The Second Rhapsody , probably the most famous piece that Liszt ever wrote, is even more deftly colored than the Third. He starts the quicker friss section slowly, then accelerates, slows, speeds again, but delicately, playing with the melodic line just enough to give it added shape and shade, but with taste and never with exaggeration. The Thirteenth Rhapsody is handled with equal aplomb, as well as a touch of beguilement. Brendel, in his subtle way, lets the music bewitch us for itself, but like seduction itself, the performance is not entirely predictable. Just as you think you know what is coming next, he surprises you with different voicings or slight tempo fluxuations.
Nothing is overstated, and the approach is incredibly effective.
The unexpectedness continues in the Eighth Rhapsody . As a result, it sings - gloriously. This was actually the last of the Rhapsodies to be written, in 1886, and is the most forward-looking of the set. Brendel's approach to this chimeral work is masterly. He starts gradually, giving the melancholy its full due, following the melodic curve of the phrases while not ignoring the dissonances in the bass figures.