In recording the symphonic poems of Franz Liszt, Martin Haselböck, and the Orchester Wiener Akademie put forth historically informed performances on authentic instruments that capture the sonorities the composer likely heard when he conducted these works in the 1850s. While the differences between period and conventional performances might seem minor to the casual listener, especially one who is familiar with recordings by large symphony orchestras of the 20th century, the vivid tone colors and concentrated instrumental effects of this album are sure to startle anyone on close listening. Indeed, Hunnenschlacht, Hungaria, and Mazeppa at times sound a little like chamber music, due to Liszt's transparent orchestration and the striking separation of parts that the focused recording yields. It's easy to hear the novel instrumental combinations Liszt introduced, which later influenced the orchestral effects of Richard Strauss and Gustav Mahler. But Liszt's writing is especially noteworthy because it contrasts dramatically with the fairly homogenous orchestration of many of his contemporaries, and the emphasis he put on the evocative qualities of tone colors put the symphonic poem on the map. Haselböck's direction is authoritative, based on years of experience in performing both the organ works of Liszt, as well as conducting his other major works, including the Dante Symphony and Les Préludes. NCA's reproduction is crisply detailed, and the acoustics contribute greatly to the instruments' full-bodied and living tone.
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