Gerard Carter
All rights reserved 2005
Wensleydale Press
CD of Liszt pupils & Liszt disciples
The following are the details of MP3 recordings of historic reproducing piano recordings
by Liszt pupils* and Liszt disciples of Liszt’s piano works. It is intended to produce a
CD and issue it commercially. The timings will be reduced to edit out voice introductions.
- D’ALBERT Eugen: Valse Impromptu 5:03
- *D’ALBERT Eugen: Polonaise no. 2 8:59
- *FRIEDHEM Arthur: Hungarian Rhapsody no. 2 8:42
- *FRIEDHEIM Arthur: La Campanella 4:47
- *FRIEDHEIM Arthur: Paganini Etude no. 2 9:07
- *SAUER Emil von: Mazeppa 6:18
- BAUER Harold: Paganini Etude no. 2 5:26
- FRIEDMAN Ignaz: La Campanella 4:53
- PADEREWSKI Ignacy: La Campanella 4:43
- SCHELLING Ernest: Hungarian Rhapsody no. 10 7:30
Denis Condon
Gerard Carter
All rights reserved 2007
Wensleydale Press
Pedal markings
Liszt’s autographs dating before the Weimar years normally carry complete instructions
for employing the damper pedal. This is true from about 1836 until 18 46-47. Like the
autograph manuscript of the Liszt Sonata, however, the autographs of the ‘Glanes de
Woronince (1847) and the Hungarian Rhapsody no. 4 (1847) have no pedal markings.
After about 1860 Liszt returned to his earlier practice of including pedal markings.
‘A possible explanation for his abandoning the notation of pedal markings in the late
forties, only to resume the practice later, may be found in his activity as a teacher.
Perhaps his Weimar students encouraged his belief that precise indications were
unnecessary, that the pedal would be employed and its effects adjusted according to the
characteristics of individual instruments, concert-hall acoustics, and depending on the
rate of harmonic change in the score. Inferior performances later may have caused him to
lose faith in the discretion of pianists. The composer himself leaves us with a mere
suggestion that this was the case, judging by his remark in a letter dated 27 August 1861: