Liszt / Pierdomenico - Winterreise (After Schubert) Totentanz Gretchen - Import CD

Credits:

Liszt / Pierdomenico

Description:

The "Winter Journey" ends in despair, and the "Death Dance" rings with "The Day of Wrath"! It is thought that Franz Liszt's score income was more from "piano arrangements" than from "piano pieces" due to the publication situation and other factors. The original "piano arrangements" were his own works and those of other composers, with the main purpose of not only paying homage to the popular music of the time, but also introducing his own orchestral works and lesser-known but high-quality music with his virtuosity woven into them. On the theme of love and death, the album includes an arrangement of 12 songs from Schubert's "Winterreise" selected in a different order and ending in despair, an arrangement of the "Dance of Death," a paraphrase of the "Day of Wrath" full of virtuosity, and the second movement of the Faust Symphony, "Grätchen. Performed by Italian virtuoso Leonardo Pierdomenico, this is the third Liszt album on Piano Classics. About the work "Winterreise" S.561 (tracks 1-12), arranged in 1839. Liszt first paid attention to Schubert's works at a time when they were not well known, and in 1838 he published more than a dozen arrangements of songs with Diabelli and Haslinger in Vienna. When they sold well, he requested that arrangements of "Winterreise" and "Swan Song" be published as well. Liszt, who was the introducer of Schubert, selected 12 songs from "Winterreise," a lengthy collection of 24 songs, changed the order of the songs, clarified and compressed the flow of the drama to end in despair, and included piano virtuosity in the arrangement to make the songs more pleasing to the ear. Gleichen" S.513 (track 13)Franz Liszt, originally a German speaker, was introduced to Goethe's "Faust" by his friend Berlioz in the 1830s through a French translation. However, he did not start composing immediately, and did not begin his conception until the 1840s.Liszt could not sympathize with Dr. Faust's bourgeois appearance and his cowardly treatment of Margarete, and they had a heated discussion when Nerval, the French translator of "Faust," stayed in Weimar in 1850, Berlioz presented "Faust's Eternal Punishment" to him in 1852, and in 1854 In 1857, he conducted the first performance of the work, and in the same year he added a mystical chorus to the ending, which was premiered in 1861. In 1861, his son-in-law Bülow gave the first performance of the version, and in 1880, he added 10 bars to the second movement, making it the final version. In 1874, he arranged only the second movement for solo piano, and this CD contains the solo version. Liszt, who did not like the bourgeois mediocrity of Dr. Faust, does not pay much attention to the dirty elements in Goethe's depiction of Grätchen, but rather beautifully portrays it as the pure existence that the grandiose Dr. Faust envisioned. (1/2)