There is no time of the year more musical than Christmas, with its countless folk or art songs, for solo voice or choir, for children or adults, in so many languages. Early on, Christmas celebrations added instruments to the voices. But what role can the piano play as a recital instrument? Weihnachtsbaum (“Christmas Tree”) is an astonishing work that occupies a peculiar position in Franz Liszt’s production. Dating from his last period, this composite work is characterized by the relative sparseness and brevity of each of its twelve pieces. Some of them are experimental sketches foreshadowing twentieth-century developments; others are classically crafted, in a naive if not amiable tone. Liszt wrote the work as a present for his granddaughter Daniela; but, despite its circumstantial nature, we know that he worked on it over a long period, from 1874 to 1876, and then revised the pieces several times before the final version was published in 1882. He also adapted the solo piano version as a piano duet and arranged O heilige Nacht for solo voice with organ or harmonium accompaniment. Weihnachtsbaum was first performed on Christmas day in 1881 at the Alibert Hotel in Rome, where Liszt was staying with his grand-daughter. Une pianiste pour qui la musique demeure avant tout un mélange de pensée et de matiere. Hors des sentiers battus, ses programmes de concerts et d’enregistrements, élaborés selon des logiques cohérentes et neuves (…) qui manquent souvent cruellement dans le domaine musical (…) entraînent l’adhésion des auditeurs les moins prévenus. Eine bessere Interpretin als Thérese Malengreau kann man sich wohl kaum wünschen. In ihrem nuancenreichen Spiel taucht Malengreau regelrecht in die Kompositionen ein.