With exception of the berceuse, these pieces where composed with a very small potential audience in mind, which allowed Debussy more freedom to write in whichever style he pleased. I'm glad you enjoyed!

Thank you!

I can't remember where I found this particular score, but there is another edition of the same piece on IMSLP under the arrangements tab of S.527

@@M.Arsenault oh, ok, thnks for the answer

To be brief, what most trios seem to play is a somewhat erroneous reading of Leslie Howard’s edition of the piece, from “Liszt Society Publications Vol.11 Complete Music for Piano Trio”, published by The Hardie Press. That edition includes the final revision of the piece (the one in this video), but for some reason, also includes the latter half of the transcription by Edward Lassen as an “alternate ending” -- which Liszt purposely omitted from the final revision. Most trios recorded this piece with the “alternate ending” either because the score was confusing or for extra length I suppose? Anyway, I would suggest it be a better idea to play the final version instead.

Unfortunately it’s always compared to the violin and the fact that there isn’t nearly as much pieces written for viola. It’s sad because besides the shape and basic anatomy of both instruments, the violin and viola don’t have many similarities at all

A great antidote to the "too slow" tendency is the recording by Daniel Grimwood, posted (in segments) on KZbin. Here's the first piece, "Angelus!": kzbin.info/www/bejne/mqeXomyIZbWZe7c Also check out the great complete recordings by Bertrand Chamayou and Muza Rubackyte, both posted here on KZbin. And that of Ksenia Nosikova, a very fine rendition of each of the three "years."

Bermans tempos is only too slow on Angelus. The two trenodies are especially great in regard to tempo

The recording is great, this is how Liszt‘s late compositions should be played. He was an old man barely able to playe the piano by the point he wrote these pieces. A lot of adequate griefing is conveyed through the slower tempi. This darker mood gets lost in faster recordings like the one of the otherwise great Cziffra, who especially disappoints in the two funeral marches (No.5,6). Korstick also has a wonderful recording of the Harmonies Poetiques et Religieuses.

Not just a great technique but a great pair of balls to take a risky but musically superior approach to the most difficult passages of all of the works he played. The absolute top of his technique is the recordings of Saint-Saëns' 'Etude en forme de valse' it took 99 years for a pianist to dare a similar approach in a recording session with the same piece - Bertrand Chamayou. Cortot in his prime was technically superior to Horowitz, Cziffra, or Rudolf Serkin.