FRANZ LISZT (1811-1886) Reminiscences de Don Juan Download score Tutorial by Ferruccio Busoni

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Liszt Reminiscences de Don Juan bar 250

  1. The editor skips the "ritornello" and the "Var. II" and continues in the same breath, 39 bars later on.

    Liszt Reminiscences de Don Juan bar 287

  1. Here the "drama" resumes. In the form of a gruesome invitation the stone Commendatore announces, that Don Giovanni reaches the retaliation. "Like stones" the trombones stride with the voice of the ghost:

    Tu m' invitastia cena il tuo dover or sai rispondi mi rispondi mi verrai tu a cenar meco?

    Before the penultimate bar of the song, Liszt begins a symphonic development, that also forms a dramatic climax.

    Liszt Reminiscences de Don Juan bar 299

  1. The editor plays the whole development in the character of "tempestuoso."; Thus in the same sense as our note at bar 31 tries to interpret this phrase. "Toujours marque et mesure" (always strongly emphasized and measured), a provision which states that the sharp rhythmic and thematic outline should appear lifted from the fog of figural and modulating background. "storming and yet restrained" (the latter also for economic reasons), "more threatening than erupting" should be a more exhaustive description.

    Liszt Reminiscences de Don Juan bar 323

  1. This has become a familiar technique that when it appeared (I think it appeared first of all in Liszt's operatic fantasies) awakened a distressed amazement. It is said that even during a peformance of the of "Don Juan-Fantasi" by Carl Tausig the audience had raised at this point from its seats.

    It is obvious to experience these sequences thematically, as follows and as a replica of the development part of the "Concert Etude" in F minor, which shows this much in common:

    Liszt Etude in F minor

    And so on.

    Liszt Reminiscences de Don Juan bar 333

    1. An insistence contradicts the prescribed "mesure". Also, it would be hardly feasible. It would be worse to delay the pace due to physical strainedness. The definition of the editor has proved that risk antagonistic. (See also the note at bar 53).

      Liszt Reminiscences de Don Juan bar 338

    1. Liszt inserted here an abridged version of the passage leading to the final aria (bars 338-378, "either-or"), Ferruccio Busoni prefers the Ossia (bar 634) because the shorter version literally anticipates everything Liszt, which is included in the aria.

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