Gramophone Magazine Editor's Choice

June 2011

Disc of the Month

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Zelenka: Officium defunctorum & Requiem

Awards:

Gramophone Magazine

Disc of the Month - June 2011

Label:

Accent

Catalogue No:

ACC24244

Discs:

2

Release date:

21st Feb 2011

Barcode:

4015023242449

Length:

1 hour 41 minutes

Medium:

CD (download also available)
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Zelenka: Officium defunctorum & Requiem

Music for the funeral rites of Augustus the Strong


Zelenka:

Officium Defunctorum Z47

Requiem in D ZWV46


Hana Blažíková (soprano), Markéta Cukrová (alto), Sebastian Monti (tenor), Tomáš Král (bass), Marian Krejcik (bass)

Collegium 1704 & Collegium Vocale 1704, Václav Luks

CD - 2 discs

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There is a stark contrast between these two works; the Officium defunctorum with the strict counterpoint of Gregorian Chant and the exhilarating splendour of the Requiem. Collegium 1704 and Collegium Vocale 1704 were founded by harpsichordist Václav Luks and their recordings have been well received.

Jan Dismas Zelenka: Invitatorium, 3 Lectiones, 9 Responsoria, ZWV 47

Invitatorium: Antipohna et Psalmus "Regem cui omnia vivunt"

Nocturno I, Lectio 1: Parce mihi Domine

Nocturno I, Responsorium 1: Credo quo Redemptor

Nocturno I, Lectio 2: Taedet animam vitae meae

Nocturno I, Responsorium 2: Qui Lazarum resuscitasti

Nocturno I, Lectio 3: Manus tuae facerunt

Nocturno I, Responsorium 3: Domine quando veneris

Nocturno II, Lectio 4: Responde mihi

Nocturno II, Responsorium 4: Momento mei Domine

Nocturno II, Lectio 5: Homo natus de muliere

Nocturno II, Responsorium 5: Hei mihi Domine

Nocturno II, Lectio 6: Quis mihi hoc tribuat

Nocturno II, Responsorium 6: Ne recordaris peccata mea

Nocturno III, Lectio 7: Spiritus meus attenuabitur

Nocturno III, Responsorium 7: Peccantem me quottidie

Nocturno III, Lectio 8: Pelli meae, ensumptis carnibus

Nocturno III, Responsorium 8: Domine secundum actum meum

Nocturno III, Lectio 9: Quare de vulva eduxisti

Nocturno III, Responsorium 9: Libera me Domine

Jan Dismas Zelenka: Requiem for Elector Friedrich August I, ZWV 46

Introitus: Requiem aeternam

Introitus: Te decet Deus

Introitus: Exaudi Domine - Kyrie

Introitus: Christe eleison

Introitus: Kyrie eleison

Sequentia: Dies irae

Sequentia: Quantus tremor

Sequentia: Tuba mirum

Sequentia: Mors stupebit

Sequentia: Liber scriptus

Sequentia: Rex tremendae

Sequentia: Recordare

Sequentia: Lacrimosa

Sequentia: Huic ergo parce

Offertorium: Domine, Jesu Christe, Rex gloriae

Sanctus

Sanctus: Pleni sunt coeli - Hosanna I

Sanctus: Benedictus

Sanctus: Hosanna in excelsis II

Agnus Dei

Communio: Lux aeternam

Requiem Aeternam

Gramophone Magazine

June 2011

“This presents all of the magnificent music by Jan Dismas Zelenka for the prolonged funeral exequies of Augustus the Strong...Collegium 1704's players and choir perform with lyricism and precision...Luks presents a reconstructed edition of the entire work including all nine lessons and also all of the responses (including some Gregorian chant), featuring idiosyncratic switches between archaic and modern styles.”

International Record Review

May 2011

“The drama is magnificently handled by Václav Luks...[Blažíková's] singing is a huge asset here, weith its pin-point accuracy and effortless, long-breathed phrasing - ah, her ringing naturalness is such a pleasure. Zelenka's overall sense of colour and sheer stylistic variety are frankly breathtaking.”

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Bach, J S: Sonatas & Partitas for solo violin, BWV1001-1006

Bach, J S: Sonatas & Partitas for solo violin, BWV1001-1006


‘One player, one instrument, one composer: Bach’s unaccompanied violin music has always been the greatest for any player, young or old. Alina Ibragimova, only 23, is already its equal’ (The Guardian)

‘Alina Ibragimova began to play unaccompanied Bach on the violin, and the hush became silence. This was spontaneous, the first sense that something new could happen’ (The Independent)

The dazzling young virtuoso Alina Ibragimova has enthralled audiences for years with her live Bach performances. Critics have acclaimed her faultless intonation, achingly beautiful tone, superlative technique and a musical wisdom far beyond her years. Now, in this important new recording of Bach’s complete sonatas and partitas for solo violin, Ibragimova brings all these qualities and more to create an interpretation that is both excitingly original and profoundly humble. This is music of unfathomable subtlety, astounding virtuosity and great expressive and architectural beauty.

“Alina Ibragimova's… playing… forges a potent synthesis, uniting the steely, eyes-wide-open focus of Christian Tetzlaff (her one-time teacher) and the supple stylistic insights of a Rachel Podger. In the Partitas she's supremely alert to the idiomatic nuances of each dance, while in the Sonatas the fugues are always contrapuntally clear and purposeful in their forward momentum.” BBC Music Magazine, November 2009 *****

“Ibragimova's playing is uncommonly neat, with precise fingerwork and relaxed management of the bow; the virtuoso finale of the Third Sonata sparkles effortlessly while remaining for the most part at a piano dynamic. She plays unequal quavers in the Third Partita's Minuet as naturally as if she'd grown up in the 18th century. And finally, all her stylishness and technical refinement is at the service of an ingrained understanding of the music; she makes us feel where the points of harmonic tension and emphasis are, and she's able to do it without distorting the surface...” Gramophone Magazine, November 2009

“This is an absolutely compelling set of performances, the kind that have you on the edge of your seat wondering at the freshness of it all and what she might do next. Every phrase in these familiar works seems newly minted, every bar totally alive...its sheer energy and self-belief are genuinely thrilling.” The Guardian, 2nd October 2009 *****

“her mastery is very striking indeed. Hers are traditional readings and they pay no homage to the authentic-instrument lobby. She brings a refined, quiet sensitivity to the slow sarabandes of the First and Second Partitas...There is elegance and character in every single piece.” Penguin Guide, 2011 edition

GGramophone Magazine

Collection Winner - June 2011

GGramophone Magazine

Editor's Choice - November 2009

Hyperion & Helios - up to 50% off

Hyperion - CDA67691/2

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CPE Bach: The Keyboard Concertos Wq 43, Nos. 1-6

CPE Bach: The Keyboard Concertos Wq 43, Nos. 1-6


Bach, C P E:

Harpsichord Concerto in F major, Wq. 43/1 (H471)

Harpsichord Concerto in D major, Wq. 43/2 (H472)

Harpsichord Concerto in E flat major, Wq. 43/3 (H473)

Harpsichord Concerto in C minor, Wq. 43/4 (H474)

Harpsichord Concerto in G major, Wq. 43/5 (H475)

Harpsichord Concerto in C major, Wq. 43/6 (H476)


The Sei concerti per il cembalo concertato were the outcome of a period of intensive work between 1770 and 1772, shortly after Carl Philipp Emanuel arrived in Hamburg. Introducing one of his most exciting recording ventures, Andreas Staier talks about the incredible diversity of these works, their unusual publication history and construction in a lucid and entertaining essay in the booklet.

" I am touched and delighted that Petra Müllejans and the Freiburger Barockorchester not only declared their willingness to go along with this extraordinary project, but also let my enthusiasm rub off on them. My hearty thanks to all involved!" Andreas Staier

“Dissonances crunch, melodies play for pathos: emotions are always volatile. It’s all on display in these six exuberant concertos, dispatched with mischief and decorative flair by Andreas Staier, the period keyboard specialist. The Freiburg Baroque Orchestra supply full, even beefy, accompaniments.” The Times, 2nd April 2011 ****

“The mood is one of brisk bonhomie, with fast movements that motor merrily, and the merest dash of citrus in the elegant attitudes of the slow movements. Andreas Staier's performance is impeccably articulated, most particularly in the grand cadenza of the C minor Concerto, while the orchestral sound is bright and clean.” The Independent on Sunday, 3rd April 2011

“This is a hot CD, one of those releases where everything seems to have arrived together at the right time. Here is the world’s finest Baroque orchestra eagerly joining with one of the world’s best harpsichordists in concertos by a composer who right now seems to be winning new recognition as the giant musical personality he was...Staier's copy of a big Hass harpsichord...stands up to the superbly boisterous orchestra with ease. Marvellous stuff.” Gramophone Magazine, June 2011

“[Staier's] playing is, as ever, unimpeachable and he seems to use the resources of his astonishing harpsichord to the full, with some quite extraordinary timbres as well as stark contrasts between the manuals...The Freiburg Baroque Orchestra is very warm of tone here, with plenty of body to the string sound...an important and compelling release.” International Record Review, May 2011

GGramophone Awards 2011

Best of Category - Baroque Instrumental

GGramophone Magazine

Editor's Choice - June 2011

Harmonia Mundi - HMC902083/84

(CD - 2 discs)

$21.50

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Martha Argerich & Friends: Live from the Lugano Festival 2010

Martha Argerich & Friends: Live from the Lugano Festival 2010


includes:

Bartók:

Sonata for Two Pianos & Percussion, BB 115, Sz. 110

Martha Argerich (piano), Stephen Kovacevich (piano), Louis Sauvaître (percussion), Danilo Grassi (percussion)

Brahms:

Variations on a theme by Schumann for four hands, Op. 23

Nicholas Angelich, Lily Maisky

Chopin:

Rondo in C major for two pianos, Op. 73

Lilya Zilberstein, Sergei Edelmann (pianos)

Piano Concerto No. 1 in E minor, Op. 11

Martha Argerich (piano)

Orchestra della Svizzera Italiana, Jacek Kaspszyk

Gershwin:

Porgy and Bess Fantasy

Gershwin/Grainger Fantasy for Two Pianos

Gabriela Montero and Alexander Gurning

Granados:

Piano Quintet in G minor, Op. 49

Gabriela Montero (piano), Alissa Margulis (violin), Geza Hosszu-Legocky (violin), Lyda Chen (viola), Natalia Margulis (cello)

Korngold:

Piano Quintet in E major, Op. 15

Alexander Mogilevsky (piano), Alissa Margulis (violin), Lucia Hall (violin), Nora Romanoff-Schwarzberg (Viola), Mark Drobinsky (cello)

Liszt:

Les Préludes, symphonic poem No. 3, S97

Martha Argerich, Daniel Rivera

Schnittke:

Piano Quintet, Op. 108

Lilya Zilberstein, Dora Schwarzberg,Lucia Hal, Lyda Chen, and Jorge Andres Bosso

Schumann:

Violin Sonata No. 1 in A minor, Op. 105

Renaud Capucon (violin), Martha Argerich (piano)

Adagio and Allegro in A flat major, Op. 70

Martha Argerich, Gautier Capuçon, Daniel Rivera

Stravinsky:

The Firebird Suite

version for 3 Pianos by Carlo Maria Griguoli

Giorgia Tomassi, Carlo Maria Griguoli, and Alessandro Stella


EMI Classics is pleased to release the latest instalment of highlights from the Martha Argerich Project at the Lugano Festival. This is the eight annual 3-CD set celebrating the musical fruits of a project in which young artists join seasoned performers, including Ms. Argerich, to explore wide-ranging chamber music and orchestral repertoire, both well known and rarely heard. The CDs, recorded in the summer of 2010, are being released in anticipation of the Festival’s 2011 season in June.

As a chamber music event, this series has become a laboratory that gives guest artists a chance to prove themselves not only in well-known masterpieces but also in rarely performed repertoire.

This is Martha Argerich’s 70th birthday year, and this year, the Live from Lugano series will be redesigned, starting with this edition. The new cover concept will be incorporated into future Lugano releases and the previous editions will be scheduled for redesign as necessary. The new design reflects the vibrancy of both Argerich and the festival.

The piano stands at the centre of the programming, not only with works originally written for it but also with transcriptions, which played an important historic role in the diffusion of music in remote areas and within family circles.

This brilliant 3-CD set features the breathtaking Martha Argerich and an exciting assembly of classical stars and up-and-coming talent including Gautier Capuçon , Renaud Capuçon, Gabriela Montero , Alissa Margulis , Geza Hosszu-Legocky , Lida Chen, , Natalia Margulis , Nicholas Angelich , Stephen Kovacevich , Lilya Zilberstein, Sergei Edelmann, Lily Maisky, Daniel Rivera , Alexander Mogilewsky, Giorgia Tomassi , Carlo Maria Griguoli , Dora Schwarzberg , Alessandro Stella Alissa Margulis, Lucia Hall, Nora Romanoff-Schwarzberg, Mark Drobinsky, Louis Sauvêtre, Danilo Grassi and Jorge Bosso as well as Orchestra della Svizzera italiana

The repertoire features includes: Schumann’s Sonata No. 1 for Violin and Piano in A minor, op. 105 and Adagio and Allegro for Cello and Piano, Op. 70, Chopin’s Rondo in C Major, Op. 73 for 2 Pianos, Brahms’ Variations on a Them by Schumann, Op. 23, Liszt’s Les Préludes, Symphonic Poem No. 3, the Korngold Piano Quintet in E Major, Op. 15, Bartók’s Sonata for 2 Pianos and Percussion Sz 110, Granados’ Piano Quintet in G minor Op. 49, Stravinsky’s Firebird Suite (1919) – Version for 3 Pianos by Carlo Maria Griguoli, Schnittke’s Piano Quintet Op. 108 and the Gershwin/Grainger Fantasy for Two Pianos on Gershwin’s Porgy and Bess.

Few artists have nurtured and promoted emerging young musicians with the level of personal commitment shown by Martha Argerich. In the process, she has created inspired and inspirational chamber music partnerships mixing established and up-and-coming artists. A legend in her own lifetime for her technical mastery and passionate artistry, Argerich possesses an infectious spirit that has fired her own performances and partnerships as well as those of her colleagues and protégés.

Reviewing the CD set highlighting the 2007 Festival, The Financial Times wrote, “The music flies off the page, like a high-calibre jam session in which the participants throw away worldly cares and listen to each other in the moment of performance. There's polish aplenty, as one might expect of well-established musicians, but more to the point, the CD radiates the freshness and electricity of a special occasion. What's so endearing about Argerich's festival concept is that she blends younger players with more experienced colleagues, so there's a cross-fertilisation of ideas. Even when she plays no part … the same invigorating spirit presides.” Gramophone said, “Martha Argerich can put you on alert with just one phrase. A sequence of phrases … becomes the aural embodiment of an archer drawing a bow to maximum stretch. …. The tension is palpable, [the] artists playing into the music to extract all it offers - and clawing listeners out of themselves.”

The ninth season of the Martha Argerich Project takes place in June 2011. Many of the artists on these CDs will take part again this year.

“Even when Argerich is not directly involved, her unique musical spirit seems to hover over the performances; there's a freshness, a sense of discovery, about all the playing here, and it's never dull.” The Guardian, 31st March 2011 ****

“the 2010 edition strikes me as among the best...It includes two electrifying Schumann performances from Argerich and the Capuçon brothers...plus an equally stunning Bartók Sonata for two pianos and percussion featuring Argerich with ex-spouse Stephen Kovacevich...To cap it all, Argerich returns to her youth with a sensational Chopin Piano Concerto No 1, digging into the music’s expressive core as never before.” Financial Times, 2nd April 2011 *****

“if I was to pick one instance of the electricity and expressive freedom encountered on these three CDs it would have to be Argerich's recreation of Chopin's First Concerto...she has rarely sounded more vehement, personal or beguiling. As for the finale, I doubt whether it has ever been played with a more riotous or consuming brilliance in its entire history...All in all, these discs are a reminder of a unique, formidable and ever-enchanting artist.” Gramophone Magazine, June 2011

“the sustained quality of music-making on display here ensures that the collective result is something much more than a high-powered musical love-in...her approach [to the Chopin] is as fresh as ever, and she brings to the music a sense of unexaggerated surrounding immensity in the way that only great artists can...the articulation and control [in the Bartok] are so superb that the work's magisterial power truly comes across.” BBC Music Magazine, June 2011 ****

“Argerich encourages many youthful talents to blossom; she is joined by her former partner Stephen Bishop-Kovacevich for a fine Bartók sonata for two pianos and percussion, rhythmically focused but never brittle...Her solo turn is Chopin's First Concerto, eloquently shaped, with the most rivetingly exuberant finale you could hope to hear.” The Observer, 15th May 2011

GGramophone Magazine

Editor's Choice - June 2011

Warner Classics Martha Argerich Lugano Festival - 0708362

(CD - 3 discs)

$16.25

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Mahler: Symphony No. 9

Mahler: Symphony No. 9


Claudio Abbado and his hand-picked players of the Lucerne Festival Orchestra take their acclaimed Mahler cycle to a new level with this performance of the most complex and compelling of the symphonies, the intense, searching Ninth. Abbado brings all his renowned clarity of vision and the experience of a lifetime to this contradictory music – half valedictory, half life-affirming – and his “orchestra of soloists”, including some of the leading instrumentalists of our time, revels in the transparent textures and virtuosity of Mahler’s last completed symphony. “A rendition ... of astonishing depth and subtlety” (Daily Telegraph).

“The listener is rendered speechless at the thrilling depth and perfection of the symbiosis achieved here between artistic wisdom and undimmed joy in making music at the highest level.” Christian Wildhagen, Frankfurter Allgemeine Zeitung, August 24, 1010

“[...]sensitizing feelings, penetrating into the depths of perception like a kind of perfectly-tuned ear on the world, to yield the most beautiful results in the music.” Claus Spahn, ZEIT Online. Musik, August 12, 2010

Bonus: Multi-Angle Feature Conductor Camera

Picture Format Blu-Ray: HDCAM 1080/59,94

Sound Formats Blu-Ray: DTS HD Master Audio PCM Stereo

Region Code: 0 (worldwide)

Running Time: 94:56

Disc Format: BD 25

FSK: 0

“This is a mind-blowing experience - a Mahler Ninth as great as any I've heard...There are no idiosyncracies in Abbado's approach, but instead there is an unerring sense of musical trajectory...the playing has a richness and expressive depth all the more telling for Abbado's wonderful sense of flexibility - really letting his orchestra play - and the vibrant transparency of the sound..the playing has an eloquence, intensity and utter beauty is simply overwhelming” International Record Review, April 2011

“This captures much of the peerless tone-colour, shape, drive and above all those hushed dynamics of [the] performance, awarded what feels like an infinite silence at the end...Abbado's pacing is unrivalled...the mixture of close-ups and wide shots in the final rituals is superb as ever from this team. Finest concert DVD ever? I think so.” BBC Music Magazine, June 2011 *****

“This, his first commercial recording of the work, is even more luminous, elegant and subtly integrated than its predecessors...An interpretation that might seem too cool is in fact superbly gauged to provide maximal catharsis by the close...When the music finally ends and, as in any truly great account of this highly affecting score, one feels that life itself is ebbing away, all present are held in awed silence.” Gramophone Magazine, June 2011

“This really is something special, and one of the few classical orchestral DVDs which I’ve watched repeatedly. Abbado’s performance is remarkable. It’s not just the pin-sharp orchestral playing from the hand-picked orchestra, but the effortless ease with which this piece unfurls.” The Arts Desk, 14th December 2011

GGramophone Magazine

DVD of the Month - June 2011

BBC Music Magazine Awards 2012

DVD Award Winner

Blu-ray Disc

Region: all

Accentus Music - ACC10214

(Blu-ray)

$35.75

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Mahler: Symphony No. 9

Mahler: Symphony No. 9


Claudio Abbado and his hand-picked players of the Lucerne Festival Orchestra take their acclaimed Mahler cycle to a new level with this performance of the most complex and compelling of the symphonies, the intense, searching Ninth. Abbado brings all his renowned clarity of vision and the experience of a lifetime to this contradictory music – half valedictory, half life-affirming – and his “orchestra of soloists”, including some of the leading instrumentalists of our time, revels in the transparent textures and virtuosity of Mahler’s last completed symphony. “A rendition ... of astonishing depth and subtlety” (Daily Telegraph).

“The listener is rendered speechless at the thrilling depth and perfection of the symbiosis achieved here between artistic wisdom and undimmed joy in making music at the highest level.” Christian Wildhagen, Frankfurter Allgemeine Zeitung, August 24, 2010

“[...]sensitizing feelings, penetrating into the depths of perception like a kind of perfectly-tuned ear on the world, to yield the most beautiful results in the music.” Claus Spahn, ZEIT Online. Musik, August 12, 2010

BONUS: Conductor Camera (Andante comodo)

Picture Format DVD: NTSC 16:9

Sound Formats DVD: Dolby Digital 5.1., DTS 5.1, PCM Stereo

Region Code: 0 (worldwide)

Running Time: 94:56

Disc Format: DVD 9

FSK: 0

“This is a mind-blowing experience - a Mahler Ninth as great as any I've heard...There are no idiosyncracies in Abbado's approach, but instead there is an unerring sense of musical trajectory...the playing has a richness and expressive depth all the more telling for Abbado's wonderful sense of flexibility - really letting his orchestra play - and the vibrant transparency of the sound..the playing has an eloquence, intensity and utter beauty is simply overwhelming” International Record Review, April 2011

“This, his first commercial recording of the work, is even more luminous, elegant and subtly integrated than its predecessors...An interpretation that might seem too cool is in fact superbly gauged to provide maximal catharsis by the close...When the music finally ends and, as in any truly great account of this highly affecting score, one feels that life itself is ebbing away, all present are held in awed silence.” Gramophone Magazine, June 2011

“This captures much of the peerless tone-colour, shape, drive and above all those hushed dynamics of [the] performance, awarded what feels like an infinite silence at the end...Abbado's pacing is unrivalled...the mixture of close-ups and wide shots in the final rituals is superb as ever from this team. Finest concert DVD ever? I think so.” BBC Music Magazine, June 2011 *****

“this DVD of last summer’s fabulously fluid performance with the Lucerne Festival Orchestra is an important release. First, it brings together a peerless Mahler conductor with a hand-picked ensemble of huge individual talent. Second, it documents Abbado’s increasingly spiritual way with the music, the valedictory silences as much as the life-affirming vigour.” Financial Times, 14th May 2011 ****

“This really is something special, and one of the few classical orchestral DVDs which I’ve watched repeatedly. Abbado’s performance is remarkable. It’s not just the pin-sharp orchestral playing from the hand-picked orchestra, but the effortless ease with which this piece unfurls.” The Arts Desk, 14th December 2011

GGramophone Awards 2011

Finalist - DVD Performance

GGramophone Magazine

DVD of the Month - June 2011

BBC Music Magazine Awards 2012

DVD Award Winner

DVD Video

Region: 0

Format: NTSC

Accentus Music - ACC20214

(DVD Video)

$23.75

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Schubert: Die schöne Müllerin, D795

Schubert: Die schöne Müllerin, D795


Christopher Maltman (baritone) & Graham Johnson (piano)

Acclaimed baritone Christopher Maltman will release the complete Schubert song cycles – Die Schöne Müllerin, Winterreise and Schwanengesang, on Wigmore Hall Live during 2011-12.

Recorded over a series of live dates, Maltman has collaborated with one of the world’s foremost authorities on lieder repertoire, piano-accompanist Graham Johnson, in a triumphant partnership. The first release, Die Schöne Müllerin, was Schubert’s first complete song cycle, composed at the age of just 26. The work requires the singer to draw upon a range of moods, from raw emotional turmoil and unpredictability, to introspection and ultimately resignation. Maltman states that the work requires a “certain vulnerability” in its portrayal of the lovelorn young miller, and to achieve this, he and Johnson chose to transpose several of the songs back up to the outer reaches of the baritone range, closer to that of the tenor. The duo’s decision to take the voice out of its comfort zone and embrace the tension this produces undeniably adds to the colour and characterisation which Maltman brings to the work: “These musical masterpieces present an endless pursuit and a constant re-examination.” The next release in the cycle will be Winterreise in September 2011, followed by Schwanengesang in 2012, the live performance of which was critically-applauded in the Guardian: “Maltman's pianist was Graham Johnson, whose focused, detailed playing reminded us just how far Schwanengesang redefined the role of the accompanist"

Maltman’s decision to undertake these substantial recordings as a live project was a considered choice: “the live recording experience is where the real beauty lies; the little points, the little imperfections, the emotional stress, give the performance an organic feel, a rawness. It dials everything back to the most important element – the live performance.”

“This is an extraordinarily subtle performance of Schubert's first great cycle. Wonderfully recorded, with an ideal balance between soloist and pianist, it leaves you wondering, at times, who is accompanying whom...Maltman, with his gloriously warm light baritone, is born along on the stream of the piano's uncertainties, and the total effect is disturbing and unique...indispensable for anyone wanting to probe beneath its adorable surface.” BBC Music Magazine, June 2011 *****

“Maltman brings a fierce intelligence and a wide range of vocal colour to his performance, and he manages to balance a sense of overarching emotional control from beginning to end with in-the-moment spontaneity...Graham Johnson's accompanying - which now supports, now ironizes the ostensible emotion of the song - adds depth too.” Classic FM Magazine, June 2011 ****

“Maltman's journeyman miller is volatile, susceptible, prone to violent swings between elation and self-communing inwardness, but not one who senses his tragic fate virtually from the outset. With its fine bright resonance, his virile baritone initially exudes health and an eagerness to seize life...Maltman's ardent, impulsive, intensely 'lived' performance, partnered and inspired by the ever-illuminating Johnson, should be heard by anyone who loves the cycle.” Gramophone Magazine, June 2011

“After only moments in the opening song, 'Das Wandern', one becomes aware that Maltman's singing will not be vocally monochromic...This is a extremely introspective reading, controlled, collected and sensitive...Johnson brings his own eloquent contributions.” International Record Review, May 2011

“This performance...is uncommonly convincing in its combination of vividness and deep introspection...A strong point is Johnson’s piano-playing...but this is very much a partnership. Maltman is a compelling narrator, making you see the pictures and moods described, and imaginatively mixing half-voice and vehement full tone. The Hateful Colour is thrillingly dramatic.” Sunday Times, 1st May 2011 ****

GGramophone Magazine

Editor's Choice - June 2011

Wigmore Hall Live - WHLIVE0044

(CD)

$10.50

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Górecki: The 3 String Quartets

Górecki: The 3 String Quartets


Gorecki:

String Quartet No. 1, Op. 62 'Already it is dusk'

String Quartet No. 2, Op. 64 'Quasi una fantasia'

String Quartet No. 3, Op. 67 '...songs are sung'


Henryk Górecki’s intriguing string quartets, all commissions from the Kronos Quartet of San Francisco, signified a new creative phase in his music. The stark contrasts that had been at the heart of Górecki’s compositional thinking in the 1950s and 1960s re-emerged in his chamber music of the mid 1980s and are prevalent in these works. Fans of Górecki will be familiar with the compositional devices employed such as open fifths, sustained rocking motifs, and the juxtaposition of dissonance and consonance.

In these distinctive quartets both Beethoven and Szymanowski’s well documented influences on the composer are apparent as well as his fascination with the folk cultures of Southern Poland, with the frequent incorporation of folk derived themes.

Following their acclaimed release of the Szymanowski/Rózycki String Quartets (CDA67684) the Royal String Quartet return for their second Hyperion recording. The young Polish Quartet, renowned for the championing of music from their homeland, display an astonishing range of colour, finesse and attack in these intelligent interpretations.

“The Royal Quartet is outstanding in every respect...The sheer poise of the playing in the last movement of the Third, never slackening for a moment, is absolutely remarkable...This is an outstanding tribute to a great composer.” International Record Review, April 2011

“The Polish members of the Royal Quartet penetrate the core of the three string quartets by their compatriot Górecki. They’re tougher on the ear than his renowned Third Symphony, though stamped with the same stark simplicity. Each piece swings between concord, dissonance, calm and fury, with Polish folk music lurking on the horizon.” The Times, 9th April 2011 ****

“The quartets were commissioned by Kronos...but the Royal's performances rival them with playing that is passionate and sharp-edged, capturing the emotional depth and intensity of the music equally vividly.” BBC Music Magazine, May 2011 *****

GGramophone Magazine

Editor's Choice - June 2011

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Yannick Nézet-Séguin conducts Franck & Schmitt

Yannick Nézet-Séguin conducts Franck & Schmitt


Franck, C:

Symphony in D minor

Schmitt, F:

La Tragédie de Salomé, Op. 50


Under the baton of the international conductor Nézet-Séguin, Orchestre Métropolitan performs the rarely recorded Symphonic Poem La tragédie de Salomé by French composer Florent Schmitt (1870-1958). Originally, the work was a one-hour ballet scored for only 20 musicians. In 1910, Schmitt reduced the length of the work and expanded the orchestration. This shorter version on this CD is the best known.

“Yannick Nézet-Séguin favours more leisurely tempos in the slow introductions [of Salomé], drawing luscious playing from his Montreal orchestra, particularly in the Prelude...He has a firm grasp of the architectural structure of the Symphony's three movements so that it builds to a convincing climax. Pacing is steady but not lacking tension, reflecting this conductor's considerable success with Bruckner.” International Record Review, April 2011

GGramophone Magazine

Editor's Choice - June 2011

Atma - ACD22647

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Suk: Asrael Symphony, Op. 27

Suk: Asrael Symphony, Op. 27

Recorded live at the Rudolfinum, Prague, on April 5-6, 2007


Suk’s Asrael – Sir Charles Mackerras’s unreleased recording with the Czech Philharmonic Orchestra.

Josef Suk began writing the funeral symphony Asrael to commemorate his teacher and father-in-law Antonín Dvořák. During the course of work, however, Fate dealt him another crushing blow: Asrael, the Angel of Death, took away Suk’s wife and Dvořák’s daughter, Otilie. The symphony is a story of a suffering whose strength seems simply unendurable, yet also a story of its overcoming, seeking solace and hope.

Sir Charles Mackerras’s live recording of Asrael originated on a Good Friday, 6 April 2007, one hundred years after the symphony’s premiere. The Australian conductor had first heard about the Asrael some sixty years previously from Suk’s close friend, Václav Talich. In later years Mackerras confessed that he perceived the work in a completely different light after his daughter had died. Sir Charles conducted Suk’s Asrael during one of his last performances with the Czech Philharmonic Orchestra. It is also his last previously unreleased recording with this orchestra.

“There are so many moments that come memorably to life in this reading...the driving energy of Mackerras's conducting is thrilling, and the combination of clarity and warmth that he finds in Suk's orchestral textures comes across impressively...it's quite simply the greatest performance I've ever heard of Asrael” International Record Review, March 2011

“Mackerras has the advantage of an orchestra that has lived and breathed this music for 100 years — it was premiered exactly a century before these concerts — and his own deep involvement with Czech music gives him persuasive insights.” Sunday Times, 20th March 2011 ****

“Mackerras's performance has a wonderful objectivity about it, as well as a quiet intimacy in the more reflective moments. Superbly played, it's a perfect demonstration of why Mackerras was a great conductor, and of his ability to bring the best out of whoever and whatever he was conducting.” The Guardian, 31st March 2011 ****

“The Czech Philharmonic’s live performance breathes a conviction and beneath-the-skin rapture that you won’t find in any other recording.” Financial Times, 16th April 2011 ****

“Asrael encompasses formal experiment, superb orchestration, a magnificent grasp of scale and, above all, an unerring feel for catharsis...Charles Mackerras's performance encapsulates all of these qualities...Not only does he see the staggering originality of Suk's vision, but, effortlessly, he folds into his interpretation the depth of his knowledge of the Czech repertoire...this is the closest to the definitive version we have.” BBC Music Magazine, May 2011 *****

“Mackerras keeps a shrewdly tight rein on Suk's huge structure, while allowing impressive momentum and emotional firepower to build in the big central scherzo movement...a remarkable performance of a remarkable work.” Classic FM Magazine, June 2011 ****

Presto Disc of the Week

21st March 2011

GGramophone Awards 2011

Finalist - Orchestral

GGramophone Magazine

Editor's Choice - June 2011

BBC Music Magazine

Orchestral Choice - May 2011

Supraphon - up to 30% off

Supraphon - SU40432

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Grieg: Chasing the Butterfly

Grieg: Chasing the Butterfly


Grieg:

Piano Concerto in A minor, Op. 16

Oslo Philharmonic, Michail Jurowski

Lyric Pieces Op. 65: No. 6 - Wedding Day at Troldhaugen

Piano Sonata in E minor, Op. 7: Alla menuetto

Piano Sonata in E minor, Op. 7: Finale

Lyric Pieces Op. 43: No. 6 - To Spring

Lyric Pieces Op. 54: No. 2 - Gangar

Lyric Pieces Op. 54: No. 1 - Butterfly

Humoresker, Op. 6 No. 2

Norwegian Bridal Procession, Op. 19, No. 2

Lyric Pieces Op. 71: No. 7 - Remembrances

Piano Sonata in E minor, Op. 7

Ballade in G minor, Op. 24


Sigurd Slåttebrekk (Grieg's own piano at Troldhaugen), Edvard Grieg (piano, 1903 acoustic recordings)

Tony Harrison (creative director)

On this fascinating new release pianist Sigurd Slåttebrekk has attempted to recreate the performance of Edvard Grieg’s own pioneering acoustic recording from 1903 of several of his solo pieces. The session was recorded on Grieg’s own 1892 Steinway at Troldhaugen. On the bonus second CD he is joined by the Oslo Philharmonic and conductor Michail Jurowski in a performance of Grieg’s Piano Concerto.

Sigurd Slåttebrekk has previously released acclaimed recordings of Ravel and Schumann, co-created the animated TV-series "Elias" for children (Emmy nomination 2006) and is now finishing his thesis on late 19th Century pianist performing styles. Tony Harrison is a classical music producer regarded as among the foremost and most creative in his field today.

The 1903 acoustic recordings of Grieg playing nine of his own piano pieces are well known. Sigurd Slåttebrekk and creative director Tony Harrison were drawn to the artistic quality of the playing itself, and this evolved into a historic pioneering project of 'musical archaeology', reviving a performance tradition from over a hundred years ago. They have listened in depth to each detail of Grieg's own playing and tried to imitate the performances at Grieg's piano at Troldhaugen. Slåttebrekk has not only recorded the pieces Grieg himself made, he has also further applied what he has learned about Grieg’s approach to performance in his completion of the Sonata in E minor, and the epic Ballade in G minor.

“Primitive recording technology had previously rendered these precious historical documents musically indecipherable, but thanks to the painstaking efforts of producer Tony Harrison they now sound amazingly vivid...Slåttebrekk has fully absorbed Grieg's fresh and engaging interpretative approach, and imaginatively applies it to his own marvellous performances” BBC Music Magazine, April 2011 *****

“Slåttebrekk has painstakingly and brilliantly mimicked every last inflection, nuance and tempo employed by Grieg. Flick between the two men playing the same tracks and, if it weren't for the hiss over the 1903 version, you'd struggle to tell them apart. Slåttebrekk's overall aim was more than mimicry though...His reading of the Piano Concerto, recorded without a 1903 version to imitate, demonstrates his success, positively crackling with freshness and vitality.” Classic FM Magazine, May 2011 *****

“The performances by Sigurd Slåtterbrekk stem from a forensic examination of those recordings, during which every nuance of Grieg's playing was studied.” The Guardian, 31st March 2011 ***

“This is a strange set, but a curiously compelling one as well...Just how exactly the two pianists match one another can be judged from a bit of studio trickery in which the well-known Wedding Day at Troldhaugen splices their performances together...this is certainly a project that gets you thinking.” The Telegraph, 7th April 2011 ****

“[The performances] seek to emulate rather than imitate...Tempi are invariably on the brisk side and Grieg's own performances, heard very much through a glass darkly, are of a zest, freshness and freedom that themselves are at the heart of Slåttebrekk's playing...these performances are of a moving poetic empathy and musical devotion.” Gramophone Magazine, June 2011

GGramophone Magazine

Editor's Choice - June 2011

BBC Music Magazine

Instrumental Choice - April 2011

Simax - PSC1299

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Mahler: Symphony No. 8 in E flat major 'Symphony of a Thousand'

Mahler: Symphony No. 8 in E flat major 'Symphony of a Thousand'

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 21 January 1991


Júlia Várady, Jane Eaglen, Susan Bullock (sopranos), Trudeliese Schmidt, Jadwiga Rappé (mezzo soprano), Kenneth Riegel (tenor), Eike Wilm Schulte (baritone) & Hans Sotin (bass)

London Philharmonic Orchestra and Choir, London Symphony Chorus & Eton College Boys’ Choir, Klaus Tennstedt

Popularly known as the ‘Symphony of a Thousand’, in this live recording of Mahler’s Symphony No. 8 from 1991, over 528 singers and musicians are led in a vibrant, life-affirming performance by one of the greatest interpreters of Mahler’s music, Klaus Tennstedt.

The soloist line-up includes some of the most celebrated operatic singers of the twentieth century including sopranos Júlia Várady and Susan Bullock and American tenor Kenneth Riegel.

This double disc CD features the combined choral forces of the London Philharmonic Choir and the London Symphony Chorus as well as 50 boys from Eton College Boys’ Choir.

‘It was an inspired a Mahler performance as Tennstedt has ever conducted, with an inevitability, a sense of spiritual grandeur and adventure, that renewed all one’s youthful faith in a work which one feared might have lost its power, thrill and surprise for ever’. Daily Telegraph on the recorded live performance of Mahler Symphony No. 8 in 1991.

“There have been more refined, and more shapely accounts of this gargantuan work put on disc, but few with the sense of excitement and physicality that this one generates. From the first moments of the opening Veni Creator Spiritus hymn, to the final orchestral outburst...Tennstedt maintains the performance on a knife-edge of excitement” The Guardian, 3rd March 2011

“Even in the hour-long second movement, Tennstedt sustains such a high level of concentration and intensity that the attention is riveted throughout, culminating in a ecstatic peroration that overwhelms the senses...[His] probing energy and profound wisdom prove a winning combination in this epic trailblazer.” Classic FM Magazine, May 2011 ****

“As always, Tennstedt gives an impression of living by the skin of his teeth, but with a flexibility and freedom of expression that consistently draw sustenance from roots of the music...The whole opening hymn blazes with urgency...every performer's possession by the music is never in doubt...the exhilaration and spiritual reach of the performance are immense.” International Record Review, April 2011

GGramophone Awards 2011

Shortlisted - Orchestral

GGramophone Magazine

Editor's Choice - June 2011

LPO - LPO0052

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Alwyn: Violin Concerto

Alwyn: Violin Concerto


Alwyn:

Violin Concerto (1937-1939)

Lorraine McAslan (violin)

Miss Julie Suite

arranged by Philip Lane

Fanfare for a Joyful Occasion (1948)


Naxos’s many highly-praised recordings of William Alwyn’s music have done much to revive excitement among today’s listeners for this British composer who is best known for his 200 or so film scores.

Alwyn’s bravura Violin Concerto, the second and most substantial of his six concertos, is romantic and rhapsodic in nature. The Miss Julie Suite takes episodes from his last completed opera based on Strindberg’s tragic play, while the Fanfare for a Joyful Occasion pays tribute to the late percussionist James Blades.

Juilliard School-trained violinist Lorraine McAslan has been praised by The Strad as “one of the most distinguished British violinists of her generation”.

“this recording calls attention to the music’s beguilingly romantic heart and to Alwyn’s ability to make the violin sing. Beautifully played by Lorraine McAslan, the concerto also benefits from the support of the RLPO under David Lloyd-Jones.” The Telegraph, 8th April 2011 ****

“It's couched in an unashamedly late-Romantic idiom, and if it has a model at all, it is Elgar's violin concerto, with which it shares a mood of autumnal wistfulness in its long opening movement...Lloyd-Jones shapes it with great affection and the soloist Lorraine McAslan seems utterly authoritative; their performance suggests the concerto does deserve to be heard in a concert hall soon.” The Guardian, 21st April 2011 ***

“Lloyd-Jones and McAslan give admirable shape to the long, rhapsodic first movement...[the] technically demanding finale is performed with agile warmth by McAslan whose attractive tone and expressive style seem entirely in tune with this distinctive musical language. It is good to hear the suite of pieces from Alwyn's last completed opera, Miss Julie...A recording that fuels one's desire to hear the entire opera properly and professionally staged.” Gramophone Magazine, June 2011

“McAslan plays [the Concerto] with such heart-rending sincerity, technical poise and beguiling tonal purity. The RLPO under David Lloyd-Jones's inspired direction, support her to the hilt and then come into their own with a thrilling traversal of the Miss Julie Suite that captures its coruscating changes of mood with tactile precision.” Classic FM Magazine, July 2011 ****

“Lorraince McAslan makes a convincing case for the work: fearsome weight of tone is not her style, but she has bravura and accuracy to spare, and her musicianship's brand of thoughtful loveliness suits the slow movement beautifully.” BBC Music Magazine, July 2011 ***

“Although there have been previous performances, the Alwyn Violin Concerto is a piece which has yet to win favour with many lovers of British music. However, this committed reading will be another step along the road to the work’s acceptance.” london24.com, 17th June 2011

“the dramatic overture The Moor of Venice and the Seven Irish Tunes arranged into a suite for small orchestra – are perfectly judged light music. The equally slight Serenade from 1932, though, is a bit more than that...they come together in a distinctly pithy and pungent sequence.” The Guardian, 18th August 2011 ***

GGramophone Magazine

Editor's Choice - June 2011

Naxos - 8570705

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Liszt: The Complete Piano Music (99 CD boxset)

Liszt: The Complete Piano Music (99 CD boxset)


Borodin:

Polka Hélène in D minor for piano 4 hands

arranged Liszt

with Philip Moore (piano)

Liszt:

Années de pèlerinage, 2ème année, Italie (7 pieces), S. 161

Venezia e Napoli (3 pieces), S. 162

Au bord d'une source (Années de pèlerinage I, S. 160 No. 4)

Symphony No. 5 in C minor, S463a

Adelaïde de Beethoven, S466a (First Version)

Cadenza for the 1st movement of Beethoven's Piano Concerto No. 3, S389a

Marche funèbre de la Symphonie heroïque de L. van Beethoven – Partition de piano, S463e

Symphony No. 6 in F major 'Pastoral', S463b

Adélaïde de Beethoven, S466b (Second Version)

Symphony No. 6 in F major 'Pastoral', S463c

Symphony No. 7 in A major, S463d

Capriccio alla turca sur des motifs de Beethoven: Ruines d'Athenes S388 (1846)

Symphonie Fantastique, S470 (from Berlioz, Op. 14)

Paralipomènes à la Divina Commedia

Dante Sonata 1st version

Prolégomènes à la Divina Commedia

Dante Sonata 2nd version

Sposalizio, S. 157a

1st version

Grand Solo de concert

1st version

Élégie pour piano seul

Romance oubliée, for piano, S. 527bis (short draft)

Fantasia & Fugue on B-A-C-H, S529

1st version

Weihnachtsbaum, S. 185a

À la chapelle Sixtine, for piano, S. 461

1st version

Ungarische Nationalmelodien, S243

Après Une Lecture Du Dante, Fantasia Quasi Sonata, S. 158c

3rd version

Piano Concerto No. 1 in E flat major, S124

Fantasia on a theme from Beethoven's 'Ruins of Athens', S122

Totentanz, S126 for piano & orchestra

final version

Grande fantaisie symphonique on themes from Berlioz's ‘Lelio', S120

Malédiction, S121 Op. 452

Piano Concerto No. 3 in E flat major, S125a, Op. post.

Grand Solo de concert

Hexaméron, S392

Polonaise brillante, S367

Hexaméron – Morceau de concert 'Grandes Variations de bravoure sur la marche des "Puritains" de Bellini', S365a

Un Sospiro from 3 Concert Studies, S144 No. 3

Eglogue (Années de pèlerinage I, S. 160 No. 7)

La regata veneziana – Notturno from Soirées musicales de Rossini, S424

Feuilles d'Album in A flat major, S165/R62

Consolation, S. 172 No. 5 in E major

Die Lorelei (Second version), S532

Puszta-Wehmut (Die Werbung), S246

Magyar Dalok & Magyar Rapszódiák, S242, No. 2 in C major

Ungarisch (Liszt's fantasy on the theme of No. 19) from Bunte Reihe, S484

Teleki László from Historische ungarische Bildnisse, S205

Ungarischer Romanzero, S241a, No. 10 in G minor

Csárdás obstinée, S. 225 No. 2

Hungarian Rhapsody, S244 No. 2 in C sharp minor

Douze Grandes Etudes, S137 (1837), No. 2 in A minor

I puritani - introduction & polonaise (Bellini), S. 391

Valse oubliée No. 4, S.215/4

Grand galop chromatique, S219

Gnomenreigen, S145 No. 2

Concert Paraphrase on Rigoletto, S.434 after Verdi's opera

Legende S.175 No. 2, St. Francis of Paola walking on the waves

Die Zelle in Nonnenwerth, S534bis (2nd version, 1844)

Die Ehre Gottes aus der Natur, Op, 48 No. 4 from Beethovens geistliche Lieder von Gellert, S467

Litanei - Andante Religioso (No. 1 from Vier Geistliche Lieder, S562, after Schubert)

O Traurigkeit (No. 8 from Alte deutsche geistliche Weisen, S504b)

L'hymne du pape, S530/R190, "Inno del papa, Der Papsthymnus"

Widmung S566 after Schumann (Liebeslied)

Impromptu, S191ii

Aus der Musik von Eduard Lassen zu Hebbels Nibelungen und Goethes Faust, S496 (1878/9)

Part 1 'Nibelungen'. No. 2: Bechlarn

Mes joies – Nocturne d'après un chant polonais de Fr. Chopin, S480/5bis

Ehemals! from Weihnachtsbaum, S186

Liebestraum, S541 No. 3 (Nocturne in A flat major)

Bagatelle sans tonalite, S216a c1885

Nuages gris, S199

Schlaflos Frage und Antwort, S203

En rêve - Nocturne S207

Toccata, S197a

Carrousel De Madame P-N, S214a

Petite Valse 'Nachspiel zu den drei vergessenen Walzer', S695e

Totentanz – Paraphrase über "Dies irae", S126ii

Préludes et Harmonies poétiques et religieuses S171d

Concerto sans orchestre S524a

Album-Leaf: Magyar in B flat minor S164e/2

Ungarischer Marsch in B flat major S229a

Pensées ‘Nocturne' S168b

Album-Leaf in D major, S164h

O lieb, so lang du lieben kannst!, S540b

arr. Leslie Howard

Album-Leaf 'Preludio', S164j

Album-Leaf in A flat major, S166l

Album-Leaf, S167h

Zigeuner-Epos S695b

Célèbre mélodie hongroise S243a

Postludium – Nachspiel – Sursum corda!, S162f

La Lugubre Gondola (draft), S199a

Album-Leaf in F sharp minor, S163a/1

Album-Leaf in A major 'Friska', S166k

Album-Leaf in G major 'Dante-Symphony progression', S167f

Sunt lacrymae rerum, S162d

Aux anges gardiens 'Den Schütz-Engeln', S162a/1bis

Krakowiak, S166m/4

Mazurek, S166m/3

Lilie, S166m/1

Album-Leaf 'Freudvoll und leidvoll', S166n

Hyrc, S166m/2

Ungarischer Romanzero S241a (1853)

Deux marches dans le genre hongrois S693 (cl840?)

Tanzmomente von Johann Herbeck, S492

Löse, Himmel, meine Seele (Lassen) (first version), S494i

Dantes Sonett 'Tanto gentile e tanto onesta' (Bülow), S479

Élégie sur des motifs du Prince Louis Ferdinand de Prusse, S. 168

Drei Lieder zu Julius Wolffs Epos 'Tannhäuser' komponiert von Otto Lessman, S498

Löse, Himmel, meine Seele (Lassen) (second version), S494ii

Ich weil' in tiefer Einsamkeit (Lassen), S495

Tanzmomente No. 4 in A major (alternative text), S492/4bis

Zigeuner-Polka (Conradi), S481

Les Préludes, symphonic poem No. 3, S97

(first recording)

Three Concert Studies, S144/R5: Un lamento; La leggierezza; Un sospiro

Two Concert Studies, S145/R6: Gnomenreigen; Waldesrauschen

Episoden (2) aus Lenaus Faust S100

Ab Irato, S143

Années de pèlerinage, 1ère année, Suisse (9 pieces), S. 160

Trois Morceaux Suisses, S156a

Gaudeamus igitur - Paraphrase, S240

Una stella amica - Valzer [Pezzini], S551

Grande paraphrase de la Marche de Donizetti pour le Sultan Abdul-Medjid Khan, S403

Seconda Mazurka di Tirindelli, variata da F. Liszt, S573a

Seconde Marche hongroise - Ungarischer Sturmmarsch (first version), S232

Nocturne (Impromptu, first version), S190a

Festmarsch zur Säkularfeier von Goethes Geburtstag (first version), S227

Solovei - Le Rossignol - Air russe [Alyabiev] (first version), S250a

Galop russe [Bulhakov] (first version), S478i

Lyubila ya [Wielhorsky] (first version), S577i

Gaudeamus igitur - Humoreske, S509

Ballade No. 2 (first version) S170a

Lenore S346

Ballad by Gottfried August Bürger

Wolf Kahler (reciter)

Der traurige Mönch ('The Sad Monk') S348

Ballad by Nicolaus Lenau

Wolf Kahler (reciter)

Helge's Treue ('Helge's Loyalty') S686

Ballad by Moritz Graf Strachwitz. Music adapted from Felix Draeseke

Wolf Kahler (reciter)

A holt költö szerelme ('The Dead Poet's Love') S349

Ballad by Mór Jókai

Sandor Eles (reciter)

Slyepoi ('The Blind Man') S350

Ballad by Alexey Tolstoy

Yuri Stepanov (reciter)

Grosse Concert-Phantasie über spanische Weisen S253 (1845)

La romanesca (first version) S252a (c1840)

Rhapsodie espagnole, S254

La romanesca (second version) S252b (c1852)

Feuille morte - Élégie d'après Soriano S428 (c1845)

Rondeau fantastique sur un thème espagnol 'El contrabandista' S252 (1836)

Harmonies poétiques et religieuses, the 1847 cycle, S. 172a

Prière d'un enfant à son réveil, S171c

Préludes et Harmonies poétiques et religieuses S171d

Litanies de Marie, S171e

Grandes Études de Paganini (6), S. 141

Études d'exécution transcendante d'après Paganini (6), S.140

Mazeppa (intermediate version) S138 (1840)

Sprünge mit der Tremolo-Begleitung (No 62 of Technische Studien, S146) (c1868)

Valse oubliée No. 2, S.215/2

Mephisto Waltz No. 2

Valse oubliée No. 3, S.215/3

Mephisto Waltz No. 3

Valse oubliée No. 4, S.215/4

Mephisto Waltz No. 4

Ländler In A Flat, S211

Album Leaf In Waltz Form, S166

Valse-Impromptu, S.213

Valse mélancolique, S214 No. 2 (Second Version)

Valse De Bravoure, S214 No. 1

Bagatelle sans tonalite, S216a c1885

Valse oubliée No. 1, S.215/1

Mephisto Waltz No. 1

Excelsior! - Preludio [to The Bells of Strasburg Cathedral], S500 (1874)

Die Zelle in Nonnenwerth, S534bis (2nd version, 1844)

Consolations (6), first series (6), S171a

Die Zelle in Nonnenwerth, S534bis (2nd version, alternative text, 1844)

Geharnischte Lieder, S511 (published 1861)

Rosario, S670 (1879)

Schlummerlied im Grabe (Première Élégie, 1st version), S195a (1874)

Entwurf der Ramanra-Elegie (Zweite Elegie, 1st draft), S196a (1877)

Weimars Volkslied (No 2 in F major), S542a (1873)

National Hymne: Kaiser Wilhelm!, S197b (1876)

Fanfare zur Enthüllung des Carl-Augusts Monument, S542b (1875)

Weimars Volkslied (No 1 in C major), S542 (1857)

Deux Mélodies russes 'Arabesques', S250

Lyubila ya – Romance – Autrefois, S577ii

Tarentella (Dargomizhsky) S.483 (piano transcription)

Galop russe [Bulhakov] (first version), S478i

Mazurka par un amateur de St Pétersbourg, S384

Prélude à la Polka de Borodine, S207a

Tarantella (Cui), S. 482

Rákóczi-Marsch {version populaire}, S244c

Virag dál 'Chant des fleurs', S383a

Spanisches Ständchen – Mélodie von Grafen Leo Festetics, S487

Revive Szegedin! – Marche hongroise de Szabadi, orchestrée par Massenet, S572

Valse d'Adèle pour la main gauche seul par Géza Zichy {Transcription brillant 2 mains par F. Liszt}, S456

Valse de concert d'après la "Suite en forme de valse" de J. de Végh, S430

Bevezetés és magyar induló {Introduction and Hungarian March}, S573

Douze Grandes Etudes, S137

Morceau de salon, étude de perfectionnement, S142/R4a

(first recording)

Szozat und Ungarischer Hymnus, S486 (c1873)

God Save the Queen, S235 (1841)

Canzone napolitana, S248 (first version, 1842)

(first recording)

Ungarische Nationalmelodien, S243

(first recording)

Canzone napolitana - Notturno, S248a (second version, 1842)

(first recording)

Hussitenlied, S234 (1840)

Glanes de Woronince, S249

Vive Henri IV, S239 (c1870-80?)

La cloche sonne, S238 (c1850?)

Rakoczi March, S242a/1 (first version, 1839/40)

(first recording)

Liebesträume, S541 Nos. 1-3

Buch der Lieder für Piano allein, vol. 1 '6 Poésies', S. 531

Buch der Lieder für Piano allein, vol. 2 '6 Poésies lyriques pour piano seul', S. 535-540

Die Lorelei (Second version), S532

Marche des Ruines d'Athenes, S388a (1846)

from Beethoven's Die Ruinen von Athen (Kotzebue), op 113 (1812)

Pastorale - Schnitter-Chor aus dem Entfesselten Prometheus, S508 (1861)

from Liszt's Chore zu Herders Entfesseltem Prometheus (Choruses to Herder's Prometheus Bound), S69 (1850-55)

Einsam bin ich, nicht alleine aus der Oper Preciosa, S453 ( 1848)

from Weber's incidental music to Preciosa (P A Wolff), J279 (1820)

A Midsummer Night’s Dream: Wedding March & Dance of the Fairies (after Mendelssohn), S410

from Mendelssohn's A Midsummer Night's Dream (Shakespeare), op 61 (1842)

Fantasie über Motive aus Beethovens Ruinen von Athen, S389 (cl852)

Symphonisches Zwischenspiel (Intermezzo) zu Calderons Schauspiel Über allen Zauber Liebe, S497 (c1882-3)

from Lassen's music to Above all Magic, Love (Calderon de la Barca)

Aus der Musik von Eduard Lassen zu Hebbels Nibelungen und Goethes Faust, S496 (1878/9)

- I Nibelungen

Capriccio alla turca sur des motifs de Beethoven: Ruines d'Athenes S388 (1846)

Bunte Reihe, S484

Piano transcriptions of Ferdinand David's Bunte Reihe ('A Miscellany'), op 30. 24 character pieces for violin aud piano through all the keys.

Drei Lieder zu Julius Wolffs Epos 'Tannhäuser' komponiert von Otto Lessman, S498

Christus, S498c: Two Pieces

Deux Polonaises de l'oratorio St. Stanislas, S519

Salve Polonia – Interludium aus dem Oratorium Stanislaus, S518

Five Hungarian Folksongs S245 1872

Historische ungarische Bildnisse, S. 205 / S. 205a

Puszta-Wehmut (Die Werbung), S246

Ungarns Gott Transcribed For The Left Hand S543a 1881

Années de pèlerinage, 3ème année (7 pieces), S. 163

Schlaflos Frage und Antwort, S203

Nuages gris, S199

Receuillement, S204

Toccata, S197a

Resignazione, S187a

Wiegenlied (Chant du berceau), S198

Unstern: sinistre disastro S208

Carrousel De Madame P-N, S214a

Sospiri! (No. 5 from Fünf Klavierstücke), S192/5 (1879)

Schlaflos! [alternative version], S203 (1883)

Klavierstück in F sharp major S193 (after 1860)

Piano Piece in E major (No. 1 from Fünf Klavierstücke), S192/1 (1865)

Piano Piece in A flat major (No. 2 from Fünf Klavierstücke), S192/2 (1865)

En rêve - Nocturne S207

Piano Piece in F sharp major (No. 3 from Fünf Klavierstücke), S192/3 (1873)

Romance oubliée, for piano, S. 527

Piano Piece in F sharp major (No. 4 from Fünf Klavierstücke), S192/4 (1876)

La Lugubre Gondola I, S200 No. 1

La Lugubre Gondola II, S200 No. 2

Richard Wagner - Venezia, S201

Am Grabe Richard Wagners, S202 (1883)

Abschied - Russisches Volkslied, S251 (1885)

Slyepoi (Der Blinde Sänger), S546

UNGARNS GOTT transcribed for the left hand S543a 1881

Magyar király-dal (Ungarisches Königslied), S544

Epithalam zu Eduard Reményis Vermählungsfeier, S526

Mosonyis Grabgeleit 'Mosonyi's Funeral Procession' S194

Dem Andenren Petofis (Petofi Szellemenek), S195 (1877)

Trauer-Vorspiel und Trauermarsch, S206 (1885)

Hexaméron, S392

Morceau de Concert - Grandes Variations de Bravoure pour Piano sur la Marche des Puritains de Bellini, composees pour le Concert de Mme la Princesse Belgiojoso au Benefice des pauvres - by Liszt, with Sigismond Thalberg (1812-1871), Johann Peter Pixis (17

Un portrait en musique de La Marquise de Blocqueville, S190

by Liszt, incorporating earlier album-leaves by Henri Herz and Francis Plante (1839-1934)

Symphonie Fantastique, S470 (from Berlioz, Op. 14)

from Symphonie Fantastique: Episode de la vie d'un artiste, op 14 (1830) by Louis-Hector Berlioz (1803-1869)

Piano Sonata in B minor, S178

(Sketched 1851, composed 1852-3, published 1854)

Première Élégie, S196

Zweite Élégie, S197

Consolations, Six Pensées poétiques, S. 172

Gretchen aus Faust-Symphonie, S513

(Symphony composed 1854-7, piano version of second movement by 1867, published 1876)

Totentanz, S525 for solo piano

Weihnachtsbaum, S. 186

Christmas Tree / Arbre de Noel / L'albero del Natale (First sketched 1866, completed 1876, published 1882)

Weihnachtslied, S502

Via Crucis, S504a

Choräle S504b [from S50, Nos. 2-12] (C1878-9)

Transcendental Studies, S139 Nos. 1-12

Valse de Marie, S212a

(first recording)

Adagio in C, S158d

(first recording)

Élégie sur des motifs du Prince Louis Ferdinand de Prusse, S. 168

Danse macabre (after Saint-Saëns), S555/F240

from Danse Macabre, op 40, by Saint-Saens (1874)

Chants Polonais after Chopin (6), S480

from Seventeen Polish Songs, op 74, by Chopin (1829-47)

L'Idée fixe, S395

Andante amoroso d'apres une melodie de Berlioz

Ouverture des Francs-juges de Hector Berlioz, S471

from Les Francs-Juges, op 3, by Berlioz (1826)

Marche des pelerins de la symphonie Harold en Italie de Berlioz, S473

from Harold en Italie, op 16, by Berlioz (1834)

Danse des Sylphes de La damnation de Faust de Hector Berlioz, S475

from La Damnation de Faust, op 24, by Berlioz (1828-46)

Ouverture du Roi Lear de Hector Berlioz, S474

from Roi Lear, op 4, by Berlioz (1831)

Fantasia & Fugue on B-A-C-H, S529

Prelude after Bach's cantata 'Weinen Klagen Sorgen Zagen', S179

Variations on a theme from 'Weinen, Klagen, Sorgen, Zagen' (J S Bach) for piano, S180

Grosses Konzertsolo, S176

Les Morts 'Oraison', S516

La notte, S516a

Le Triomphe funèbre du Tasse, S517

Ballade No. 2 in B minor, S171/R16

Legendes (2) for piano, S. 175

Berceuse S174 1854/1863 (second version)

Impromptu S191 1872

Klavierstuck A flat major, S189 1866

(first recording)

Deux Polonaises, S223/R44

Ballade No. 1 in D flat major S170 ('Le chant du croisé')

Harold en Italie, transcription for piano (and viola) after Berlioz, S472

with Paul Coletti (viola)

Romance oubliée, for viola/cello/violin & piano, S. 132

with Paul Coletti (viola)

Hymne á Sainte Cécile de Charles Gounod, S491

(first recording)

Le Moine (Meyerbeer), S416

Festmarsch zu Schillers 100jähriger Geburtstagsfeier von Giacomo Meyerbeer, S549

Réminiscences des "Puritains" – Grande fantaisie sur des thèmes de l'opéra de Bellini, S390i

Salve Maria! de l'opéra de Verdi: "Jérusalem" {I Lombardi}, S431i

Finale de "Don Carlos" de Verdi – Coro di festa e marcia funebre, S435

Chœur des pèlerins {Chor der älteren Pilger} aus der Oper "Tannhäuser" von Richard Wagner, S443ii

Am stillen Herd – Lied aus Richard Wagners "Meistersinger", S448

Réminiscences de Lucrezia Borgia. Grande fantaisie S400

Réminiscences des "Huguenots" – Grande fantaisie dramatique sur des thèmes de l'opéra de Meyerbeer, S412iii

Andante finale und Marsch aus der Oper "König Alfred" von Joachim Raff, S421

Lied der zwei geharnischten Männer aus Mozarts Oper "Die Zauberflöte" [Song of the Two Armed Men] 'Der, welcher wandelt diese Straße', S634a

Tyrolean Melody from the opera "La fiancée" by Auber, S385a

Tarantelle di bravura dàprès la Tarantelle de La Muette de Portici, S. 386

Salve Maria de l'opéra de Verdi "Jérusalem", S431ii

I puritani - introduction & polonaise (Bellini), S. 391

Grande fantaisie sur des motifs favoris de l'opéra La sonnambula de Bellini, S393iii

Responsorien und Antiphonen, S30

Réminiscences des Huguenots S412i (first version, 1836)

Souvenir de La Fiancée S385iii

Einzug der Gäste auf der Wartburg S445/1

Réminiscences de La juive - Fantaisie brillante S409a

Grande fantaisie sur des thèmes de l'opéra Niobe S419

Festspiel und Brautlied (Aus Richard Wagners Lohengrin - I) S446/1i

Fantaisie sur des motifs favoris de l'opéra La sonnambula de Bellini, S393ii

Ouverture de l'opéra Guillaume Tell (Rossini) S552

Fantaisie sur des motifs de l'opéra 'Lucrezia Borgia' de G. Donizetti S399a

Illustrations du Prophete S414

Fantasia and Fugue on ‘Ad nos, ad salutarem undam' for piano duet, S624

Spirto gentil S400a

Marche funebre de Dom Sebastien S402

Die Rose - Romance S571

Spinnerlied aus Der fliegende Holländer S440

Ballade aus Der fliegende Holländer S441

Pilgerchor aus Tannhäuser S443

O du, mein holder Abendstern - Rezitativ und Romanze aus Tannhäuser S444

Walhall aus Der Ring des Nibelungen S449

Feierlicher Marsch zum heiligen Gral aus Parsifal S450

Les Sabéennes, berceuse de l'opéra La Reine de Saba, S. 408

Fantasie sur l'opera hongrois Szep Ilonka S417

Fantaisie romantique sur deux melodies suisses, S157

Album d'un Voyageur (19 pieces), S. 156

Faribolo pastour - Chanson tiree du poeme de Franconetto de Jasmin, S236/1

Chanson du Bearn, S236/2

Soirees Musicales (Rossini-Liszt) S424

Soirees Italiennes - Six Amusements (Mercadante-Liszt), S411

Nuits D'ete A Pausilippe ('soirees Italiennes' Nos. 7-9) (Donizetti-Liszt), S399

Sonetti di Petrarca (3) for piano, S. 158

Venezia E Napoli (First Set), S159 (C1840)

La serenata e L'orgia – Grande fantaisie sur des motifs de Soirées musicales, S422ii

'La serenata' e 'L'orgia' (Rossini), S422 (1835-6) (second edition)

La pastorella dell'Alpi e Li marinari – Deuxième fantaisie sur des motifs des Soirées musicales, S423

'La pastorella dell'Alpi' e 'Li marinari' (Rossini), S423 (1835-6)

Variation on a Waltz by Diabelli, S147

Waltz in A major, S208a (c1823

Fünf Variationen über die Romanze aus der Oper "Joseph" von Méhul, S747a

(attributed to Liszt, but by Franz Xaver Mozart (1791-1844), opus 23 (pub 1820)

Eight Variations on an original theme, Op. 1, S148

Seven Brilliant Variations on a theme by Rossini, Op. 2, S149 (c1824)

lmpromptu brillant on themes by Rossini and Spontini, Op. 3, S150 (c1824)

Allegro di Bravura, Op. 4 No. I, S151 (1824)

Rondo di Bravura, Op. 4 No. 2, S152 (1824)

Twelve Etudes, Op. 6, S136 (Etude En Douze Exercices) (1826)

Scherzo in G minor, S153 (1827)

Two Hungarian Recruiting Dances by László Fáy and János Bihari 'Zum Andenken', S241

Waltz, S209a

Marche hongroise, S233b

Klavierstück aus der Bonn Beethoven-Kantate, S507

Klavierstück, S189b

Klavierstück, S189a

Gestorben war ich, S540a

Berceuse S174 (first version)

Albumblatt No. 1 in E major, S164/R64, No. 1

Feuille d'album No. 2, S167

Feuilles d'Album in A flat major, S165/R62

Apparitions, S155 (1834)

Scherzo and March, S. 177

Petite valse favorite, S212ii

Mazurka brillante, S221

Grand galop chromatique, S219

Galop, S218

Festpolonaise, S230a

Csárdás (2), S. 225

Csárdás macabre, S. 224

Mephisto Polka, S217

Festvorspiel, S. 226

Heroischer Marsch im ungarischem Stil, S231

Ungarischer Sturmmarsch, S524

Goethe-Festmarsch, S521

Zweite Festmarsch nach Motiven von E H z S-C-G, S522

Marche héroïque, S510

Huldigungsmarsch, S228ii

Ungarischer Marsch zur Krönungsfeier in Ofen-Pest, S523

Siegesmarsch, S233a

Ungarischer Geschwindmarsch, S233

Vom Fels zum Meer!, S229

Bülow-Marsch, S230

Künstlerfestzug, S520ii

Rákóczi-Marsch nach der Orchesterbearbeitung, S244a

Magyar Dalok & Magyar Rapszódiák, S242

Overture zu Oberon, S574

Fantasy on Themes from Mozart's Marriage of Figaro and Don Giovanni, S697

Ernani '[Deuxième] Paraphrase de Concert', S432

Miserere du Trovatore, S433

Concert Paraphrase on Rigoletto, S.434 after Verdi's opera

Réminiscences de Simone Boccanegra, S.438

Valse de concert sur deux motifs de Lucia et Parisina (Donizetti)

Grande fantaisie sur des themes de Les Huguenots by Meyerbeer,S412/R211, Reminiscences des Huguenots

Les Adieux, rêverie sur un motif de l'opéra Romeo et Juliette, S. 409

Schwanengesang und Marsch aus Hunyadi László, S405

Elsa’s Bridal Procession (from Lohengrin), S445, No.2

Aus Richard Wagners Lohengrin, S446

Phantasiestück über Motive aus Rienzi (Wagner), S. 439

Beethovens Septett Op. 20, S. 465

Grand Septuor in E flat major, opus 20 (1799-1800), S465 (1841)

Zwei Transcriptionen über Themen aus Mozarts Requiem, S550

Ave verum corpus de Mozart, K618 (1791), S461a

Deux Transcriptions d'apres Rossini S553

Liebesszene und Fortunas Kugel aus 'Die sieben Todsünden', S490

Wasserfahrt und der Jäger Abschied (Mendelssohn, opp 50/4 & 2, c1839/40, S548)

Schlummerlied mit Arabesken (Weber, J285, 1822), S454

Leyer und Schwert - Heroide (Weber, J169/173/168, 1814), S452

Grosses Septett (No. 1 in D minor) Op. 74 von J N Hummel (c1816), S493

Ave Maria für die grosse Klavierschule von Lebert und Stark, S182/R67, "Die Glocken von Rom"

Ave maris stella, S. 506

Hymne du matin, S. 172a No. 3

Hymne de la nuit, S. 172a No. 4

Harmonies poétiques et réligieuses, S. 154 (First version)

Harmonies poétiques et religieuses (10), S. 173

Alleluia, S. 183 No. 1

Ave Maria d'Arcadelt, S. 183 No. 2

In domum Domini ibimus, S. 505

O Roma nobilis, S506b

Slavimo slavno, Slaveni! S. 503

Ave Maria, S504i

L'hymne du pape, S530/R190, "Inno del papa, Der Papsthymnus"

In festo transfigurationis Domini nostri Jesu Christi, S188/R74

Sancta Dorothea, S187/R73

Ave Maria IV in G major, S545/R194

Benedictus from the Hungarian Coronation Mass, S501/R192

Offertorium from the Hungarian Coronation Mass, S501/R192

Stabat mater, S172b

Urbi et orbi - benediction papale, S184/R69

Vexilla regis prodeunt, S. 185

Ave Maria, S504ii

Harmonies poétiques et religieuses, the 1847 cycle, S. 172a

Grande fantaisie sur la tyrolienne de La fiancée first version, S385i

Ernani - Première paraphrase de concert S431a

Réminiscences des Huguenots second version, S412ii

Fantaisie sur des motifs favoris de l'opéra La sonnambula de Bellini, S393i

Tscherkessenmarsch from Glinka's Ruslan & Ludmilla, for piano solo, S406/2 (Second Version)

1st version

Valse à capriccio sur deux motifs de Lucia et Parisina first version, S401

Ouvertüre zu R Wagners Tannhäuser S442

Réminiscences des Puritains second version, S390ii

Fantasie über Themen aus Webers Der Freischütz S451

Réminiscences de La Scala S458

Hungarian Rhapsodies, S244 Nos. 1-19

Ouverture Aus Der Oper Der Freischutz S575

Halloh! - Jagdchor Und Steyrer Aus Der Oper Tony S404

Marche Funebre Et Cavatine De Lucia De Lammermoor S398

Reminiscences de Lucia di Lammermoor, S397

Isolde's Liebestod (after Wagner), S447

Valse De L'opera Faust S407

Benediction Et Serment - Deux Motifs De Benvenuto Cellini S396

Sarabande Und Chaconne Aus Dem Singspiel Almira (Handel), S181

Tscherkessenmarsch from Glinka's Ruslan & Ludmilla, for piano solo, S406/2 (Second Version)

2nd version

Polonaise Aus Tschaikowskys Oper Jewgeny Onegin S429

Aida Di Verdi - Danza Sacra e Duetto Finale S436

Réminiscences de "Don Juan" (after Mozart), S. 418

Illustrations De L'opera L'africaine S415

Klavierstück über ein fremdes Thema, S387/2

Réminiscences de Norma, S394

À la chapelle Sixtine, for piano, S. 461

2nd version

Six Preludes And Fugues

for the organ by J S Bach, transcribed for the piano, S462

Fantasy & Fugue in G minor (J S Bach BWV542) for piano, S463

Adélaide de Beethoven, S466 (Third Version)

Beethovens geistliche Lieder von Gellert (6), S467

Beethoven An Die Ferne Geliebte - Liederkreis, Op. 98 S469

Beethoven Sechs Lieder Von Goethe S468

Mendelssohn Sieben Lieder S547

Dessauer Drei Lieder S485

Er ist gekommen in Sturm und Regen (nach Robert Franz, Op. 4 No. 7), S488

Zwölf Lieder von Robert Franz, S489

Rubinstein O! Wenn Es Doch Immer So Bliebe Op. 34 No. 9 S554/1

Rubinstein Der Asra Op. 32 No. 6

Schumann Zehn Lieder Von Robert Und Clara Schumann S569

Schumann Provencalisches Minnelied Op. 139 No. 4 S570

Schumann An Den Sonnenschein Op. 36 No. 4 Und

Rotes Röslein Op. 27 No. 2, Combined By Liszt, S567

Frühlingsnacht (after Schumann, Op. 39 No. 12), S568

Widmung S566 after Schumann (Liebeslied)

Beethoven Symphonies 1-9

for solo piano

San Francesco – Preludio per il Cantico del Sol, S498d

Cantico del Sol di San Francesco d'Assisi, S499

Von Der Wiege Bis Zum Grabe / Du Berceau Jusqu'a La Tombe, S512

O sacrum convivium, S674a

Salve regina, S669/1

Ave maris stella, S669/2

Gebet, S265

Ora pro nobis - Litanei, S262

O sacrum convivium, S674a

Resignazione - Ergebung, S187b

Il m'aimait tant, S533

Romance 'O pourquoi donc', S169

Die Zelle in Nonnenwerth, S534

Ich liebe dich, S542a

Soirées de Vienne, 9 valses-caprices (after Schubert), S427

Melodies Hongroises D'apres Fr. Schubert, S425

Die Rose, S556i

Der Gondelfahrer - Manner-Quartett Von F. Schubert, S559

Soirées de Vienne: valse-caprice No. 6 (after Schubert), D427 No. 6

Franz Schubert's Märsche für das Pianoforte übertragen, S426

Marche Militaire - Grand paraphrase de concert, S426a

Marche Hongroise, S425/2ii

Ave Maria (Ellens Dritter Gesang), S557d

Ständchen - Leise flehen meine Lieder (S559a, after Schubert)

Erlkonig, S557a

Vier Geistliche Lieder (Schubert), S562

Schuberts Ungarischer Melodien - Aus Dem Ungarischen Divertissement Zu Vier Handen, S425a

Müllerlieder Von Franz Schubert, S565bis

Meeresstille, S557b

Die Forelle, S564

Ständchen - Leise flehen meine Lieder (No. 7a from Schwanengesang, S560, after Schubert)

Schwanengesang - Vierzehn Lieder Von Franz Schubert, S560

Fruhlingsglaube, S557c

Marche Hongroise, S425/2v

Zwolf Lieder Von Franz Schubert - [aus] Winterreise, S561

Marche Hongroise, S425/2iii

Sechs Melodien von Franz Schubert, S563

Zwolf Lieder Von Fr. Schubert, S558

Müllerlieder Von Franz Schubert, S565bis

Die Nebensonnen [albumblatt], S561/2a

Schwanengesang - Vierzehn Lieder Von Franz Schubert, S560

alternative texts provided for all fourteen songs

Die Gestirne, S562/3bis

Meeresstille, S557b/Bis

Die Forelle, S563/6bis

Die Rose S556ii

Zwei Lieder Von Franz Schubert

Lob der Tränen, S557

Zwölf Lieder Von Fr. Schubert, S558bis

Meeresstille (No. 5 from Zwölf Lieder von Franz Schubert, S558)

Zwölf Lieder Von Franz Schubert - [aus] Winterreise, S561bis

alternative texts provided for five of the twelve songs

Marche Hongroise, S425/2vi

'Troisieme Edition'

Soirées de Vienne: valse-caprice No. 6 (after Schubert), D427 No. 6

3rd version

Piano Concerto No. 2 in A major, S125

De profundis – Psaume instrumental pour orchestre et piano principal, S121a

score prepared from manuscript sources by Jay Rosenblatt; further preparation and completion of the work - the last six bars (901-6)

Wandererfantasie (Schubert), S366

arranged for piano and orchestra by Liszt S366

Concerto pathétique for Piano and Orchestra, S365a

Carl Maria Von Weber Konzertstück In F Minor (Op 79, 1821)

with Liszt's version of the solo part, S367a

Totentanz, S126 for piano & orchestra

Fantasy on Hungarian Folk-tunes, S123

Sophie Menter S714

Grande Fantaisie di bravura sur La Clochette de Paganini S420

Den Schutz-Engeln Angelus! first draft S162a/1

Petite valse favorite first version S212i

Valse mélancolique first version S210

Mélodie polonaise short draft S249a

Légende No. 2: St François de Paule marchant sur les flots simplified version S175/2bis

Vierter Mephisto-Walzer first version S216b

Valse-Impromptu (with later additions), S213a

Valse mélancolique intermediate version S210a

Le lac de Wallenstadt intermediate version S156/2a/bis

Angelus! second draft S162a/2

Den Cypressen der Villa d'Este - Thrénodie II first draft S162b

Variations sur Le Carnaval de Venise (Paganini) S700a

Hungaria (Poème symphonique No. 9) S511e

Rákóczi-Marsch simplified transcription of the orchestral version S244b

Sunt lacrymae rerum first version S162c

Zwei Stücke aus der heiligen Elisabeth S693a

Troisième Valse oubliée with alternative conclusion S215/3a

Grand galop chromatique, simplified version, S219bis

Huldigungsmarsch first version S228i

Grande Fantaisie (Variations) sur des thèmes de Paganini

La Clochette et Le Carnaval de Venise first version S700i

Angelus! Prière à l'ange gardien third draft S162a/3

Historische ungarische Bildnisse, S. 205 / S. 205a

Angelus! Prière à l'ange gardien fourth draft S162a/4

Grande Fantaisie (Variations) sur des thèmes de Paganini second version S700ii

Orpheus – Poème symphonique No. 4, S511b

Orgel-Fantasie und Fuge in g-moll von J. S. Bach, S463i

Mes joies – Nocturne d'après un chant polonais de Fr. Chopin, S480/5bis

Widmung S566 after Schumann (Liebeslied)

Grande paraphrase de la Marche de Donizetti pour le Sultan Abdul-Medjid Khan, S403

Caritas nach Rossini, S552a

Il penseroso, S157b

Canzonetta del Salvator Rosa, S157c

En mémoire de Maximilien I – Marche funèbre, S162d

Album-Leaf in A flat 'Portugal', S166b

Album-Leaf 'Première Consolation', S171b

Schnitterchor [Pastorale – Schnitterchor aus Prometheus], S507a

Künstlerfestzug, S520i

Festklänge – Poème symphonique No. 7, S511d

La caritá, S552b

La serenata e l'orgia – Grande fantaisie sur des motifs des Soirées musicales de Rossini 'Première grande fantaisie', S422i

Introduction des Variations sur une marche du Siège de Corinthe, S421a

Morceau en fa majeur, S695

Fantasie über englische Themen, S694

Anfang einer Jugendsonate, S692b

Album-Leaf 'Andantino in E flat major', S163a/2

incomplete

Album-Leaf 'Ah, vous dirai-je, maman', S163b

Album-Leaf in C minor 'Pressburg', S163c

Album-Leaf in E major 'Vienna', S164a

Album-Leaf in E flat 'Leipzig', S164b

Album-Leaf 'Exeter Preludio', S164c

Album-Leaf in E major 'Detmold', S164d

Album-Leaf 'Magyar', S164e/1

Album-Leaf in A minor 'Rákóczi-Marsch', S164f

Album-Leaf in E major, S166a

Album-Leaf in A flat, S166c

Album-Leaf 'Lyon Prélude', S166d/1

Album-Leaf 'Prélude omnitonique', S166e

Album-Leaf in E major 'Leipzig', S163d

Album-Leaf 'Berlin Preludio', S164g

Album-Leaf 'Braunschweig Preludio', S166f/1

Album-Leaf 'Serenade', S166g

Album-Leaf 'Andante religioso', S166h

Mazurka in F minor, S221a

Gaudeamus igitur – Paraphrase, S240ii

Rapsodie hongroise II, S244/2bis

Rapsodie hongroise X, S244/10bis

Rapsodie hongroise XV, S244/15bis

Magyar Rapszódia 'Rapsodie hongroise XVI', S244/16i

Rapsodie hongroise XVIII, S244/18i

Mephisto-Polka, S217ii

Rapsodie hongroise XVIII, S244/18ii

Un Sospiro from 3 Concert Studies, S144 No. 3

two further cadenzas

Album-Leaf 'Agnus Dei of the Missa Solemnis', S167c

Album-Leaf 'Orpheus', S167d

Album-Leaf 'Die Ideale', S167e

St. Stanislaus fragment, S688a

Winzerchor 'Prometheus', S692e

La Mandragore 'Ballade de l'opéra Jean de Nivelle', S698

Glasgow fragment, S701f

Operatic aria and sketched variation, S701h/1

Valse infernale, S701h/2

Allegro maestoso 'Étude in F sharp major?', S692c

Rákóczi-Marsch, S692d

Harmonie nach Rossini's Carità, S701j

Marie-Poème, S701b

Andante sensibilissimo, S701c

Melodie in Dorische Tonart, S701d

Dante fragment, S701e

Polnisch, S701g

Korrekturblatt 'La lugubre gondola', S701k

Mazeppa – Poème symphonique No. 6, S511c

Valse in A major, S210b

Ländler in D major, S211a

Dumka, S249b

Air cosaque, S249c

Marche funèbre, S226a

Magyar tempo, S241b

Pásztor Lakodalmas – Mélodies hongroises, S405a

Einleitung und Coda zu Raffs Walzer in Des-Dur, Op. 51 No. 1, S551a

Einleitung und Coda zu Rubinsteins Étude in C-dur 'sur des notes fausses', S554a

Einleitung und Coda zu Smetanas Polka, S570a

Einleitung und Schlußtakte zu Tausigs 3. Valse-Caprice, S571a

Troisième Valse oubliée with alternative conclusion S215/3a

Petite Valse 'Nachspiel zu den drei vergessenen Walzer', S695e

Grande Valse di bravura 'Le bal de Berne', S209

Romancero espagnol, S695c

Christus, S498c: Two Pieces

Magnificat, S182a

Trois Chansons, S510a

Album-Leaf 'Andantino in A flat major', S166p

Album-Leaf in G major, S166q

Variations 'Tiszántuli szép léany', S384a

Lyubila ya [Wielhorsky] (first version), S577i

Schlummerlied, S186/7a

Valse-Impromptu, S213bis

Marche des pelerins de la symphonie Harold en Italie de Berlioz, S473

Einzug der Gäste auf der Wartburg S445/1

Adagio non troppo, S151a

Album-Leaf 'Andantino in E flat major', S163a/2

Album-Leaf 'Andante in E flat major', S167r

Album-Leaf in C major 'Lyon', S167s

Album-Leaf 'Quasi mazurek in C major', S163e

Album-Leaf 'Adagio – religioso in C major', S164l

Album-Leaf 'Agitato in G major', S167l

Album-Leaf 'Andante religiosamente in G major', S166j

Album-Leaf 'Tempo di marcia in E flat major', S167o

Album-Leaf 'Fugue chromatique' – Allegro in G minor, S167j

Album-Leaf in E flat major, S167k

Album-Leaf in G minor, S166l/2

Album-Leaf 'Langsam in C sharp minor', S166o

Album-Leaf 'Moderato in D flat major', S164k

Album-Leaf 'Vivace ma non troppo in D flat major', S167g

Album-Leaf 'Larghetto in D flat major', S167p

Album-Leaf 'Schlusschor des entfesselten Prometheus' – Andante solenne in D flat major, S167q

Album-Leaf 'Magyar in D flat major', S164e/3

Prozinsky Fragment for piano, S701v

Album-Leaf 'Allegretto in A major', S167n

Album-Leaf in A major, S166a

Album-Leaf in E major, S167t

Album-Leaf 'Andantino in E major', S163d/ii

Album-Leaf 'Purgatorio' – Andante in B minor, S166r/1

Album-Leaf 'Aus dem Purgatorio des Dante Sinfonie' – Lamentoso in B minor, S166r/2

Album-Leaf 'Introduction to the Grande Étude de Paganini No 6', S141/6bis

Cadenza, S695f

Album-Leaf 'Aus den [Erster] Mephisto-Walzer, Episode aus Lenaus Faust' – Der Tanz in der Dorfschenke, S167m

Wilde Jagd – Scherzo, S176a

Rouget de Lisle:

La Marseillaise (transcribed for piano by Liszt, S237)

Schubert:

Fantasie in C major, D760 'Wanderer'

arranged as Grosse Fantasie in C-dur, S565a (c1868)

Impromptu in E flat major, D899 No. 2

(Liszt S565b No. 1)

Impromptu in G flat major, D899 No. 3

(Liszt S565b No. 2)

Die Rose, D745

(Liszt S556i/bis (c1837) intermediate version - first recording)

Weber:

Jubel-Ouvertüre, J245 (Op. 59)

arr. Franz Liszt

Konzertstück, S576a (c1868)

arr. Franz Liszt

Polonaise brillante, S455 (c1851)

arr. Franz Liszt


Leslie Howard’s recordings of Liszt’s complete piano music, on 99 CDs, is one of the monumental achievements in the history of recorded music. Remarkable as much for its musicological research and scholarly rigour as for Howard’s Herculean piano playing, this survey remains invaluable to serious lovers of Liszt.

Every known note of Liszt’s piano music has been recorded and is included here: Leslie Howard’s 57 original volumes plus the further 3 supplements.

GUINNESS WORLD RECORD for the world’s largest recording series by a solo artist.


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“Liszt, one of music's greatest innovators, tends to be known by a tiny fraction of his work. Here's a chance to see the fuller picture.” The Observer, 6th February 2011

“Almost any way you choose to look at it, this is a staggering achievement...Howard is particularly convincing in those works where Liszt focuses on a particular technical problem...The grand scope of this project gives us the chance, as listeners, to experience the almost incomprehensible breadth and depth of Liszt's imagination.” International Record Review, May 2011

GGramophone Magazine

Re-issue of the Month - June 2011

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Hyperion - Liszt Complete Solo Piano Music - CDS44501/98

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