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INTRODUCTION

The Concerto in E-flat major for Piano and Orchestra, op. posth., is an early work that has been overlooked and misidentified by scholars and researchers. The confusion has evidently stemmed from the coincidence of tonality with the well-known Concerto No. 1. Rather than being a rejected movement from the latter work, however, the score is a self-contained composition in one movement, and with the identification of the autograph manuscript by the present author, it is now possible to present the concerto in published form.

HISTORY In composing the concerto, Liszt used thematic material from works composed during the 1820s. He requested copies of these compositions in a letter he wrote to his mother in March 1836 from Geneva: Please take the trouble to search in my trunk or cabinet for four pieces of music by F. Liszt that were published 13 or 14 years ago by the Demoiselles Erard. They are titled: Variations sur un theme original dediees Sebastian Erard, Variations dediees Mme. Panckoucke, Deux morceaux dedies au comte Arnade,' , . These works had been published as opp. 1, 2 and 4, respectively, in 1825, and the Erard Variations theme and motives from the two works dedicated to Amade were incorporated into the new concerto. This was not the only wo~k from this time to be based on compositions from Liszt's youth. In the same letter, he requested his Etudes, op. 6, published in 1826, and he reworked these pieces as the Vingt-quatre grandes etudes, publishing them in 1839.2 These etudes were his first major publication as a composer, as previously his published works had been limited mostly to paraphrases and transcriptions. The reworking of compositions from over a decade earlier may be seen as marking a new beginning for the twenty-seven year old composer, and alongside an important statement in the solo repertoire Liszt may have wished to make a similar one in the concerto genre. The score of the concerto appears to date from autumn 1839. Parts of the autograph scores for early versions of Concerto Nos. 1 and 2 are on the same manuscript paper as the Concerto, op. posth., a distinctive type which Liszt appears to have used only during autumn and winter of that year. The orchestral score for Concerto No.2 (Liszt wrote out the piano part and orchestral parts in separate manuscripts) is the only one of the three to have a date, "Gombo, 13 Sept [18]39." Liszt is known to have rented a house on the tenuta del Gombo with the Countess Marie d'Agoult during the month of September/ and he undoubtedly used this extended period of isolation for composition. Letters and diary entries indicate that he intended to embark on a concert career in the near future, and all three concertos may have been prepared with immediate performance in mind. Shortly thereafter, Liszt began the series of tours that he would look back upon as his Glanzperiode. He gave several concerts in Vienna the following November, ostensibly to raise funds for a Beethoven monument in Bonn, but his letters show that he was making plans to perform in other cities as well. While in Vienna, Liszt was invited to Pest. Arriving 24 December, the reception by his countrymen was little short of spectacular, and that evening he wrote Tobias Haslinger, the publisher who had acted as his impresario in Vienna, requesting the new concertos:

1 Franz Liszts Briefe an seine Mutter, trans. and ed. La Mara [Marie Lipsius] (Leipzig: Breitkopf & Hanel, 1918), p. 29. The transcription has been corrected based on information supplied by Maria Eckhardt after comparison with the original in the Richard Wagner Museum in Bayreuth (signature II Cb-l, 103). 2 Despite the title, only twelve etudes were published. Liszt reworked the music yet again in 1851 as the Etudes d'execution tran-

scendante.
3 See Alan Walker, Franz Liszt: The Virtuoso ~ars 1811-1847, rev. ed. (Ithaca: Cornell University Press, 1987), p. 269.

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All the best, good and dear friend Tobias. In several days I will write you further. Friday is my first concert. Be so good as to have Carl send to me in Pest as soon as possible the Maometto Fantasie, and three scores (accompaniment to three new piano concertos [of my] composition).' There is no evidence, however, that any performance took place, nor that Liszt attempted to perform them subsequently. Throughout his touring years, whenever a work for piano and orchestra was required, he inevitably played Carl Maria von Weber's Konzertstuck, op. 79. He did, however, have the concertos copied by Gaetano Belloni, who travelled with him as secretary and concert manager after 1841. But despite the existence of copies, the works were laid aside until Liszt settled in Weimar. The known history of the Concerto, op. posth., ends with Belloni's copy. Although Liszt revised Concerto Nos. 1 and 2 in 1849, he apparently laid the third concerto aside. Perhaps he intended to return to the work at a later time, but there is no evidence that he did. The history of the autograph manuscript after Liszt's death is also unknown, and it is uncertain how various pages found their way into three archives. The single folio contained in the German National Museum in Nuremberg came from the estate of Max Erdmannsdorfer,' While Kapellmeister in Sondershausen from 1870 to 1880, Erdmannsdorfer met Liszt and performed his works. He was later Kapellmeister in Moscow from 1882 to 1889. Liszt may have given him the manuscript while he was at Sondershausen, and Erdmannsdorfer could conceivably have sold or given it away while in Russia, thus explaining the pages currently in the M. E. SaltikovShchedrin State Public Library in Leningrad. Without further research, no other conjectures can be advanced at this time.

SOURCES The primary source for the Concerto, op. posth., is Liszt's autograph manuscript. Unfortunately, this source is no longer intact, and pages are located in the M. E. Saltikov-Shchedrin State Public Library in Leningrad, the German National Museum in Nuremberg, and the Goethe and Schiller Archive in Weimar. Two folios of the manuscript are missing, and therefore an important secondary source is Belloni's copy made from the autograph, also located in Weimar. The state of the autograph presented several editorial problems that are directly connected to Liszt's compositional process. An understanding of this process is necessary for the proper evaluation of the sources, and by considering the autographs of all three concertos written at this time, it has been possible to reconstruct Liszt's procedure. For the first draft, Liszt wrote out a piano score on two staves with plenty of blank space above and below for revisions. The next stage was an orchestral score without a piano part, and the piano score from the first stage was modified such that it served as the missing piano part to the orchestral score. For substantial revisions, Liszt cancelled the passage in both scores, and wrote out separate pages with all parts, piano and orchestra. The manuscripts were then given to a copyist, who integrated them and returned a fair copy to Liszt for final corrections, revisions, and the addition of articulation and dynamic markings. This procedure can be seen in the various surviving scores for the first and second piano concertos. Liszt never corrected the copy of the Concerto, op. posth., and as a result a number of inconsistencies remain between the orchestral score and the separate piano part. There are two places where the piano solo does not match the orchestral score, the result of Liszt having made an alteration while writing the orchestration and not making the equivalent change in the piano part. The first is in 85-87, and for this edition the piano solo is rewritten to agree with the instrumental parts on the assumption that the orchestral score represents Liszt's final intention. The second occurs between 340 and 341, where there are three additional measures in the piano. As there is no allowance for them in the orchestra, they are omitted. In both cases, the measures from the piano part, as found in the autograph, are transcribed in the Critical Notes.

4 Franz Liszt: Briefe aus ungarischen Sammlungen 1835-1886, ed. Margit Prahacs (Kassel: Barenreiter, 1966), p. 46. Comparison with the original in the Liszt Ferenc Academy of Music reveals that "rneiner" ("of my") is the word Prahacs deemed was illegible. I am grateful to Maria Eckhardt, who examined the document with me and confirmed the revised reading. 5 Clytus Gottwald, "Die Liszt-Autographe des Germanischen Nationalmuseums in Niirnberg," Die Musikforschung 35 (1982), p.166.

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