As already said above, the chords are an "ossia" version by Liszt so the taste is in complete order. It would be interesting to find out his rationale behind the choice of playing two chord bars instead of the "usual" interrupted diminished 7th arpeggio. It could be in order to smooth out the sudden change in texture between scales and triplets, or to give the climax an even more "maestoso" feel. Whatever the reason is, it is most certainly not because of lack of technique!
Er, no… no-one here has correctly stated what he has done. He has missed out bars 284 to 291 (the theme with the short scales followed by two climactic tremolo bars), then put in an upbeat semiquaver chord of his own invention, played the ‘ossia’ (scales) version of 292-295, and then the ‘non-ossia’ (chords) version of 296-297. It’s the missing out of a critical chunk of music that I object to, not the combination of two legitimate versions. Horowitz did this as well, but that doesn’t make it good.
@@DavidArdittiComposer That's true, he does indeed skip the whole grandioso bit ! I didn't even notice it. Maybe he finds that section to be repetitive? Very odd, and not sure it does the piece justice.
