Franz LISZT (1811-1886)
Via Crucis (1878-9) [42:44]
Variations on Weinen, Klagen, Sorgen, Zagen (arr. for organ 1863) [17:29]*
Les Morts Oraison (1860) [10:33]
Choeur Sacrum/Andris Veismanis
*Vincent Genvrin (organ)
rec. Riga Cathedral, Lithuania, 26 February 1994
HORTUS 902 [71:05]
See review by Paul Shoemaker
I first knew Liszt's Via Crucis from a 1961 Saga stereo LP (XID5079) by the BBC Northern Singers under Gordon Thorne with organist Francis Jackson. I can't say that I remember it in detail, but certainly the extraordinary sound of this music often very advanced for its time - has stayed with me ever since. Anyone who doesn't already know Via Crucis, but who is familiar with the experimental harmony and strange, bleak character of Liszt's late piano works, will be stirred by this representation of the Fourteen Stations of the Cross. Via Crucis is one of the most moving of all Liszt's compositions, yet it seems to be rarely performed. When he offered it for publication, it was considered so new that it was rejected. As Derek Watson has tellingly written (Master Musicians, Dent 1989), A decade or so earlier it would have been unthinkable for a publisher to reject a manuscript by Liszt. The work was not performed until 1929 and not published until six years later. Its text, compiled by Princess Carolyne Sayn-Wittgenstein, includes Biblical quotations, Latin hymns and German chorales. The organ, which may be replaced - less effectively - by piano or harmonium, has a very important role which extends to four unaccompanied movements.
The musical language is predominantly restrained and spare a million miles from the Liszt of the operatic transcriptions but also incorporates moments of understated drama, as in No. 7 Jesus falls for the second time - or No. 11 Jesus dies on the cross. Liszt evokes the tragedy and weariness of his subject with admirable economy. As for this performance, it is outstanding. The choir is unanimous in attack, wonderful in tone, and secure in intonation. Listen to No. 6 (Liszt's harmonisation of the chorale O sacred head sore wounded) or No. 12 (Jesus dies on the cross) for their marvellous expressive range. The occasional solos are well sung.
The other tracks are devoted to organ works or rather, Liszt's arrangements of the original piano version of the variations, and of the first of three funeral odes, originally composed in 1866 for orchestra or solo piano. The odes were prompted by the death of Liszt's son Daniel aged 20. The Weinen, Klagen Variations began as a brief prelude written in 1859, based on the chromatic bass from the opening chorus of Bach's Cantata No. 12. After the death of the composer's daughter Blondine in 1862, Liszt massively expanded it into a set of 30 variations. Both works receive compelling performances.
The recording venue was appropriately Riga Cathedral (a surprisingly long time ago), and the balance is fine.
My copy is devoid of liner-notes, artists' pictures or recording details of any kind. This CD is being released in different formats or presentations, so I wish everyone better luck.
Otherwise this is a strongly commended release an excellent performance of a major work which ranked high among neglected Liszt compositions due for more exposure in this centenary year.
Outstanding unanimous in attack, wonderful in tone, and secure in intonation.