Liszt's transcription of Ferdinand David's Bunte Reihe ("varied series") is a fairly literal rendering of the original set of twenty-four pieces, covering all the keys, for violin and piano. He even includes a second version of the nineteenth item, Ungarisch.

Ferdinand David was a highly respected violinist in his day, perhaps more in an academic way than through performance: as professor of violin at the Leipzig Academy, he is credited with elevating that institute to one of the foremost in Europe for violinists in his day. His compositions showed great skill, but lacked the individual stamp of contemporaries like Mendelssohn, Schumann and Liszt. Nevertheless, this collection offers a fair measure of interest, not least because Liszt combines the violin line with that of the piano, resulting in considerable challenge for the soloist. Moreover, the music may actually be better in Liszt's colorful transcription, than in David's original, somewhat strait-laced scoring.

Of the twenty-four pieces here all are light, many of a sentimental bent. The Scherzo in C, that opens the set, is charming in its delicate yet slightly stiff cuteness. Erinnerung in C minor follows, divulging a Schumannesque nostalgia. The same description largely applies to No. 5, Kinderlied in D, a piece whose innocence and charm nearly elevate it to the artistic level of Kinderszenen. The Bolero in E flat (No. 7) calls Chopin to mind, most notably from the Polonaise Militaire, though here the mood is light and hardly martial.

The ensuing Elegie in E flat minor is more vaguely related to Chopin, but is one of the most compelling pieces in the set. No. 10, the Toccata in E minor, offers strong appeal, not least because of its technical challenges and range of color. Much the same can be said for Im Sturm in F minor (No. 12), though there is greater brilliance in the writing here, and for once the music sounds truly Lisztian in places.

At over four minutes, the Menuetto in G (No. 15) is one of the longer items in the set and also one of the more attractive, despite its allusions to Schumann and Schubert. The Serenade in G minor (No. 18) is the longest, at about five minutes, and in its understated manner charms with its delicate moods and deftly-wrought themes. The two versions of Ungarisch in A follow, the second being longer and the more effective and dramatic. Apparently using Hungarian folk material, David shows he was no Liszt in incarnating music from ethnic sources, and Liszt shows that he could not always refrain from adding his own brilliant touches to enliven the notes.

There is also much virtuosity in the next piece, the Tarantelle in A minor (No. 21). Song in B (No. 24) and Capriccio in B minor are the closing pieces, and both offer considerable appeal, the former owing to its Schumannesque thematic allure and the latter to the delicate busyness of the brilliant writing, where, once again, Liszt shows his hand.

A complete performance of this collection will generally run slightly over seventy minutes. Liszt published the set in Leipzig and Paris in 1851.

Recommended recording - Valerie Tryon/Naxos.



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