Sostenuto pedal
The use of the sostenuto pedal is not indicated by Liszt. That pedal was invented by
Boisselot in 1853 but not developed until some years later by Steinway. It could be used
effectively in bars 309-310 and 312-313, although the surge of sound caused by the
sustaining pedal obviously intended by Liszt is also exciting. It could also be used in
bars 315-318 and in bar 754. Liszt later approved of the use of the sostenuto pedal in his
third Consolation but there is nothing documented as to Liszt’s authorisation of its use in
the Sonata.
A number of Liszt disciples, all celebrated piano virtuosos in their own right, did,
however, make recordings of piano works by Liszt. Recording mediums (apart from wax
cylinders) consisted of reproducing piano rolls on the one hand and of discs (acoustic
discs and, later, electrically recorded discs) on the other. Discs developed from 78s into
LPs and CDs, but rolls and the reproducing pianos on which they were played, although
popular in the first three decades of the twentieth century, fell into disuse from about
1930.
We are examining the historical legacy of recordings of Franz Liszt’s piano works played
by his pupils. We are concerned only with reproducing piano roll recordings and are not
here concerned with recordings on disc.
Pianist & teacher
Franz Liszt invented the solo piano recital and masterclass which are the mainstay of
modern audiences. He had perfect pitch and was the first pianist to perform entirely from
memory. He altered the course of musical history by deviating from the traditionalists
who followed Beethoven’s classical structures. Franz Liszt was a musical philanthropist
and selflessly promoted the compositions and careers of fellow composers Richard
Wagner (1813-1883), Edvard Grieg (1843-1907) and Camille Saint-Saëns (1835-1921)
and many other musicians and pianists. In public Liszt was flamboyant and charismatic
but in private he was caring, unselfish, humble and generous.
Liszt’s first generation of Weimar pupils (1848-1861) studied with him in the Altenburg,
the old house on the hill overlooking the river Ilm. It had been set aside for Liszt’s use
by Maria Pawlowna who was then the grand duchess of Weimar. It contained more than
forty rooms and housed many of the treasures he had accumulated during his years as a
touring piano virtuoso. Beethoven’s Broadwood piano and his death mask were housed
there.
Liszt did most of his teaching in the small reception room on the ground floor which
contained an Erard grand piano. The music room was on the second floor and it was here
that Liszt held his Sunday afternoon matinées where singers and instrumentalists from the
court theatre would perform songs and chamber music, often with Liszt taking part.
These Altenburg matinées had begun in the 1850s and they soon became regular fixtures
in which Liszt’s pupils were also expected to participate. The music room contained