ITALY

The Italian book was written between 1837 and 1839, but not published
until 1858.  The first version of the Venezia e Napoli set was ready for
publication in 1840, but Liszt held back its publication and revised the
set in 1859, when it was published as an addition (Supplement) to the
second year.

Here I compare Berman, Howard and Brendel (1972).  I also decided to
include Earl Wild's recording of two of the Petrarcha Sonnets.  Venezia
e Napoli is not included on Brendel's recording.

1.  Sposalizio

A piece which draws inspiration from Raphael's painting of the betrothal
of ourlady and St Joseph.

Howard is very convincing.  Brendel is more fiery and less poetic.  Berman
ignores many indications in the score.

2.  Il Penseroso

A piece which draws inspiration from a sculpture and a qautrain by
Michelangelo.

Howard is again very convincing (and the slowest).  Berman's accents are
understated.

3.  Canzonetta del Salvator Rosa
A song about the painter Salvator Rosa, which is attributed to Bononcini.

Howard and Brendel are more faithful to the score than Berman.

4.  Sonetto 47
The first of the three Petrarca Sonnets.

Berman takes some liberties with the dynamics again.  The result is
not convincing.  Howarda - 's rubatos and somewhat slower pace is on
the other hand quite convincing.  Notice that there is only a single
fortissimo indication in this piece, and that is seven bars from the
end.

5.  Sonetto 104
The most passionate  of the sonnets with frequent tempo changes and
several fortissimo indications.

Berman's fortissimo molto appassionato are not passionate enough.
Earl Wild (1973) is not afraid of fortissimos, and he delivers the
most passionate interpretation.

6.  Sonetto 123
A very quiet piece, except for two short fortissimo outbursts.

Here only Wild and Howard manage to play the last four bars according
to the composers intention.  Brendel and Berman linger too long on the
arpeggio chords.  In the closing section (last 20 bars), Wild has added
some more notes to Liszt's score.  Most noticeable is an added upper
voice which is heard when the introduction is repeated towards the end
of piece.

7.  Apres un lecture du Dante-Fantasia quasi Sonata
Apparently the title (after reading Dante) refer to a poem by Victor
Hugo, and of course also to Liszt's reading sessions with Marie d'Agoult.

Berman and Howard are both holding back initially, and when the first
statment of the chorale theme appears in forte-fortissimo they are not
really able to deliver the goods.  Brendel is hot throughout the Sonata.

8.  Gondoliera
Based on a song by Peruchini

Delicacy from both pianists.

9.  Canzone
A setting of an aria from Rossini's Othello.

Berman is playing accentuato assai (except for two sforzandos) as Liszt
indicates.  However, he most probably uses the incorrect Peters edition
where the two final bars are missing.

10. Tarantella
Based on themes by Cottrau.

Virtuosity from both pianists.

I would say that Brendel is the most consistent interpreter, but I don't
know whether he has recorded Venezia e Napoli.  Howard is very poetic,
but his Dante is somewhat disappointing.  Finally, Brendel ends up in
third place.  His deviations from the score do not pay off.  I think he
is much better in Venezia e Napoli, where he is more faithful to the
score and also displays a wider dynamic range.

Mikael Rasmusson