Andante Final de Lucia di Lammermoor, S.397 - Adolf von Henselt/Franz Liszt/Gaetano Donizetti

Franz Liszt/Gaetano Donizetti: Réminiscences de Lucia di Lammermoor de Donizetti: 1. Andante Final, S.397 (version/interpretation by Adolf von Henselt).

Liszt’s Lucia fantasy turned out to be so large that the original publisher insisted on its being split into two works. [...] The first part—published as Opus 13 and subtitled ‘Fantaisie dramatique’—is founded upon the closing sextet, and the second upon the scene at the tomb. Together they represent the best of Liszt’s early operatic fantasies. (notes by Leslie Howard)

A good illustration of [Liszt's] freedom in playing his own pieces is found in Henselt's edition (1878) of the first part of Reminiscences de Lucia di Lammermoor. Liszt told Gollerich [who later noted in his diary] that Henselt composed this "interpretation" of the Lucia piece following one of his own very free performances of it, and enshrined his improvised ornamentation in print. (notes by Kenneth Hamilton)


This new version, based on one of Liszt's most loved and frequently performed concert pieces throughout his 1840s tours, includes a good many extended cadenzas, new Lisztian elaborations, a more prominent use of the lower section of the keyboard as well as a slightly longer coda. The "wow" factor, which predominantly stems from the abundance of pianistic fireworks and colourful embellishments used throughout, is still magnificently preserved in this arrangement by Adolf von Henselt (1814-1889), who also happened to be Liszt's comtemporary and a great pianist of his own. The title of his edition reads:

RÉMINISCENCES
de LUCIA de LAMMERMOOR
par
FR. LISZT
Interprétation
de
ADOLPHE HENSELT
À l'usage des élèves des établissements IMPÉRIAUX d'éducation des demoiselles nobles en Russie.
(For the use of the pupils of the IMPERIAL establishments for the education of noble young ladies in Russia).

That Henselt was a huge influence on the Russian school of piano playing can be seen in the alterations to Liszt's original piece, especially towards the end with the massive downpours of chords.


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