Piano Recital: Antti Siirala

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Piano Recital: Antti Siirala


Gramophone Magazine

Editor's Choice - August 2003



Catalogue No:




Release date:

25th May 2003




62 minutes


CD (download also available)
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Piano Recital: Antti Siirala



based on the first eight bars of Schubert’s Unfinished Symphony


Der stürmische Morgen (No. 18 from Winterreise)

transcribed by Liszt


transcribed by Prokofiev

Morgengruss (No. 8 from Die schöne Müllerin, D795)

transcribed by Godowsky

Erlkönig, D328

transcribed by Liszt

Overture D 556 in D major

transcribed by Busoni

Gute Nacht (No. 1 from Winterreise, D911)

transcribed by Godowsky

Der Lindenbaum (No. 5 from Winterreise, D911)

transcribed by Liszt

Im Dorfe (No. 17 from Winterreise, D911)

transcribed by Liszt



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Franz Schubert: Winterreise, Op. 89, D. 911 (arr. L. Godowsky)

Winterreise, Op. 89, D. 911: No. 1. Gute Nacht (arr. Godowsky)

Franz Liszt: Schubert - Winterreise, S561/R246

Winterreise, Op. 89, D. 911: No. 5. Der Lindenbaum (trans. Liszt)

Winterreise, Op. 89, D. 911: Der sturmische Morgen - Im Dorfe (trans. Liszt)

Sergey Prokofiev: Schubert - Waltzes (version for piano solo)


Leopold Godowsky: 12 Schubert Songs

Die schone Mullerin, Op. 25, D. 795: No. 8. Morgengruss (trans. Godowsky)

Franz Liszt: 12 Lieder von Schubert, S558/R243

Erlkonig, D. 328

Franz Schubert: Overture in D major, D. 590, "im italienischen Stile" (In the Italian Style) (arr. Busoni)

Overture in D major

Franz Schubert: Passacaglia


Gramophone Classical Music Guide


“This young Finnish prize-winning pianist makes his recorded début with a challenging and enterprising a programme of Schubert transcriptions by Liszt, Godowsky, Prokofiev and Busoni.
Schubert takes less kindly to arrangement than most; his profound simplicity is easily compromised. True Schubertians might well have winced at what Godowsky does to 'Morgengruss' from Die schöne Müllerin, where innocence is turned into experience and a tropical efflorescence. Yet if to some this is sacriligeous, others, will celebrate an act of engaging decadence. Liszt, for all his theatricality, is much more an ardent devotee than mischief-maker, often memorably true to both his own and Schubert's sharply opposed natures, whereas Prokofiev and Busoni's offerings are disappointingly more deferential than genuinely re-creative.
Siirala's performances are masterly and warmly sympathetic throughout, and never more so than in Godowsky's horrendously demanding Passacaglia on Schubert's Unfinished Symphony.
Even Horowitz balked before this challenge, complaining that you needed six hands to encompass such fearsome difficulties.”

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