A marvellously convincing performance that in its uninhibited way blows any cobwebs off one's impressions of this romantic masterpiece. Under Bernstein there is never boredom: only freshness and much excitement.

Slick, you may say from our side of the Atlantic, in a tone of old-world smugness, but what a lot there is to be said in a highpowered and quirky romantic symphony for the Bernstein touch and unlimited rehearsal time. After all Bernstein has something of the musical Byron about him, and Liszt himself was hardly a paragon of refinement.

Bernstein's is a marvellously convincing performance that in its uninhibited way blows any cobwebs off one's impressions of this romantic masterpiece. Under Bernstein there is never boredom: only freshness and much excitement. But that said one does have to tackle the inevitable question: how does Bernstein compare with Beecham ? Most of my detailed comparisons reveal exactly the contrast one would expect. In the grand enunciations of Faust's martial theme in the first movement Beecham has more swagger and panache : by comparison Bernstein seems to be driving too hard. In the delicate little passage near the beginning of the second movement where Gretchen counts the petals ("He loves me, he loves me not"), Bernstein sounds perfect until you hear Beecham. Beecham with his daring but controlled rubato conveys so much more the tentativeness, the expectancy of joy, and it is the same through much of that slow movement. The second subject, marked dolce amoroso, is so very tender in Beecham's hands, that Bernstein's idea of amoroso sounds comparatively extrovert afterwards. The latter's account of the Mephistophelian finale opens with more diabolical drive, but Beecham conveys more clearly that the first bars are a mere introduction (he comes closer to observing the instruction ironico) and when the gallumphing scherzando distortions of the Faust themes appear the Beecham panache again triumphs.

All of which suggests a clear preference in Beecham's favour, and there is no doubt that anyone who has grown to love the Beecham performance should remain with him. But Bernstein's freshness and directness have a cumulative effect whatever the detailed comparisons, and the choral ending is more expansive than with Beecham. Particularly if one does not trouble too much about what Bernstein did at a particular bar, it is a hair-raising experience he provides, and the recording, very reverberant but brilliant as well, is recognizably more modern than the Beecham. The coupling too may have an influence on choice, though for my money I find Orpheus more interesting than Les Preludes every time. Although listed I have left the DGG issue out of the comparisons: neither playing nor recording come anywhere near the other two.

One final comparison between Beecham and Bernstein: at the very opening when violas and 'cellos enunciate Faust's mystic theme (ranging over all twelve notes of the scale as Stuckenschmidt has pointed out) Beecham conveys a sense of reverie. This is Faust the philosopher, where Bernstein's reading conveys less of mysticism and magic than a confident magician after the manner of Dukas. But to go to the same theme when it returns after the development: there curiously the contrast is quite different. After the frenzy of the development Beecham somehow fails to relax completely, where Bernstein's extra tautness in the preceding argument allows a deeper sense of calm in the return to the home idea. But then when in the finale that same theme is hinted at, pizzicato over mysterious muted horns, it is Beecham who again shows a clear supremacy. It is a marvellous work whichever version you choose.

-- Edward Greenfield, Gramophone [reviewing the original LP release]

"...there's no denying that this performance has only infrequently been matched. Here's display with the brains and heart intact..." -- Raymond Tuttle, www.classical.net

"...the dazzling Liszt E flat Concerto he recorded in 1952 with Eugene Ormandy which [Arrau] told me was done virtually in one take..." -- Robert Layton, Gramophone [8/1991]

Classical Music

LISZT GREAT HITS

Kasparas Uinskas is an internationally acclaimed pianist, praised by critics for his virtuosity and romantic style. Mr. Uinskas is performing at most important world concert halls - New York's Carnegie Hall, Berlin Philharmonie, London Wigmore Hall, Madrid Auditorio Nacional, J. F. Kennedy Center in Washington, DC among others. "... great pianist and musician... " Carnegie Hall (New York Concert Review). "... his interpretations overcome all limits... " Berlin Philharmonie (Klassik in Berlin)

Christmas chez Liszt, imagined by one of the UK's most exciting piano virtuosos. Composed and compiled by Liszt between 1873 and 1881, the 'Christmas Tree' suite has more to offer than carol transcriptions and twinkly sketches of festive joy. It begins with one of the composer's typically free transcriptions of a plainsong Christmas hymn harmonised in the 17th century by Michael Praetorius, and takes in the procession of the Magi towards Bethlehem and a lullaby at the cradle, but also cuts away to contemporary times with a sparkling scherzo to depict the lighting of candles on the tree. The last four of the suite's twelve movements bear only tenuous connections to the festive season, yet they bring some of the most memorable inspirations of all: evocations of evening bells, of 'Yesteryear' in the composer's searching late style, and then Hungarian- and Polish-themed themed pieces. As Mark Viner remarks in his detailed booklet introduction to the album, there is nothing quite like Weihnachtsbaum even in Liszt's own prodigiously varied catalogue. It is impossible to categorise, and yet every bar sounds uniquely Lisztian. Perhaps even less familiar to most listeners, on account not least of it's sheer scale, is the vast three-part oratorio which Liszt based on the life of Christ. Liszt made solo-piano transcriptions of two Christmas-themed orchestral movements from the oratorio's first part, picturing in turn the Shepherds at the Manger and, once more, the 'march' of the Magi. In complement, Mark Viner presents the composer's pianistic translation of the ancient carol Christus natus est. Mark Viner's recordings for Piano Classics have attracted international acclaim. 'The melodies in his hands are not simply played, they are sung on the piano!' (Fanfare, reviewing a previous Liszt album, PCL0116). 'If Alkan could play it as Viner does here, no wonder he was the only pianist in front of whom Liszt was hesitant of playing.' (Gramophone, reviewing Viner's latest volume in his Alkan cycle, PCL10275).

VIA CRUCIS

Ravel, Wagner & Liszt: Transcriptions for Piano 4-Hands

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

Classical Music

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

Classical Music

Classical Music

LISZT: PIANO CONCERTOS NOS 1 &

Poetic Fantasies: Liszt's Transcriptions & Monuments