Franz Schubert (1797-1828) – Ouvertüre “Die Zauberharfe” (1820)
Franz Liszt (1811-1886) – Wandererfantasie C-Dur (F. Schubert, 1822), arr. Liszt (ca. 1851)
F. Schubert – Symphonie Nr. 7 “Unvollendete” h-moll (1822)
F. Liszt – Klavierkonzert Nr. 2 A-Dur (1861)
Performed on German instruments between 1880 and 1860, and a Bechstein concert piano – Berlin 1870, N° 4181 Original, restauration Patrice Sauvageot – Ouilly 2004.
After many years of affinity and discovery with the music of Franz Liszt, the search continues for Anima Eterna Brugge and Jos van Immerseel. Joined by pianist Joseph Moog, they are now tackling one of Liszt’s most astonishing works. Developed over a period of more than twenty years, the Second Piano Concerto is in fact nothing like a piano concerto. In a single movement of six linked parts, using a technique of thematic transformation that develops themes in depth and frees his form from classical models, Liszt explores and experiments as never before in what he himself called a ‘symphonic concerto’.
What does this have to do with Franz Schubert, you may ask? Well, precisely: it was in his Wandererfantasie that this compositional principle made one of its first historic appearances. Liszt’s transcription for orchestra of this piece, originally for piano, sheds light on the work that it undoubtedly inspired.
From the archive
Already in 1997, Jos van Immerseel and Anima Eterna tackled the “Unfinished” Symphony by Franz Schubert at Festival van Vlaanderen Ghent. This video excerpt comes from the archive of VRT.
Pictures: KFR / Dana Schmidt