The Hong Kong-born pianist Chiyan Wong is avowedly an advocate of the second approach, as evidenced in his new release of four Liszt opera fantasies, entitled ‘Liszt Transfigured’. Beyond the dazzling technical polish he brings to these fiendishly challenging pieces, most striking is Wong’s sincerity of purpose. Fortunately, his reverence for Liszt precludes any radical alteration of the scores in the name of pianistic exhibitionism.

The Niobe Fantasy, Liszt’s vehicle in the 1837 duel with Sigismond Thalberg at Princess Belgiojoso’s Paris benefit, is more talked about than actually heard. The earliest recording I’m aware of is Steven Mayer’s (ASV, 12/92) and it naturally figures in Leslie Howard’s traversal of all Liszt’s piano music (Hyperion). Wong’s performance deserves an unapologetic place beside them. The Larghetto is beautifully wrought with fioritura passages that are especially lovely. There is an interpolated cadenza in the Allegro molto appassionato but by and large embellishments throughout are tasteful and unobtrusive.