Liszt - 12 Symphonic Poems for 2 pianos
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Label: Brilliant Classics
Cat No: 95748
Format: CD
Number of Discs: 3
Genre: Chamber
Release Date: 7th September 2018
Contents
Works
Ce qu'on entend sur la montagne 'Berg-Symphonie' (2 pianos), S635Die Ideale for two pianos, S646
Festklange: Symphonic Poem (2 pianos), S641
Hamlet: symphonic poem (2 pianos), S644
Heroide funebre, for two pianos, S642
Hungaria: Symphonic Poem (2 pianos), S643
Hunnenschlacht for 2 pianos, S645
Les Preludes (2 pianos), S637
Mazeppa for two pianos, S640
Orpheus for two pianos, S638
Prometheus: symphonic poem (2 pianos), S639
Tasso, Lamento e trionfo, for two pianos, S636
Artists
Leslie Howard (piano)Mattia Ometto (piano)
Works
Ce qu'on entend sur la montagne 'Berg-Symphonie' (2 pianos), S635Die Ideale for two pianos, S646
Festklange: Symphonic Poem (2 pianos), S641
Hamlet: symphonic poem (2 pianos), S644
Heroide funebre, for two pianos, S642
Hungaria: Symphonic Poem (2 pianos), S643
Hunnenschlacht for 2 pianos, S645
Les Preludes (2 pianos), S637
Mazeppa for two pianos, S640
Orpheus for two pianos, S638
Prometheus: symphonic poem (2 pianos), S639
Tasso, Lamento e trionfo, for two pianos, S636
Artists
Leslie Howard (piano)Mattia Ometto (piano)
About
Liszt’s pioneering series of 12 symphonic poems came to fruition during his time as Kapellmeister at the court of the Duke of Weimar in the 1850s, although the gestation of many of the pieces begins somewhat earlier. Liszt did not conceive the final order of the works until all the pieces were ready for publication, but it is clear that he thought of all 12 works as a gigantic cycle. He issued them in versions for orchestra, for two pianos, and for piano duet.
Thus, although works such as Les Préludes are familiar in their orchestral guise, they were conceived from the outset no less for the keyboard. The two-piano versions of these pieces are no mere transcriptions: Liszt allows quite considerable variance from the orchestral scores in order to make real duos, occasionally even adding some bars (as in Hungaria), omitting bars – especially of untuned percussion (as in Ce qu’on entend), or transforming the material with new harmonies instead of untuned percussion (as in Heroïde funèbre). As with his monumental versions of the Beethoven symphonies, he often makes an informed trade of the letter of the score for the spirit of it, and happily gets all the closer to the musical substance.
Leslie Howard contributes a detailed booklet essay on the cycle of 12 poems, making this new studio recording all the more essential for Lisztians. He is joined in performance by the Italian pianist Mattia Ometto, who was praised by Aldo Ciccolini as a pianist ‘with a marvellous sensitivity, one of those artists whose responsibility is to make audiences perceive what real talent is.’
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