![]() ![]() While he isn't always note-on accurate and is occasionally a little bangy, Hambourg's fingerwork could be extremely rapid and dexterous, and he is fond of imitating the bright, dulcimer-like sound of the Hungarian cimbalom, an effect he can achieve through touch alone. Although the so-called "school of Leschetizky" emphasized sensitivity and faultless passagework, Hambourg was a wild man who played with a tremendous sense of power and energy. Hambourg was a student of Leschetizky, who had begun his recording career in 1909. 16-19 were little known at the time, and the resulting EMI cycle, which originally involved some 27 issued 78 rpm sides, was as complete as it was going to get by the time Hambourg wrapped it up in 1934. The additional Liszt Hungarian Rhapsodies Nos. Nonetheless, the rejected performances have been discovered and are included here, along with alternate recordings of Hambourg in the Hungarian Rhapsodies No. ![]() 3, opting not to carry through with the whole cycle. In the end, EMI rejected Hambourg's versions of No. 2 in 1926 that he was going to give it, and its successor company EMI, the 14 remaining rhapsodies, as well. According to annotator Bryan Crimp, HMV probably had no idea when it recorded Hambourg in the common Hungarian Rhapsody No. ![]() And two versions by Brailovsky that are my current favorites.APR's Liszt: The Hungarian Rhapsody Recordings assembles for the first time on compact disc one of the most audacious recording projects taken on by a classical artist in the era of "electrical" 78 rpm records, Russian pianist Mark Hambourg's cycle of the then generally known 15 Hungarian Rhapsodies of Liszt. I have replaced these with my latest Hungarian discovery, Gergely Bogányi in a very exciting rendition of this potboiler, and what I believe might be the best performances of all, those by Gleb Akselrod and Geoffrey Tozer.Īnd Rachmaninoff of course. I had an amazing performance by the superb Hungarian pianist Edith Farnadi, and a famous Paderewski, but they were removed from YouTube. as well as some very excellent pianists who stretch the limits of "taste". This is not to say there aren't some other extremely good ones in the group below, Moiseivitch and Rosenthal are treasures too, and a very fine rendition by Hamelin. If, for example, one compares the performances of Rachmaninoff, Cortot, Hofmann, Cziffra, and Brendel the wide range of "tasteful" interpretations becomes quite apparent. But even within the range of appropriate personal liberties, there are very interesting and considerable differences. The rhapsody invites a high degree of personalization from the pianist and some of the performances clearly take this too far. And in his 1910 recording, the earlier of two by Paderewski, he adds his own cadenza to the Liszt Rhapsody. While most of the performances use the original Liszt text, there are several, Horowitz, of course, Volodos and Lang Lang, in which the Liszt-Horowitz edition are used. Here is a group of differing interpretations of the second Liszt Hungarian Rhapsody. ![]()
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