LISZT’S UNKNOWN PIANO CONCERTO: RETURNING FROM NOTHINGNESS

Abstract

The works of the famous Hungarian composer and pianist F. Liszt have been studied with an exceptional diligence. However, it turns out that it is possible to detect unknown works in his composer’s heritage. One of them is the concert Es-dur op. posth. for piano and orchestra. It was written in an early period of his creativity and chronologically ahead of both famous piano concerts by F. List. The purpose of the work is to study the circumstances of the creation of F. Liszt’s Concert Es-dur op. posth. for piano and orchestra, finding out its place in the composer’s creativity and determining the influence on the formation of a single-part composition in the genre of solo instrumental concert. Methodology. The research is based on historical, source and analytical methods. The historical method gives an opportunity to illuminate the work of the Liszt on the composition, source method allows to reveal the ways of modern searches, the end result of which was the publication of the found work, analytical method allows to investigate the features of thematicism and the processes of shaping. The scientific novelty is the lack of information about F.Liszt’s concert Es-dur Op. posth. for piano and the orchestra in almost all research sources about the composer. The concert has not been mentioned in F. Liszt’s creative work yet, does not have a proper analytical coverage by musicologists, and is not in the repertoire of a wide range of pianists. The discovered work was first introduced into the context of F. Liszt’s work, its significance in the formation of Liszt’s pianism and its place in the evolution of the genre of solo instrumental concert in the era of romanticism. Conclusions. A research of the history of creation and music of the concert op. posth. by F. Liszt allow us to understand that he needs much deeper study and reflection, because, formally, it was Concert no. 1 and had a significant influence on the later creativity of F. Liszt, in particular in the field of piano music. Therefore, this Concert should take a proper place in F. Liszt’s work, above all as an example of the first and extremely successful experience in this genre, reflecting the creative pursuits of the artist, whose personality combined the pianist virtuoso and the brilliant composer, and the prospects of developing the solo instrument concert in the direction of its transformation from a cyclic work into a single-part.