Leslie Howard - Liszt: Hungarian Rhapsodies (1999)

Perhaps this album will be more of a remembrance of the conclusion of this mammoth liszt piano music series than a colourful alternative for the Rhapsodies per se. I am happy to state that it fulfills both credentials admirably, indeed the sense of elation and triumph is palpably present throughout the whole interpretations. As usual, the detailed notes make for some fascinating reading and Hyperion have also graciously included a beautifully presented catalogue to the whole series as an addendum. Howard's speeds in the First are occasionally too ponderous but the warmth and eloquence of the music are indeed well served. The Second and Fourth are altogether more familiar with their distinctive Hungarian rhythms and dashing flair. My particular favorite from the first nine is the funereal Fifth, perhaps as I was deeply acquainted to the theme in my youthful days reminding me of obituaries on the radio! Another wonderfully descriptive work is the Ninth, 'Carnival of Pest', a joyous raucous piece full of rumbustious good humour and dazzling piano fireworks. There are also finely honed interpretations of the Sixth, Seventh and Eighth Rhapsodies, which although not as distinct as the more famous ones, retain a certain sense of colourful imagery.
The second disc is altogether more obscure at least to this listener. I had already fished out a copy of Roberto Szidon's efforts on Philips to make comparisons but was absolutely stunned by the unnerving facility, which Howard brings to these demanding works. I greatly enjoyed his wonderful versions of the Twelfth and Thirteenth Rhapsody which are fairly brimful with pianistic beauty and amazing fireworks. Howard also finds room for the second version of the Sixteenth; the earlier version has appeared before on a previous installment to this cycle. Much pomp and circumstance is found in the final Nineteenth Rhapsody, the ubiquitous 'Csardas nobles' de Kornel Abranyi, a wonderful work that proves to be a just and rewarding conclusion to this collection. The shorter Seventeenth and Eighteenth make for some interesting makeweights and their brevity does not compromise the spirit that lies behind their inspiration. Wonderful stuff then and all the more impressive in a suitably impressive Hyperion recording that boasts glamour and a full piano range. Howard's gracious statements thanking all involved in this unique project is sentimental to read and reminds us of the greatness and oneness of this enterprise which will surely be remembered as one of the great classics of our recorded history. It is a testament to the gigantic output of this great composer and also a tribute to the exceptional pianism and scholarly capabilities of one Leslie Howard.