Since the 1830s, numerous composers have experimented with hybrid forms combining elements of the symphony, concerto and free fantasia. With his Second Piano Concerto, Liszt succeeded in finding an original solution in that he combined six contrasting sections into a single movement that only roughly follows the scheme of the sonata form. Like the first concerto, the second also underwent a complicated process of composition in several versions with constant refinements until its publication in 1862/63.

Unlike during Liszt’s lifetime, the second concerto is today somewhat overshadowed by the first, since it was not created for the same degree of outward effect. On the other hand, it can enthral with stronger refinement in the thematic design and greater differentiation of expression. Besides a number of prints, it was also possible to consult all available manuscripts for the first time for the Urtext edition; piano legend Emanuel Ax contributed the fingerings for the solo part.

Two copies needed for performance.

Peter Jost (Editor)
Emanuel Ax (Fingering Piano)
Heiko Stralendorff (Piano reduction)