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2nd version of S.171a/4; arr. for org/harm by Liszt and Alexander Wilhelm Gottschalg as S.672d/2; arr. for vc pf/org/harm by Liszt and Deswert as S.382a/2 172/5 A111b/5 (Andantino) pf E major 1849–50 Piano, original 2nd version of S.171a/5; arr. for org/harm by Liszt and Gottschalg as S.672d/3 172/6 A111b/6 (Allegretto sempre cantabile) pf E ...
The Mephisto Waltzes (German: Mephisto-Walzer) are four waltzes composed by Franz Liszt from 1859 to 1862, from 1880 to 1881, and in 1883 and 1885. Nos. 1 and 2 were composed for orchestra, and later arranged for piano, piano duet and two pianos, whereas nos. 3 and 4 were written for piano only.
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All of Reger's transcriptions of songs by Brahms, Wolf, Richard Strauss and others as well as his arrangements of Bach's organ works were excluded. Liszt's posthumous fate was of similar kind. In 1911, when Bartók wrote his essay, a complete edition of the "Franz Liszt Stiftung" was in print.
Similar to the jumps studied in Liszt's étude "La campanella" but typically played far more rapidly, these jumps reach intervals of thirteen steps (two and a half octaves) at their largest. Other technical difficulties include rapid chromatic scales played by the third, fourth, and fifth fingers, and sixteenth-note jumps in the left hand.
Howard, Leslie, Notes for Hyperion CDA66371/2, Liszt at the Opera I, Leslie Howard, piano. Howard, Leslie, Notes for Hyperion CDA66811/2, Liszt Dances and Marches, Leslie Howard, piano. Le Van, Eric, Notes for BMG-Arte Nova 74321 76809 2/ Oehms Classics OC 246. Complete Works for Cello and Piano. Guido Schiefen (cello); Eric Le Van (piano)
It is this last version, from 1851, that is most often performed. Its rapid double-note passages in the right hand accompanied by wide broken intervals in the left are notoriously difficult to play. In addition, the passages are often asymmetrical and unpredictable.
Horowitz, after claiming to Backhaus that the most difficult piano piece he ever played was Liszt's Feux-follets without hesitation, he added that Réminiscences de Don Juan is not an easy piece either. Horowitz had it in his concert programs, as well as the Liszt Sonata, which was not often played at the time, in his early years in Europe [2].