Liszt Orpheus

In commemoration of the 200th anniversary of Franz Liszt's birth, Deutsche Grammophon has assembled a limited-edition, 34-CD collection, housed in a sturdy cubic package that many collectors will covet for its impressive appearance. But this comprehensive set is really aimed at serious Liszt aficionados who appreciate the diverse ways of playing this arch-Romantic's passionate music.

Volume 1 of Liszt's complete symphonic poems augurs well for the releases. Gianandrea Noseda and the BBC Philharmonic remind you at every turn that the days of a lofty critical dismissal of this uneven but pioneering and romantically audacious music are surely over. Coldly objective complaints about Liszt's lack of craftsmanship or melodic distinction have been echoed in other more stylishly phrased complaints: for Clara Schumann there was 'too much of the tinsel and the drum' while Edward Sackville-West could see little beyond 'the expensive glare and theatricality'.

The Trio Zadig marks this Saint-Saëns anniversary year by presenting him not only as a composer but also as a transcriber of other composers’ works. Rameau’s Pièces de clavecin en concerts 1 and 5, together with Liszt’s Orpheus, both arranged by Saint-Saëns for piano trio, frame his own op. 92. This programme gives the listener the impression of travelling through both time and space, in the 18th and 20th centuries, in Hungary and in France. The Zadig trio remain true to their quest for unusual and unfamiliar repertoire; following the example of Voltaire’s hero, they continue their adventures in the world of chamber music.

While the trio with organ is a rarity in the musical repertoire, the format offers extraordinary possibilities. Works presented in this recording reveal a great diversity of 19 th -century compositions – transcriptions of symphonic works played in Paris salons (‘Orpheus’ by Franz Liszt, ‘Danse Macabre’ by Camille Saint-Saëns), an original piece conceived for the Bavarian royal court (Suite op. 149 by J. G. Rheinberger) – as well as a contemporary composition in the style of the period. Listening to these works, the boundaries between orchestral music, chamber music and organ music are blurred in a sophisticated alchemy.

All recordings of Liszt's symphonic poems should be compared to the fabulous set by Kurt Masur and the Leipzig Gewandhash Orchestra. They are near perfection in their spontaneity and authenticity. These are good recordings - even great - although it would be hard not to perform such notables as Hungaria, the Mephisto Waltz and Hunnenschlacht.