Wat. Libetta has been here?
Briefly, many years ago.
I do like the Liszt version better than the original.
Just had a listen to Ho’s version (not a huge Ho fan, but the playing is pretty diabolical - in the good sense), can’t say I like it. Doesn’t seem to flow, it’s like let’s make this filigree here and this here…Dunno, the Liszt seems more organic. Each to their own obviously. 
Liszt has massive amounts of additions to the original SS, it’s like 30% bigga. The additions happen to be in da pimp late HUNG style so they bring a slight WTF element in.
Da Ho, is a mix of da SS original, da pimp and also his own impro salon style. Jeez.
Fun fact - Ho played the tasteful Liszt arrangement a lot in the 20’s, there’s even a piano roll. Apparently as late as 1940, and then he made his own tasteless version in 1942.
I don’t know, Liszt keeps the same feligree throughout and it’s not very interesting.
I think, in general - when pieces of Liszt are souped up - it contributes to the misconception that his piece are trashy.
I’m a bit of a purist in that sense. Unless some sort of simplification like the Cziffra GGC - makes it sound better and truer to the original intentions.
But outright rewriting like Volodos does in the Dante?
How about - if the piece is to easy, Prog the TEz and Tanned Ho or the 1837 Paganini Etudes.
Yes I agree, I don’t want any rewriting in Liszt’s original works.
I don’t mind in Danse Macabre because I don’t consider it very good music to begin with (SS’s fault).
Even things like Debargue not not playing double gliss in the A major concerto I don’t like.
Apparently, according to the reviews - Horowitz also skipped da gliss.
He dropped the second concerto after 1944 (his only perf of it in the 40’s) .
The last VH perf of Concerto no 1 which I could find - was with Stokowski in 1933. Unfortunately it wasn’t broadcast like the other concerts with Stokowski that season.
Same goes for their 1934 Brahms 2 perf.
Horowitz was at his absolute best before 1936 tru.
The funny thing with Liszt is that - at least with me - he sounds best when the piano is taken out of the equation. If you see him as a showman with all flair, virtuosity etc he just doesn’t comes through, but if you treat him ultra seriously as you would with Beethoven for instance and simply focus on the content, he just appears right in front of you. Some of the most remarkable Liszt playing I’ve heard have actually come from Kempff, Brendel and the like (though I don’t think I’d want either in the Don Juan).
I like Brendel’s Liszt, with the exception of the Norma because he cut the arpeggio section.
His B minor sonata on Vox is a favourite of mine.
I also like the articles he wrote.
I didn’t even know Kempff played Liszt!
I’ve said it before but the ending of the A major concerto is one of my favourite moments in music, even though he doesn’t give the theme to the piano (but like Rach in the Second concerto).
Tend to confuse great pianism with great arranging on the ho stuff.
Kempff has a great first legende from what I remember.
Every piece by a great composer needs serious thought. How much depends on whether it’s a piece of fluff or a masterpiece. (Feel like I’m sort of stating the obvious there…)
Yes… but question is what thoughts you give it.
Chris do you have the M&A set with Kempff’s Hamburg 1945 sessions? If not I’ll post them when I get a chance.
Which leads me to another question I’m yet to find the answer to -
What makes a great piece?
If a piece is considered compositionally weak for whatever reason but a performer can convince you of it, does that make it a better piece?
Beethoven 9 is often regarded as a masterpiece but then you have people like Anothony-Turnage saying he has issues with the last mov and it’s stop-startedness.
Moszkowski is often regarded as light/salon music but then you read reviews of Grosvenor’s playing saying he explores hidden depths of feeling.
(clearly generalising just to make a point)
I realise there’s never going to be universal acclaim for everything, such is the nature of the art.
Only issue I have with the last movement of the Ninth is the turkish march, which seems Mahleresque in its triteness.
Not sure what he was going for there.