Mikael Rasmusson signs himself off:

>(expecting HIP-Liszt)

There have been a few recordings of Liszt on period instruments, the
details of which escape me, in addition to a recent boomlet in Chopin on
19th-century pianos.  (Emanuel Ax is only the best-known pianist to explore
Chopin this way on disc.) Period Liszt isn't really such a silly notion;
I've practiced some Liszt (the Fantasy on "A Midsummer Night's Dream") on
an 1850's Erard grand, and been greatly struck by how truly orchestral
those old instruments could be -- even more so than our current grands.
(The absolutely amazing 1860's Smithsonian Chickering used by Lambert Orkis
in his recording some years back of music by Gottschalk is an excellent
example of what I mean.) However, living as he did during the era of
Progress, with a lifespan that enabled him to be heard by Beethoven and
Debussy, the inevitable question arises -- which period? Does one use an
early Viennese six-octave fortepiano of the sort that might have been in
Carl Czerny's teaching studio, or an early modern Steinway of the sort made
available to him late in life? I am unaware of any comments from him
suggesting that older music should not be played on earlier instruments,
and of course his Bach arrangements seem to suggest that he was anything
but not a HIP-style purist.  We can certainly learn a lot from hearing
Liszt on pianos he might have known, but his notion of historical
development causes perplexing problems for those thinking in too narrowly
a historicist way.

DPHorn, wishing that history weren't quite so messy.