Uploaded August 2025 | Updated September 2026, 3 hours ago
Franz Liszt - Mephisto Waltz No.1, S514
Performer: Max Egger
1971.10.24 東京文化会館大ホ一ルにて収録
Now there is an opportunity to hear it in the context of the two Episodes together as Liszt conceived them, Mephisto’s mad whirl of earthly pleasures mocked a perfect foil for the awesome fatalism of Faust’s vision on his night ride. Humphrey Searle, in The Music of Liszt, cannot be bettered in his paraphrase of the episodes from Lenau’s poem:
(1) It is a warm spring night, dark and gloomy, but the nightingales are singing. Faust enters on horseback, letting his horse quietly saunter on. Soon lights are seen through the trees, and a religious procession approaches, singing … The procession passes on, and Faust, left alone, weeps bitterly into his horse’s mane. (2) Faust and Mephistopheles enter the inn in search of pleasure; the peasants are dancing, and Mephisto seizes the violin and intoxicates the audience with his playing. They abandon themselves to love-making, and two by two slip out into the starlit night, Faust with one of the girls; then the singing of the nightingale is heard through the open doors.
Franz Liszt - Mephisto Waltz No.1, S514
Performer: Max Egger
1971.10.24 東京文化会館大ホ一ルにて収録
Now there is an opportunity to hear it in the context of the two Episodes together as Liszt conceived them, Mephisto’s mad whirl of earthly pleasures mocked a perfect foil for the awesome fatalism of Faust’s vision on his night ride. Humphrey Searle, in The Music of Liszt, cannot be bettered in his paraphrase of the episodes from Lenau’s poem:
(1) It is a warm spring night, dark and gloomy, but the nightingales are singing. Faust enters on horseback, letting his horse quietly saunter on. Soon lights are seen through the trees, and a religious procession approaches, singing … The procession passes on, and Faust, left alone, weeps bitterly into his horse’s mane. (2) Faust and Mephistopheles enter the inn in search of pleasure; the peasants are dancing, and Mephisto seizes the violin and intoxicates the audience with his playing. They abandon themselves to love-making, and two by two slip out into the starlit night, Faust with one of the girls; then the singing of the nightingale is heard through the open doors.



![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)


