Liszt - De Profundis Concerto, S121a (Rohmann)

Despite exhaustive searching, I have been unable to locate the Acs two-piano score of this work—it has apparently been discontinued from publication for some unknown reason, so the only other sheetmusic I could use for this video was the Rosenblatt score (not particularly optimal as a two-piano score would fit much better on the screen than an orchestral one, but it's the best I could do).
On 14 January 1835, Liszt wrote to the Abbé de Lammenais, telling him that he was the dedicatee of a "little work"—an instrumental De Profundis, based on a plainsong which they both knew—and that "unless something very unforeseen occurs, I shall come again and beg you receive me for a few days towards the middle of July." However, just that occurred: in May 1835 Marie d'Agoult informed him that she was pregnant with his child, and by July they were both in Switzerland—presumably this change in his life accounts for the fact that the De Profundis Concerto remained unfinished (and it is exactly just that: although the piano part is quite close to a finished product, the orchestral material, which is in Liszt's own hand, is still evidently in draft form, plus there is no written ending and information about dynamics, phrasing or even the tempo is quite absent). Here, Imre Rohmann's careful reconstruction of Liszt's text (which bravely tightens some of the structure) has been absolutely crucial to the attempted resuscitation of this work.
In addition to its lack of completion, there are some more mysteries surrounding this work: firstly, the theme of the plainsong De Profundis has not been located outside the works of Liszt, and although Liszt reminds Lammenais in the letter quoted above of their mutual interest in the theme which he describes both as a plainsong and as a faburden, it is not to be found in any of the traditional Catholic repositories of plainchant, nor does it resemble any of the chants commonly applied to this particular psalm. Secondly, how to account for the presence of the polonaise? (17:39) There is certainly nothing in the text of the psalm to account for it; had the piece come from Liszt’s later life it would be easy to see a tribute to the Princess zu Sayn-Wittgenstein. Here it is more puzzling, but that whole section suggests a capitulation to worldliness not unlike the temptations of Faust by Mephistopheles—Berlioz had introduced Liszt to Gérard de Nerval’s French translation of the first part of Goethe’s play in December, 1830—in fact, it may not be too wide of the mark to see the Faust programme in the whole work: brooding, questioning, prayer, temptation and redemption are all in the piece, alongside the cry of the psalmist for God’s forgiveness ("Out of the depths have I cried unto thee, O Lord. Lord, hear my voice: let thine ears be attentive to the voice of my supplications.")

Видео Liszt - De Profundis Concerto, S121a (Rohmann) канала Andrei Cristian Anghel