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‘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 | | | In stock - usually despatched within 1 working day. |
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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 | | | In stock - usually despatched within 1 working day. |
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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 | | | In stock - usually despatched within 1 working day. |
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| |  | CPE Bach: The Keyboard Concertos Wq 43, Nos. 1-6
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 | | | In stock - usually despatched within 1 working day. |
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| |  | 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 ****  BBC Music Magazine
Orchestral Choice - May 2011 |
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| |  | Górecki: The 3 String Quartets
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 ***** | | | In stock - usually despatched within 1 working day. |
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| |  | Martha Argerich & Friends: Live from the Lugano Festival 2010
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 | | | In stock - usually despatched within 1 working day. |
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| |  | Alwyn: Violin Concerto
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 *** | | | (also available to download from $6.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Grieg: Chasing the Butterfly
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 BBC Music Magazine Instrumental Choice - April 2011 |
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| |  | Recorded live at Southbank Centre’s Royal Festival Hall, London, on 21 January 1991
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 | | | (also available to download from $21.75) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Yannick Nézet-Séguin conducts Franck & Schmitt
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 | | | (also available to download from $10.75) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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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 **** | | | Usually despatched in 3 - 4 working days. |
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| |  | 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, S466i 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, S466ii 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 Divian 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 (c1840) 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 (1861) Puszta Wehmuth (A Puszta Keserve) S246 (published 1885) 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 from Choräle, S506a 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 (c1875-81) Carrousel De Madame P-N, S214a (c1875-81) 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 (Rerbeck), 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 Aus Julius Wolffs Tannhäuser (Lessmann), 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 La marche pour le Sultan Abdul Médjid-Khan [Giuseppe Donizetti], 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 [Wieihorsky] (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 Landler In A Flat, S211 1843 Album Leaf In Waltz Form, S166 1842 Valse-Impromptu, S.213 Valse Melancolique, S214 No. 2 1839/1850 Valse De Bravoure, S214 No. 1 C1835/C1850 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 Melodies Russes - Arabesques S250 (1842) 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 (1837) 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 (C1840) (first recording) Canzone napolitana - Notturno, S248a (second version, 1842) (first recording) Hussitenlied, S234 (1840) Glanes de Woronince, S249 (1847/8) 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 Iyriques pour piano seul', S. 535-540 Die Lorelei (Second Version), S532 (1861) 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 aus Julius Wolffs Tannhäuser (Lessmann), 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 Wehmuth (A Puszta Keserve) S246 (Published 1885) 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 (C1875-81) Resignazione, S187a (C1877) Wiegenlied (Chant du berceau), S198 Unstern: sinistre disastro S208 Carrousel De Madame P-N, S214a (C1875-81) Sospiri! (No. 5 from Fünf Klavierstücke), S192/5 (1879) Schlaflos! [alternative Version], S203 (1883) Klavierstuck 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), S542a (1878) UNGARNS GOTT transcribed for the left hand S543a 1881 Ungarisches Konigslied, S544 (1883) Epithalam - Zu Eduard Remenyis Vermahlungsfeier, S526 (1872) 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 (1869) 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) Premiere Elegie S196 (1874) Zweite Elegie S197 (1877) 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 (1878-9) 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'idee Fixe S395 (1846) Andante amoroso d'apres une melodie de Berlioz Ouverture Des Francs-Juges S471 (1833) from Les Francs-Juges, op 3, by Berlioz (1826) Marche Des Pelerins: Chantant La Priere Du Soir S473 (1862) from Harold en Italie, op 16, by Berlioz (1834) Valse Des Sylphes S475 (C1860) from La Damnation de Faust, op 24, by Berlioz (1828-46) Ouverture Du Roi Lear S474 (1833) 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 viola & piano (after Berlioz), S. 472 with Paul Coletti (viola) Romance oubliée, for viola/cello/violin & piano, S. 132 with Paul Coletti (viola) Hymne A Sainte Cecile (Gounod, 1865), S491 (1866) (first recording) Le Moine (Meyerbeer, c1839), S416 (1841) Festmarsch zu Schillers 100jähriger Geburtsfeier (Meyerbeer, 1859), S549 (1860) 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 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 Slavino 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 Glink's Ruslan & Ludmilla, for piano solo, S406 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 Almlra S181 Tscherkessenmarsch from Glink's Ruslan & Ludmilla, for piano solo, S406 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, S387a 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 Beethoven Adelaide Op. 46 S466 Beethoven Sechs Gistliche Lieder Von Gellert Op. 48 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, 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, S558/5bis 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) La marche pour le Sultan Abdul Médjid-Khan [Giuseppe Donizetti], 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 [Wieihorsky] (first version), S577i Schlummerlied, S186/7a Valse-Impromptu, S213bis Marche Des Pelerins: Chantant la priere du soir S473 (1862) 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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Rest of World: Varies by country. Please contact us for further details.“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 | | | Usually despatched in 2 - 3 working days. |
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Invitatorium: Antipohna et Psalmus "Regem cui omnia vivunt"
BBC Music Magazine Awards 2012
Gramophone Awards 2011
