The second Mephisto Waltz dates from the years 1878/9 to 1881. In it's orchestral version it was heard in Budapest in the latter year. The...

The second Mephisto Waltz dates from the years 1878/9 to 1881. In it's orchestral version it was heard in Budapest in the latter year. The piano version was dedicated to Camille Saint-Sa�ns. The dance starts tentatively with the notes that suggest the diabolus in musica, the devil in music, the awkward interval of a tritone, and it is with the same allusive interval that the piece ends, after moods that swing from diabolic energy to more relaxed passages, still suggesting, after so many years, the literary inspiration that was it's original source. The third and fourth Mephisto Waltzes are also the product of Liszt's later years. The third piece was written in 1883. It was dedicated to Marie Ja�ll, now living in Paris, a former pupil of Liszt, who described her as 'artiste �minente qui est hors ligne au-dessus de la r�putation qu'elle a acquise'. From the outset the third Mephisto Waltz makes use of ambiguous intervals of a fourth that, in outline, make up the tentative opening, and remain a continuing feature, suggesting at times an inversion of the tuning of a violin. There are lyrical passages in a dance that largely lacks the diabolical fury that had impelled it's predecessor. The fourth Mephisto Waltz, dated March 1885, remained unpublished and apparently unfinished, since it's seems that Liszt intended to incorporate a contrasting Andantino section, for which he left sketches. As with other compositions of this last period of his life, the harmony is ambiguous, dominated by the scale motif of the opening. The first of the two Elegies was written in 1874 in memory of Madame Moukhanoff-Kalergis, n�e Countess Marie Nesselrode, a gifted pianist and pupil of Chopin, a leading member of Liszt's circle, commemorated in a concert in Weimar. The deep-felt mourning is expressed in a descending interval, heard at the outset and remaining a feature of the whole piece. The second Elegy, composed in 1878, was dedicated to Lina Ramann, Liszt's biographer, initially in a collusion with the Princess Sayn-Wittgenstein that later proved troublesome, and editor of his writings. She had a piano school in Nuremberg and had made a name for herself as a teacher, notably with her Grundriss der Technik des Klavierspiels (Ground Plan of the Technique of Piano Playing), adopted, on Liszt's recommendation, by the Royal Hungarian Music Academy in Budapest. A work of tender melancholy, the Elegy includes a gently lyrical passage marked dolcissimo amoroso, which leads to a passionate climax, resolving into final evocative simplicity. Liszt's Grosses Konzertsolo was written in 1849-50 for a competition at the Paris Conservatoire and was dedicated to the pianist Adolph von Henselt. Whether it was played then is unknown, but it presented daunting technical difficulties. Clara Schumann, to whom Liszt had sent a copy, refused to play it, privately criticizing what she regarded as empty virtuosity, while suggesting to Liszt that it was beyond the grasp of a mere woman, a work to which only Liszt himself could do justice. The first performance was apparently given by Carl Tausig. Liszt also arranged the work for piano and orchestra as Grand Solo de Concert, a version that remained unpublished, and for two pianos as Concerto Path�tique. The work represents a development of the now traditional sonata, including in a single movement contrasting elements of other movements, united by a single theme, from which others are derived. The principal theme of the Grosses Konzertsolo is heard at the start, the first part of the work moving to a chordal G major passage marked Grandioso, followed by a lyrical Andante sostenuto, opening in D flat major. A cadenza is followed by a continuation of this quasi-slow movement, now in more majestic and ornate form. The principal theme returns in something approaching it's original form, followed by the secondary theme, now in E minor and marked Andante, quasi marcia funebre, it's progress accompanied by a simulated muffled drumbeat, melting into the E major of the earlier Andante sostenuto and capped by a triumphant conclusion.