sony liszt piano works Classement 2024

universal music vertrieb a division

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Víkingur Ólafsson, der 1984 in Island geboren wurde, ist in seiner Heimat längst eine feste musikalische Grösse und wurde bereits viermal zum "Musiker des Jahres" gewählt. Sein Debütalbum auf Deutsche Grammophon "Piano Works" reiht sich für Ólafsson ein in eine Vielzahl kreativer Projekte und ist ein vielversprechender Start seiner Zusammenarbeit mit dem Label. Anlässlich des 80. Geburtstages des Komponisten Philip Glass präsentiert Ólafsson eine Auswahl seiner Solo Piano Etuden. "Musik ist ein Ort, der so real ist wie jeder andere Ort, an dem du schon einmal gewesen bist", hat Philip Glass einmal gesagt. Mit seiner eigenen Musik ist es ihm gelungen, Raum und Zeit aus den Angeln zu heben und neue Dimensionen erfahrbar zu machen. Kaum jemand hätte dies intensiver umsetzen können als Víkingur Ólafsson, der feinsinnige Tastenpoet aus dem Norden.

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universal music vertrieb a division

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Jan Lisiecki widmet sich in seinem neuen Album der Brillanz und Schönheit von Chopins weniger bekannten Werken für Klavier und Orchester. 2010 überraschte der damals 15-Jährige Pianist mit der Aufnahme von Chopins Klavierkonzerten die Kritiker und die Deutsche Grammophon nahm den begabten jungen Interpreten exklusiv unter Vertrag. Sein neuestes Album für das gelbe Label ist wieder ein Juwel mit selten aufgenommenen, aber absolut überzeugenden Werken Chopins für Klavier und Orchester. Lisiecki fand dafür die idealen Partner in Hamburg: Das NDR Elbphilharmonie Orchester und dessen polnischen Ersten Gastdirigenten, Krzysztof Urbaski. Chopin nimmt 2017 auch in Lisieckis Tourkalender einen wichtigen Platz ein: In Deutschland spielt er Chopin in der Elbphilharmonie in Hamburg am 15.März, der Philharmonie im Gasteig in München am 20. März und in der Alten Oper in Frankfurt am 21. März.

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sony music entertainment beethoven the

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Selten wurde eine Einspielung mit so viel Spannung erwartet wie die erste CD von Igor Levit für Sony Classical. Als Jahrhundert-Talent gelobt, wagte sich der in Deutschland lebende junge Pianist gleich an Werke heran, die zu herausforderndsten überhaupt zählen: die späten Klaviersonaten von Beethoven. Getragen von überragendem Lob der Fachpresse wurde die CD ein sensationeller Erfolg. Noch nie erreichte ein Newcomer auf Anhieb Platz 46 der deutschen Longplay (Pop-) Charts und Platz eins der Klassik-Charts.

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sony music entertainment germany various

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1 Various: No. 2 in E-flat 04:20 2 Various: Lied ohne Worte No. 1 in E major, Op. 19/1 02:43 3 Various: "Wachet auf, ruft uns die Stimme" aus der Kantate Nr. 645 04:55 4 Various: Pavane pour une infante défunte 07:17 5 Various: Valse, Op. 69/2 03:18 6 Various: Pastoral (1929) 02:10 7 Various: Siciliano 03:46 8 Various: June: "Barcarolle" 04:31 9 Various: Bruyères. Calme (Prélude from Book II) 02:46 10 Various: I. Moderato cantabile molto espressivo 06:59 11 Various: Intermezzo in B minor, Op. 119/1 04:34 12 Various: Aria 04:55 13 Various: Allegretto in C minor, D 915 14 Various: Adagio 07:11 15 Various: Fugue in E minor. Allegro moderato, D 952 03:59 16 Various: La campanella in G-Sharp Minor from Grandes études de Paganini, S 141/3 04:47 1 Various: No. 15 01:47 2 Various: Well, well Cornelius 03:02 3 Various: Kiss The Rain 05:02 4 Various: II. Largo cantabile 06:12 5 Various: Melody from "Orphée et Eurydice" (Arrangement for Piano by Giovanni Sgambati (1841-1914)) 6 Various: Sehr innig und nicht zu rasch 02:19 7 Various: Aria 02:38 8 Various: Je te veux (Valse pour piano) 9 Various: II. Andante con moto 07:02 10 Various: Warum ? 02:04 11 Various: II. Adagio un poco moto (Instrumental) 08:25 12 Various: Fantasy in C Major 03:35 13 Various: Andante 04:42 14 Various: II. Andante 06:28 15 Various: Gavotte et six doubles 09:33

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henle g nter franz liszt

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These six little piano pieces are among Liszt’s best-known works and are comparatively easy to play – a rarity amongst the composer’s often eccentric and virtuosic works. In 1844 Liszt had already begun work on the cycle that was only published in 1850. Although he had the pieces engraved, this version was never actually printed. He replaced no. 3, a precursor to the first Hungarian Rhapsody, with a piece in the style of a nocturne by Chopin (it can occasionally be heard as an encore at piano recitals), and he simplified the remaining numbers. In the second part of our edition we have reproduced the complete early version for the first time.

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henle g nter franz liszt

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Liszt’s piano cycle “Harmonies poétiques et religieuses” (HN 639) was inspired by religious-philosophical poems of the French Romantic Alphonse de Lamartine. Whereas the cycle as a whole remained comparatively unknown, single works have become an established part of the demanding standard repertoire for pianists. Aside from “Funérailles” (HN 748), the same is true of the longest work in the volume “Bénédiction de Dieu dans la solitude”. This work, which is particularly expressive musically, is now appearing for the first time in our catalogue as a single volume; it is prefaced by Lamartine’s text in three languages. The fingering is by the composer.

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henle g nter franz liszt

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This work, in which Liszt draws on five different folk themes, is surely one of his most ingenious Hungarian Rhapsodies. It offers a unique mix of melancholy, glittering keyboard acrobatics and stormy, rousing dance. The rhapsody was dedicated to Joseph Joachim; it was so popular that the original version for piano was soon arranged for violin and piano, for piano four hands and also for orchestra. We now present the original in proven Urtext quality. As with all the other rhapsodies published to date, a preface by the Hungarian Liszt scholar Mária Eckhardt precedes the musical text.

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henle g nter franz liszt

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Liszt composed this virtuoso work for the dedication of the refurbished organ in Merseburg Cathedral. The manuscript was, however, only completed after the inaugural concert and the first edition was published in Holland around 1859. Today, the work is mainly played in the second version of 1872, which Liszt made at the suggestion of his pupil A.W. Gottschalg. The latter persuaded the composer to somewhat simplify the technical demands, which reflected the intentions of the older Liszt. Our Urtext edition comprises the 1872 version; in addition, the appendix contains an ossia version of measures 130 –166. The changes between the first and second versions are discussed in the preface.

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henle g nter liszt franz

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In 1883 the third volume of Années de Pèlerinage was published. Whereas the pieces in Volumes I and II were recollections of early travels in Switzerland and Italy, the new works, composed between 1867 and 1877, were more of a religious pilgrimage. Some parts already reflect Liszt’s austere later compositional style. With the visionary Jeux d’eaux à la Villa d’Este; on the other hand, he almost enters the world of Impressionist sounds (it inspired Ravel to write his Jeux d’eau). The Bible quotation about the “water of life”; contained in a footnote, leaves no doubt as to the spiritual dimension of the piece (also available in a separate edition HN 983).

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henle g nter franz liszt

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Franz Liszt arranged numerous works by other composers for his instrument, in particular excerpts from the operas by his friend and son-in-law Richard Wagner. He turned to “The Flying Dutchman” twice: alongside Senta’s ballad he also made a brilliant transposition of the spinning chorus (“Summ und brumm, du gutes Rädchen”) from Act 2 for the piano. His “Spinning Song” bubbles over with virtuosic brilliance and has to this day remained one of his best-loved transcriptions. When preparing our Urtext edition, we were also able to consult the autograph score in Weimar and the composer’s own revisions in the archives of the publisher Breitkopf & Härtel.

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henle g nter franz liszt

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Liszt wrote his two Ballades in 1845–49 and 1853 during a time of personal turmoil. The successful virtuoso increasingly saw himself as a composer who strove after formal clarity, as shown by the B minor sonata that was also composed in 1853. When Liszt began work on the first Ballade, he had just separated from his mistress of many years, Marie Comtesse d’Agoult. He called the first sketches for the work Dernières Illusions. A better-known work is the second Ballade in B minor, with whose ending he struggled (the two fortissimo endings in Liszt’s autograph have been published for the first time in the appendix to our edition).

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henle g nter franz liszt

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The “Valses oubliées” belong to Liszt’s late work, characterised by themes such as memory, sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludes to the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s, but embed typical melodic and rhythmic clichés from salon waltzes in new harmonic progressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. Our new edition affords pianists an opportunity to discover all four waltzes and their characteristic idiosyncrasies.

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henle g nter franz liszt

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Liszt drew on three themes from Verdi’s “Rigoletto” in this glittering virtuoso work; its climax is the finale with the theme in the quartet from Act III “Bella figlia dell’amore”. If one ignores the fact that at this point in the opera the betrayal of Gilda's love is made known, the work offers no sign that it was written at a time of deep depression: Liszt’s hope of legally marrying Princess von Sayn-Wittgenstein was slowly disappearing. Maybe Liszt's opera paraphrases are therefore to be understood as memories of happier times in Weimar.

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henle g nter franz liszt

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Robert Schumann’s "Frühlingsnacht" ("Spring night") was one of his most popular songs even in the 19th century. Franz Liszt made a piano arrangement of it that in the space of under 70 measures emerges as a veritable concert piece. It makes high demands on the pianist’s stamina, especially in its triplet chords. But this did not hinder its wide popularity. The first edition was published in 1872 and enjoyed many reprints during Liszt’s lifetime. In 1895, this piece was also republished in a newly engraved edition. With its abundant technical indications, assorted ossias and the incorporation of the text of the poem above the music, Liszt’s arrangement makes the highest demands on a music engraver – a challenge that this Henle Urtext edition is delighted to meet.

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henle g nter franz liszt

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In his virtuosic piano arrangement of Schumann’s “Widmung” (“Du meine Seele, du mein Herz”); Franz Liszt transformed this intimate song into a dramatic declaration that reaches its powerful climax at the phrase “Mein guter Geist, mein bess’res Ich”; using chords to be played con somma passione. In Liszt’s autograph the melody is overlaid by the song text, but he changes the title to “Liebeslied”. The first edition, published in Leipzig in 1848, retained this heading, and thus the song is still known today under two different titles. In collaboration with Liszt scholar Mária Eckhardt we present this best-known of all of Liszt’s Schumann arrangements in a reliable Henle Urtext quality edition.

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henle g nter franz liszt

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Following the revision of the facsimile of the Piano Sonata in b minor (HN 3227), Henle is now proud to present the corresponding new Urtext edition. With the help of the splendid facsimile reproduction we were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt’s; in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: “It is only blind noise – not a single healthy thought, everything confused.” Today we view this differently. The new edition of this key piano work is further enhanced by the sophisticated fingerings supplied by the piano titan Marc-André Hamelin.

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henle g nter franz liszt

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Looking back in 1876, Liszt admitted candidly to the publisher Breitkopf & Härtel that his “Wagner transcriptions” had “only served as modest propaganda for Wagner’s noble genius, using the meagre possibilities of the piano”. In fact, in around 1850, Wagner’s operas Der fliegende Holländer, Tannhäuser and Lohengrin – which would later be so successful – were only being performed at the Weimar Court Theatre under Liszt’s baton. Liszt was inspired to compose his Tannhäuser Paraphrase by performances in Weimar of the overture in 1848 and of the whole opera in February 1849. Liszt’s piano arrangement of the overture is a technically brilliant piece of the highest order. It is a further milestone in Henle Publishers’ series of Liszt’s Wagner arrangements. Read more about this edition in the Henle Blog.

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henle g nter franz liszt

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These Drei Notturnos appeared in 1850 in two different versions: the first for high voice and piano and the second for piano solo. In the latter version the music is preceded by the song texts (no. I Hohe Liebe, no. II Seliger Tod: with texts by Ludwig Uhland, no. III O lieb, so lang Du lieben kannst: text by Ferdinand Freiligrath). The third Liebestraum – in the best tradition of nocturnes – is one of the most frequently played piano pieces of all. This is not least because it can be played by very skilled amateurs despite its pianistic bravura.

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henle g nter franz liszt

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Liszt’s “Transcendental Studies” of 1852 are without doubt among the triumphs of virtuoso piano music, and their visionary language and poetic expression make them a milestone of the romantic age. This set of twelve études represents the results of the composer’s own revision of a collection already published in 1827 and 1839. Accordingly, the principal source for our edition was a printed copy of the earlier version with myriad changes in the composer’s hand. Each of these pieces, including the famous “Harmonies du soir” and “Mazeppa”; bears its own title and has entered the concert repertoire less as an étude than as a tone-poem with its own distinctive flavour. Read more about this edition in the Henle Blog.

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henle g nter franz liszt

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At last these two highlights of Liszt’s piano output are available in a good value “Urtext”! Every pianist knows the poetic, highly virtuosic legends about Liszt’s famous namesakes, “St. Francis of Assisi preaching to the birds” and “St. Francis of Paola walking upon the waves”. Liszt draws on all the resources of sound-painting to depict these holy events vividly. Both pieces are preceded by detailed explanations for the interested player in which the composer tells how he was inspired to compose this music. We print these texts in their French and Italian originals, and have added a German and an English translation.

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