heerenveen).
Price: € 17.50.
€17.50
When I first researched Franz Liszt’s Mazeppa music in the Goethe- und Schiller-Archiv in Weimar in the summer of 1986, I found under catalogue number GSA60/I80 a sketch that evidently had to do with the Mazeppa study. The sketch was written on two pages. Inserting these 20 bars in the first version of the Mazeppa study (1841) creates an alternative version of this work, which can be considered as the ‘missing link’ between the early and final version of this composition, the fourth of the Études d’exécution transcendante.
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