Liszt’s Piano Concerto No. 1 is an exciting piece of music based on a simple repeated theme that is almost as “catchy” as the “fate” theme of Beethoven’s Fifth. It was first performed in 1855 with Liszt himself as the soloist and none other than Héctor Berlioz as conductor. Although the last movement has been criticized for being a banal show of virtuosity, the whole concerto is eminently worth knowing and treasuring. Liszt’s Piano Concerto No. 2, first performed two years later, is rather different, the four movements running into each other and there being more lyrical passage-work, including solos for horn and cello, before the “Marziale, un poco meno allegro” closes the work in typically virtuoso fashion. The “Totentanz” (Dance of Death) was written in 1849 and consists basically of a series of rather bizarre variations on the “Dies Irae” sequence from the Gregorian requiem. With these three pieces, the CD contains most of Liszt’s work for piano and orchestra.

As far as the performance goes, I cannot make comparisons, as no other recording of these works is currently available to me, but I found the censure of a fellow Amazonite a little too harsh: there is, indeed, nothing spectacular about these performances, but they seem to me to be adequate. What does impair their enjoyment is the rather primitive stereo sound which takes a lot of getting used to and cannot really convince, even on top-class stereo equipment: the orchestra seems divided in two halves, left and right, while the piano fills the space between. The piano is definitely in the limelight, but occasionally gets drowned by the orchestra, while at other moments it seems to be much louder than the entire collection of instruments. (I wonder how big the orchestra actually was; as usual, Naxos offers no information on this subject.) The solo instruments of the orchestra are obviously given special microphones and jump out at you. I found listening over high-quality headphones to be more satisfactory than in front of loudspeakers, but even with all the “tricks” a stereo fan can use to improve the quality, the whole CD still sounded rather amateurishly recorded.

The American pianist Joseph Banowetz gives a servicable account of these important Franz Liszt piano masterpieces. The overall production of this disc(playing, interpretation, sound engineering)can only be rated as average at best. The big moments in both concertos and the Totentanz fail to make the listener sit-up and take notice. Sure, Banowetz who's recognized internationally for the Romantic literature of piano shows he's most capable. Overall I feel his interpretation is a light-handed one and could use more bite. Liszt being the virtuosic technician that he was, you would think would want sparks to fly. For instructional purposes this disc is OK, but there are at least a few more versions available for about the same price that I'm sure will deliver more.

I agree that if anything is to be criticized it is the overall sound quality of the disk. I still find this recording very satisfying and comparable to many of the more famous recordings on the market. The pianist displays restraint and integrity: an admirable attention to detail as far as Liszt's own tempo indications go. The other reviews seem harsh (and considering that one commentator by his own account did not have access to any other recordings, seems ill informed). For a rock solid interpretation at an exceptional price this recording must be highly recommended.

I also own this piece played by the more famous Misha Dichter, Andre Previn conducting, and the Pittsburgh Symphony orchestra.

In all honesty there is nothing to choose between the two of them.

Joseph Banowetz does not succeed in bringing out the power and spice out of these marvelous piano concertos. The Totentanz doesn't do him much justice either. Liszt would be so dissapointed. . . . . .