Uploaded April 2024 | Updated September 2026, 2 hours ago
Franz Liszt - Ballade No 1 Le chant du croisé – Première Ballade, S170
Performer: Sergio Fiorentino
Composed between 1845 and 1848 (i.e., before Chopin’s death), the Ballade No 1 is a sadly underrated work. The subtitle ‘Le chant du croisé’ (‘croisé’ means ‘crusader’ rather than ‘cross’) suggests an underlying narrative that Liszt declined to elaborate further, but the work is an evocation of the period of the Crusades (which given Liszt’s Catholicism is an apt subject). The initial rising motif alludes strongly to the opening of Chopin’s First Ballade, a debt that must have been conscious on Liszt’s part, while the answering idea is a scherzo-like gesture that seems to confirm the key of D major. The main body of the work, however, is cast as a set of character variations on the crusader’s ‘song’ in D flat major, with a joyfully heroic march as a middle section, replete with ‘rapido con bravura’ scales and other virtuoso intricacies.
Franz Liszt - Ballade No 1 Le chant du croisé – Première Ballade, S170
Performer: Sergio Fiorentino
Composed between 1845 and 1848 (i.e., before Chopin’s death), the Ballade No 1 is a sadly underrated work. The subtitle ‘Le chant du croisé’ (‘croisé’ means ‘crusader’ rather than ‘cross’) suggests an underlying narrative that Liszt declined to elaborate further, but the work is an evocation of the period of the Crusades (which given Liszt’s Catholicism is an apt subject). The initial rising motif alludes strongly to the opening of Chopin’s First Ballade, a debt that must have been conscious on Liszt’s part, while the answering idea is a scherzo-like gesture that seems to confirm the key of D major. The main body of the work, however, is cast as a set of character variations on the crusader’s ‘song’ in D flat major, with a joyfully heroic march as a middle section, replete with ‘rapido con bravura’ scales and other virtuoso intricacies.
![Franz Liszt - Ballade No.2 in b minor, S170a [early version]
As a matter of fact, Liszt never expected the original version of Ballade No.2 to be published, but the original version has long been known. In the later version, Liszt change the ending. Beyond all doubt, the beautiful and quiet coda of the later version is fantastic, but it doesnt mean the original ending is not good. As for me,I even very like the original version. It is an interesting job to explore Liszts creation through different version of works. Franz Liszt - Ballade No.2 in b minor, S170a [early version]](https://i.ytimg.com/vi/PNa9OM_pEzE/mqdefault.jpg)



![Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253
Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253
Performer: Yi-Chung Huang
The manuscript of the Grand Concert Fantasy upon Spanish Themes is dated ‘Lisbonne, 2 Février, [18]45’, but the work was not published until after Liszt’s death. It appeared in 1887, with a dedication to Liszt’s first biographer, Lina Ramann. We do not know why Liszt kept this piece to himself for so many years, but he must have thought about it quite late in life to apply the dedication. The later Spanish Rhapsody shares one theme with the piece, and an unfinished manuscript in Weimar also contains some material in common. The present enormous piece is based upon three melodies: a fandango, which is heard in an opening flamboyant fantasy, and will be recognized immediately by anyone who recollects the third act of Mozart’s Figaro; the Jota aragonesa, encountered in a number of famous musical homages to Spain and here treated in a slow and rhapsodic manner; and a cachuca, which first appears as a subsidiary melody to the jota, and then returns—after further development of the fandango—as a section in its own right and at the proper tempo, now with fragments of the jota which eventually gains supremacy in the coda. Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253](https://i.ytimg.com/vi/QEoXCri_yok/mqdefault.jpg)





