Review: Liszt - Via Crucis & Solo Works

Franz Liszt’s legacy often conjures images of dazzling virtuosity and pioneering showmanship. His innovative stage presence famously reshaped the concert experience, yet equally compelling was the introspective and profoundly spiritual dimension of his later years. After retiring from active performance, Liszt shifted his compositional focus towards works of reflective depth and religious contemplation, notably Via Crucis, Consolations, and Harmonies poétiques et religieuses—repertoire thoughtfully explored in this new release by Leif Ove Andsnes, in collaboration with The Norwegian Soloists’ Choir lead by Grete Pedersen.

Liszt – Leif Ove Andsnes

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Via Crucis, originally scored for choir and organ but here presented in a version with piano, is among Liszt’s most introspective late works. Marked by Gregorian chant influences, austere textures, and expressive restraint, the performance eloquently captures its contemplative intensity. Despite their apparent simplicity, the melodies maintain powerful emotional resonance, underscored by Liszt’s adventurous harmonic language and stark tonal contrasts.

Stations IV, V, X, and XIII, composed as keyboard solos, highlight the composer’s exploration of darker, unconventional sonorities. Andsnes excels particularly in Station IV (track 5), conjuring the profound resonance of an organ. Even in sections featuring more transparent textures, his interpretation vividly evokes an atmosphere of chilling introspection. The choir contributes effectively, especially in movements such as Station III (track 4), skillfully balancing moments of dramatic intensity from the male voices with the ethereal warmth of the female voices.

Apart from its dramatic contrasts, Via Crucis consistently evokes an enigmatic quality sustained throughout this performance. The subtle tension created by fleeting resolutions engages listeners in a continuous search for clarity, a tension unresolved even in the concluding Station XIV (track 15), leaving a lingering sense of mystery in its austere “Amen.”

Andsnes describes this album as an intimate exploration of Liszt’s inner world, a perspective clearly articulated through his sensitive interpretations of the Consolations (S.172). Unlike the expansive virtuosity of works like the B minor Sonata, these short pieces foreground lyricism and harmonic subtlety. The opening E major (track 16) captures a reflective serenity, enhanced by Andsnes’ nuanced tonal palette, which adeptly navigates Liszt’s harmonic nuances. The second E major (track 17) introduces greater movement while preserving lyrical fluidity, delivered with elegant ease.

The D-flat major Consolation (track 18), often compared to a Chopin nocturne, receives a notably poetic interpretation, with accompanying textures subtly yet clearly rendered. The final E major Consolation introduces lively rhythmic elements, highlighting Andsnes’ deft touch and nuanced humor.

Harmonies poétiques et religieuses (S.173) further showcases Andsnes’ refined artistry. His performance emphasizes Liszt’s compositional sophistication beyond mere virtuosity, with delicate passages rendered with crystalline clarity, and denser sections, as in No. 8 (track 23), approached with carefully measured virtuosity and expressive depth.

While the liner notes effectively articulate Liszt’s artistic evolution, the omission of texts and translations for Via Crucis represents a significant oversight by Sony. Nonetheless, the musical execution remains commendably thoughtful, offering listeners a nuanced view of a distinctly different facet of Liszt’s compositional personality.