Liszts Edition of Schuberts Wanderer Fantasy: Arrangement or

Instructive Edition?

Introduction
In 1868 Liszt was commissioned to make an instructive edition of piano works by
Weber and Schubert.1 This edition, published by Cotta, was created as part of an
instructive collection of compositions directed by the pedagogue Sigmund Lebert for
the conservatories of Vienna, Stuttgart and Berlin. The first of Liszts volumes
dedicated to Schuberts work contains the Wanderer Fantasy in C major op. 15 and
three sonatas. Liszt makes clear comments on how the edition should be set, and in the
Wanderer Fantasy he proposes many changes that exceed a pedagogical instruction
for the pianist. This paper will analyse some of the most salient changes in this edition.
While scholars of Liszt have paid some attention to this edition, studies of
Schubert have so far largely neglected this particular piece. The edition raises questions
of authorial intentions and performance, and clearly we cannot know Schuberts final
objective for the Wanderer Fantasy from this edition. However, an historical analysis
may shed light on how Schubert was performed during the second half of the
nineteenth-century, or at least, how Liszt performed Schubert. Liszts changes to the
Fantasy clearly increase the virtuosic demands made of the pianist. This problematizes
the original aims of an instructive edition. His abundant remarks of articulations,
dynamics and fingerings, show his willingness to facilitate the works performances
however. The uncertainty regarding whether this edition is an arrangement or
instructive may, I believe, have kept scholars from confronting this material.

Leberts and Liszts Instructive Edition

Sigmund Lebert (1822-1884) was a pianist and teacher, co-founder of the Stuttgart
Conservatoire, and co-editor with Ludwig Stark of a piano technique manual called
Grosse Klavierschule. 2 He also directed an Instructive Edition of piano works
[Instructive Ausgabe klassischer Klavierwerke] by different composers, on which he
collaborated with other musicians. Besides Liszt, the contributors were Hans von

I will coin the term instructive instead of pedagogical as it is used in the following edition. Franz
Schubert, Franz Schubert: Selected Compositions for the Pianoforte, Instructive Edition, ed. by Franz
Liszt, trans. by Percy Goetschius (New York: Edward Schuberth & Co., 1892).
2
See the footnote in Franz Liszt, Letters of Franz Liszt, ed. by La Mara, trans. by Constance Bache, 2
vols (New York: Haskell House Publishers, 1969), II, p. 154.

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Blow, Immanuel Faisst and Ignaz Lachner. They edited the piano works of Haydn,
Mozart, Beethoven, Weber, and Schubert, among others.3 In 1868 Liszt was invited by
Lebert and the publishers at Cotta to participate as editor of piano works by Weber and
Schubert, to be included in this Instructive Edition.4 Liszt had a clear idea of the way in
which he wanted to construct the edition, as we read in a letter sent to Lebert in October
of that same year. He writes,

My responsibility with regard to Cottas edition of Weber and Schubert I hold

to be: fully and carefully to retain the original text together with provisory
suggestions of my way of rendering it, by means of distinguishing letters,
notes and signs.5

As Alan Walker states, the above comment demonstrates a modern understanding of

music editing in that Liszt distinguishes his own indications from Schuberts text by
using different typefaces.6

Figure 1. Liszts prologue to the Cotta edition.

The collection of this edition exists in ten volumes, located in the British Library.
See Cottas letter to Liszt of March 19, 1868 in Lajos Gracza, Franz Liszt und das Verlagshaus Cotta in
Stuttgart, Studia Musicologica Academiae Scientiarum Hungaricae, 45:3/4 (2004), pp. 407-434, p. 411.
5
Liszt, Letters, II, p. 160. Italics preserved from the original.
6
Alan Walker, Reflections on Liszt (Ithaca: Cornell University Press, 2005), p. 184.
4

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Liszt contributed to the Instructive Edition with five volumes of Schuberts work. The
first two volumes were published in 1871, re-edited and revised again by Liszt in 1875.
The three remaining volumes were published in 1880.7
In the Wanderer Fantasy, Liszt made some major changes regarding
Schuberts text. I was unable to consult the first edition of 1871,8 however, I have used
the second Cotta edition of 1875, and an edition in English translation from 1892,
published by Edward Schuberth & Co.9 The notation of the latter is identical to the 1875
edition, except for a preface by Sigmund Lebert that is missing. This preface, signed
July 1870, was published in the Cotta 1875 copy and presumably written for the 1871
edition.10

Liszts source for the Wanderer Fantasy

Liszts interest in Schuberts work does not begin with the Cotta edition. Towards the
end of the 1830s Liszt wrote a set of transcriptions of Schuberts songs for the piano,11
and his interest in the Wanderer Fantasy dates back to around 1851, when he
transcribed a version for piano and orchestra.12 Later, he wrote a two piano version
derived from this former transcription.13 According to Humphrey Searle,

Maria Eckhardt, Ldition des oeuvres de Franz Schubert par Franz Liszt. La Fantaisie Wanderer: une
transcription de piano pour piano, Ostinato Rigore. Revue internationale dtudes musicales, No. 18
(2002), pp. 69-84, p. 72.
8
Eckhardt notes that the first edition is lost, but she mentions a letter between Cotta and Liszt, dated June
19, 1871, confirming 1871 as the year of its publication (See Eckhardt, Ldition, p. 72, note 12). This
letter can be read in Gracza, Franz Liszt, p. 417.
9
The 1875 edition published by Cotta in Stuttgart can be found as section VI of the ten volume collection
held at the British Library. I consulted the Edward Schuberth & Co. edition of 1892 at the library of Jesus
College, Cambridge.
10
There is a contradiction at this point between the catalogues of Liszts work. Howard and Short include
in Searles catalogue Liszts edition of the Wanderer Fantasy as S565a, stating that it was first
published in 1870. According to Eckhardt and Charnin Mueller, it was published in 1871. Howard and
Short mention Eckhardt and Charnin Muellers catalogue as one of their sources, so that leaves us with
three conjectures: that Howard and Short made a mistake; that they based the date on Leberts preface, or
that they were able to see the first edition (the least likely option as it is not mentioned in their sources).
For Eckhardt and Charnin Muellers catalogue see Alan Walker, et al., "Liszt, Franz", Grove Music
Online. Oxford Music Online. Oxford University Press, accessed February 26, 2013,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/48265pg28. See also Michael Short
and Leslie Howard, Ferenc Liszt. List of Works: Comprehensively Expanded from the Catalogue of
Humphrey Searle as Revised by Sharon Winklhofer, Quaderni dellIstituto Liszt, Vol. 3 (Milano:
Rugginenti, 2004).
11
Jonathan Kregor, Liszt as Transcriber (Cambridge: Cambridge University Press, 2010), p. 6.
12
In the foreword to the piano and orchestra transcription, Humphrey Searle states that the first
performance took place on December 14, 1851. Franz Schubert and Franz Liszt, Wanderer Fantasy for
piano and orchestra (London: Ernst Eulenburg Ltd., 1980), p. IV.
13
Here again we have a contradiction between the catalogues. Eckhardt and Charnin Mueller state that
the first edition of the piano and orchestra version (LW H13) was published by Spina in Vienna in 1857,
and the two piano version (LW C5) was also published by Spina in 1862. Howard and Short state that the

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Liszt appears to have derived the idea of thematic transformation as a unifying

process from Schuberts Wanderer Fantasy []. One can see the strong attraction of
this work for Liszt, and many works of his Weimar period follow this model, the
first piano concerto being a particularly clear example.14

Composed in 1822, Schuberts Wanderer Fantasy is known for its difficulty. The
history surrounding the work is that even Schubert was unable to play it well.15 Even
though Liszt wrote two previous transcriptions of the Fantasy, to write an instructive
version was an entirely different challenge.
The Instructive Edition presents Schuberts text, with Liszts variants set in a
minor typeface, ossia measures and different types of articulations (see Figure 1).16
Liszt used as his source L. Holles edition of Schuberts Fantasy from 1868.17 The
Fantasy was first published in Vienna in 1823 (during Schuberts lifetime) by Cappi &
Diabelli, and according to Maurice J. E. Brown the autograph manuscript was lost until
1953.18 The critical edition of the Fantasy in Franz Schubert: Neue Ausgabe smtlicher
Werke, is based on Cappi & Diabellis first edition and this recovered manuscript, held
in a private collection in Vienna.19 Alan Walker has noted that Liszt did not have the
luxury of consulting autographs. He worked mainly from first editions.20 Regarding
the autographs this may be correct, at least regarding the Fantasy, but after comparing
the Fantasys first edition, my findings confirm that Liszt did not base his version on the
latter.21 This evidence is grounded in the fact that several articulation marks that Liszt
writes as Schuberts do not appear in the first edition; moreover there are some
repeatedly omitted accidentals of a same note in different octaves within a same
measure that are fixed in Liszts edition without distinguishing them as missing in the

first edition of the piano and orchestra version (S366) was published in Berlin in 1853, and the two piano
version (S653) was first published in Vienna in 1863.
14
Humphrey Searle, The Music of Liszt (New York: Dover Publications, 1966), pp. 60-61.
15
Edmondstoune Duncan, Schubert (London: J. M. Dent & Sons Ltd., 1934), p. 117.
16
All the figures are taken from the Edward Schuberth & Co. edition of 1892.
17
According to the search made in the Hofmeister XIX database the Holle edition was made by F. W.
Markull. In this database it is also possible to find other editions of the Fantasy published between the
first edition and Liszts Instructive Edition. There is a Diabelli edition of 1850, a Breitkopf & Hrtel
edition of 1867, and two editions published by Peters from 1868 and 1871. Hofmeister XIX, accessed
March 19, 2013, http://www.hofmeister.rhul.ac.uk.
18
Maurice J. E. Brown, Schubert: Discoveries of the Last Decade, The Musical Quarterly, 47:3 (July
1961), pp. 293-314, pp. 308-309.
19
See the section on sources (Quellen und Lesarten) in Franz Schubert, Franz Schubert: Neue Ausgabe
smtlicher Werke. Serie VII-Klaviermusik, Abteilung 2: Werke fr Klavier zu zwei Hnden, Band 5
Klavierstcke II, ed. by Walther Drr and Christa Landon (Kassel: Brenreiter, 1984), p. 157.
20
Walker, Reflections, p. 175.
21
I consulted the 1823 Cappi & Diabelli edition of the Fantasy at the British Library.

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original source. Regarding the manuscript, Brown points out some significant misprints
between this source and its editions that are missing in Liszts edition as well.22 Liszt is
explicit about the sources he wants for his edition in two letters, one sent to Lebert, the
other to Cotta, respectively: The pianoforte Duets of Schubert (Holles edition) please
address to Weimar, as I have no time left for revisings in Rome;23 L'edition de Holle
(Wolfenbttel) me suffira pour la revision des oeuvres de Beethowen [sic] et Schubert
[].24

Liszts edition of the Wanderer Fantasy

There are two types of intervention that Liszt makes in Schuberts text. The first one
mainly regards the addition of fingerings, pedalings, articulations and dynamics.

Figure 2. Schubert/Liszt Wanderer Fantasy op. 15, p. 4, mm. 1-11.

As Figure 2 shows, Liszt marks are in a smaller typeface as we can clearly distinguish,
for example, between the fortissimo of Schuberts text in measure 1, and the one added
by Liszt in measure 7. Also the articulation marks are written differently (see Figure 1
for the use of staccatos, marcatos, accents), the expression marks have different
thicknesses (compare the one in the right hand in measure 2 with the one in measure 5),

22

Brown, Schubert, p. 308.

Letter from Villa DEste of December 2, 1868. See Liszt, Letters, II, p. 166.
24
Letter from Rome of March 28, 1868. See Gracza, Franz Liszt, p. 411.

23

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and as well as fingerings, one of Liszts additions is the use of the pedals written in a
smaller size.25
The second type of intervention involves some major changes in Schuberts text
such us melodic, harmonic, 26 and/or rhythmic changes that are written in ossia
measures.

Figure 3. Schubert/Liszt Wanderer Fantasy op. 15, p. 14, mm. 161-167.

As we can see in Figure 3, Liszt changes the rhythm of semiquavers, transforming them
in triplets, thus, also modifying the melodic line (instead of an ascending scale, there is
now always a jump of a third at some point of the scale). However, it does not modify
the general concept of what Schubert wrote; by using triplets, it slightly diminishes the
tempo, so as to emphasize a climax point at the arrival of the G major chord (the
dominant) in measure 165, and then continue to a modulatory passage that connects the
first with the second movement.

25

Eckhardt, Ldition, p. 77.

The harmonic changes do not consist in varying the original harmony, but, for example, in completing
a chord in written octaves.
26

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It is also possible to observe other major changes, as shown in Figure 4,27 where
ascending and descending arpeggios are replaced by chords in changing octaves with a
completely different rhythmic pattern, modifying Schuberts original texture.

Figure 4. Schubert/Liszt Wanderer Fantasy op. 15, p. 32, mm. 568-571.

The most notorious of Liszts interventions occurs in the last movement, where
he decides to print Schuberts version but instead of using ossia measures, he rewrites
the last movement and prints it separately, following Schuberts.

27

This Figure only shows a fragment of a larger passage.

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Figure 5. Schubert/Liszt Wanderer Fantasy op. 15, p. 35, mm. 631-648.

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Figure 6. Schubert/Liszt Wanderer Fantasy op. 15, p. 41, mm. 631-648bis.

Figures 5 and 6 show the same measures of the last movement, and the significant
changes Liszt made to Schuberts text. Here again, as in Figure 4, Liszt replaces the
arpeggios with chords in changing octaves, and again changes the rhythmic pattern
from semiquavers to triplets in the first nine measures of the right hand, and from
semiquavers to quavers (in octaves) in the left hand of the last two systems. The final
movement is known to be very difficult to play and, although it sounds quite different,

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Liszt facilitates the pianists ability to perform the piece by avoiding complex passages
as the ones shown above, while still providing the pianist with some effective writing
that creates a virtuosic effect. It is important to bear in mind that the piano underwent
major changes from Schuberts to Liszts time, and that many of Liszts modifications
take into account the new technical possibilities that the piano now offered. He
expresses this in a letter to Lebert: Several passages, and the whole of the conclusion
of the C major Fantasia, I have re-written in modern pianoforte form, and I flatter
myself that Schubert would not be displeased with it.28

Some questions on performance and authorial intentions

Liszts edition of Schuberts work has been under-examined in current scholarship.29
Only within the last decade have Liszt scholars paid attention to his role as editor, as we
can observe in the writings of Walker, Eckhardt and Kregor, and the recordings by
Leslie Howard.30 According to Walker, this edition allows us to formulate questions on
performance such as How did the nineteenth century itself play the music of the
eighteenth? Indeed, how did it play its own music?31 At least in this case it is possible
to speak of how Liszt played Schubert,32 and this is not a minor issue. In 1997, David
Montgomery published an article where he criticizes Robert Levins performance of
Schuberts Sonatas in A minor D537 and D major D850. 33 He claims that the
interpretation of the former goes beyond what is written, while the performance of the
latter is closest to the score. According to Montgomery Levin would appear to share
with other prominent colleagues the conviction that Schuberts scores are minimal
documents in need of generous translation.34 Even though Montgomery is not against
this type of performance, he criticizes that the criteria to play them is not clear. He
refers back to the pedagogical treatises of Schuberts time in order to explain what an
historically informed performance should be. Levin answered this article, publicly

28

Letter from Villa DEste of December 2, 1868. See Liszt, Letters, II, p. 166.
The Instructive Edition is not contemplated either in Schuberts nor in Liszts critical editions.
30
Howard recorded Schuberts Wanderer Fantasy and the Impromptu op. 90 from the Instructive
Edition as part of Liszts complete music for solo piano series. See Hyperion-Records, accessed March
21, 2013, http://www.hyperion-records.co.uk/al.asp?al=CDA67203
31
Walker, Reflections, p. 176.
32
We can observe some technical recurrences that Liszt uses in the Instructive Edition of the Wanderer
Fantasy, which can also be seen in some piano parts in the transcription for piano and orchestra, where,
instead of playing scales or arpeggios with each hand, they are written to be played with both hands in
alternating octaves.
33
David Montgomery, Modern Schubert Interpretation in the Light of the Pedagogical Sources of His
Day, Early Music, 25:1 (February 1997), pp. 100-104; 106-118.
34
Ibid., p. 102.
29

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10

replying that Montgomery would have us believe that in the generation from Mozart to
Schubert the performer ceased to have the creative role characteristic of the earlier
time.35 Even though Levin has a point, his discourse lacks reference to a closer
historical source that can genuinely endorse his performance. Liszts edition might be
that source.
Perhaps the main question that Liszts edition of the Wanderer Fantasy raises is
one of definition. Is it a transcription; an arrangement; an instructive edition? All these
terms also require defining. Transcription and arrangement are intertwined concepts.
The Oxford Dictionary of Music defines them as synonyms,

Transcription.
(1) Arrangement of musical composition for a performing medium other than the
original or for same medium but in more elaborate style.
(2) Conversion of composition from one system of notation to another.36
Arrangement or Transcription.
Adaptation of a piece of music for a medium other than that for which it was
originally composed. Sometimes Transcription means a rewriting for the same
medium but in a style easier to play. (In the USA there appears to be a tendency to
use Arrangement for a free treatment of the material and Transcription for a more
faithful treatment. In jazz Arrangement tends to signify orchestration).37

As we can see, the definitions are contradictory. In the definition of transcription it is

for the same medium but in a more elaborate style; in the second definition
arrangement or transcription, the ODM cites that transcription means a rewriting
for the same medium but in a style easier to play. We may however be able to establish
that a transcription attempts to replicate the original, while an arrangement maintains
the integrity of the original, while distinguishing itself in its own right. The line between
them, however, is diffuse. According to Kregor, Liszt understood transcription to be
the creation of difference; that is, an act of violation of even violence toward the

35

Robert Levin, Performance Prerogatives in Schubert, Early Music, 25:4, 25th Anniversary Issue;
Listening Practice (November 1997), pp. 723-727, p. 723.
36
Transcription, The Oxford Dictionary of Music, ed. by Michael Kennedy, 2nd ed., Oxford Music
Online. Oxford University Press, accessed March 30, 2013,
http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e10386. Emphasis my own.
37
Arrangement, The Oxford Dictionary of Music, ed. by Michael Kennedy, 2nd ed., Oxford Music
Online. Oxford University Press, accessed March 30, 2013,
http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e561. Emphasis my own.

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original.38 This conception of transcription clearly is at a remove from the definition

above. Something similar happens with the concept of a pedagogical or instructive
edition. An instructive edition would probably involve something that will facilitate the
performance, though it is not clear to what extent, and what parameters should be taken
into account.
These definitions also involve another interwoven question regarding authorial
intention. Which version should be played? Schuberts; Schuberts with Liszts first
type of intervention; the complete Liszt version (as played by Howard)? Or the
performers choice of Schuberts and Liszts? As Kregor states,
A Lisztian transcription, after all, is simultaneously a type of tool for a variety of
projects, an adaptable process, a coming-to-terms with preexisting material usually
engineered by someone else. Thus they inherently exhibit what Roger Parker has
described in operatic production as a surplus of signatures, which routinely
involves the dictates not of an authorial intention but of multiple (often vigorously
competing) authorial intentions.39

In conclusion, it seems that modern scholarship has been reluctant to tackle this
source due to a number of factors: the multiple and competing authorial intentions
and thus the impossibility of finding a univocal authorial voice, and the difficulty of
defining this edition as arrangement or instructive. Where Liszt scholars have attempted
to confront the pieces complexities, it is interesting to assess what has been said about
his role as editor of the Wanderer Fantasy. According to Eckhardt, Liszts edition is a
transcription de piano pour le piano. 40 For Walker (talking about Schuberts
Impromptu in G-flat Major, which can also be applied to the Wanderer Fantasy),
Liszt appears to have temporarily abandoned his role as editor and adopted the mantle
of arranger.41 Lastly, for Kregor The editions that Liszt produced for Lebert go far
beyond mere pedagogical instruction.42
In my own view, the reasons outlined in this paper indicate that this edition is
instructive for the virtuoso piano player. When we consider the complexities and
difficulties of playing this piece, but also understand Liszts pedagogical approach, he
does not create an easier version, but provides the performer with major technical
details.

38

Kregor, Liszt, p. 4.
Kregor, Liszt, p. 2.
40
Eckhardt, Ldition, p. 84.
41
Walker, Reflections, p. 186.
42
Kregor, Liszt, p. 164.
39

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