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