First performed in 1835 and published the following year, Liszt's Réminiscences de La juive has long been considered problematic by critics, but although filled with his youthful virtuosic exuberance, it is a work of undeniable inventiveness: the shape of the opening Molto allegro feroce is entirely his (even if the thematic fragments are Halévy’s) and it is not until the recognizable martial chorus (3:20) that he uses a whole theme. The succeeding Boléro is only loosely based on Halévy, but is the theme for two delectable variations and the Finale begins as if it were a third variation before giving way to frenetically foreshortened recollections of the march and the introductory material. Interestingly, the ferocious opening foreshadows the 'infernal' music of Liszt's Weimar period, but also shows immediate kinship with the Valse infernale from Meyerbeer's Robert le diable, with which the La juive fantasy was reissued in 1842.
Opinions will vary on Wong's approach to Liszt’s published texts as the basis for further embellishment, elaboration and occasionally recomposition, but in my opinion his playing falters with the addition of such unnecessities as whilst some may find them refreshing, it really is the last thing a piece which has barely been recorded needs. Unfortunately, this was the only recording I could find which is available for use on RU-vid.
20 фев 2019
