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CHAN 10662M
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CHAN 10662
(multiple CD Set)

Liszt: The Complete Annees de Pelerinage

The Classical Shop
release date: March 2011

Recorded in 24 Bit / 96Khz
album available as a Studio File
Originally recorded in 2010

Artists:

Louis Lortie

piano

Venue:

Potton Hall, Dunwich, Suffolk



Producer:

Ralph Couzens



Engineer:

Ralph Couzens



Record Label
Chandos

Genre:

Piano




Total Time - 160:44
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FRANZ LISZT

(1811-1886)
   
 

Annees de Pelerinage

161:20  
   
  Premiere Annee: Suisse, S 160 46:34      
1 I Chappelle de Guillaume Tell. Lento - Più lento - Allegro vivace - Più moderato 6:22
2 II Au lac de Wallenstadt. Andante placido 3:08
3 III Pastorale. Vivace 1:36
4 IV Au bord d'une source. Allegretto grazioso (ma non troppo) 3:45
5 V Orage. Allegro molto - Presto furioso - Meno allegro - Più mosso - Cadenza ad libitum 4:14
6 VI Vallée d'Obermann. Lento assai - Più lento - Tempo I - Più lento - Un poco più di moto ma sempre lento - 12:10
7 VII Églogue. De l'expression romantique et du ranz-des-vaches. Allegretto con moto - Lento 4:25
8 VIII Le mal du pays. Lento - Andantino - Adagio dolente - Lento - Andantino - 4:57
9 IX Les cloches de Genève. Nocturne. { ] - Quasi allegretto - Cantabile con moto (sempre rubato) - 5:53
   
  Deuxieme Annee: Italie, S 161 (beginning) 33:32      
10 I Sposalizio. Andante - Andante quieto - Più lento - Quasi allegretto mosso 6:55
11 II Il Penseroso. Lento 4:19
12 III Canzonetta del Salvator Rosa. Andante marziale 2:55
13 IV Sonetto 47 del Petrarca. Preludio con moto - Sempre mosso, con intimo sentimento - 5:38
14 V Sonetto 104 del Petrarca. Agitato assai - Adagio 6:40
15 VI Sonetto 123 del Petrarca. Lento placido - Sempre lento - Più lento 7:01
   
  Deuxieme Annee: Italie, S 161 (conclusion)  
16 I Après une lecture du Dante. Fantasia quasi sonata. Andante maestoso - Più mosso - Presto agitato assai - Tempo I (Andante) - 17:14
   
  Troisieme Annee, S 163 46:15      
17 I Angelus! Prière aux anges gardiens. Andante pietoso - [ ] - Tempo I 7:50
18 II Aux cyprès de la Villa d'Este. Thrénodie (I). Andante - Tranquillo - 5:41
19 III Aux cyprès de la Ville d'Este. Thrénodie (II). Andante, non troppo lento - 9:53
20 IV Les Jeux d'eaux à la Villa d'Este. Allegretto - Un poco più moderato - 7:27
21 V Sunt lacrymae rerum. En mode hongrois. An Hans von Bülow. Lento assai - Più lento - 6:16
22 VI Marche funèbre. En mémoire de Maximilien I, Empereur du Mexique † 19 Juin 1867. Andante maestoso, funèbre - Recitativo - 5:44
23 VII Sursum corda. Andante maestoso, non troppo lento - Grandioso 3:22
   
  Venezia e Napoli, S 162 17:19      
  Supplément aux Années de Pèlerinage, Deuxième Année  
24 I Gondoleria ('La biondina in gondoletta', canzione del Cavaliere Peruchini). Quasi allegretto 5:05
25 II Canzone ('Nessùn maggior dolore', canzone del Gondoliere nel Otello di Rossini). Lento doloroso - 3:23
26 III Tarantella da Guillaume Louis Cottrau. Presto - Più vivace - Caonzona Napolitana - Prestissimo 8:51
   
 Louis Lortie piano
  8-10 November 2010  


The virtuoso pianist and exclusive Chandos artist Louis Lortie here performs all three books, or ‘Years’, of Liszt’s Années de Pèlerinage (Years of Pilgrimage), a work rarely recorded in its entirety. Lortie has made more than thirty recordings for Chandos, covering a repertoire from Mozart to Stravinsky. His recording of Beethoven’s ‘Eroica’ Variations won an Edison Award; his disc of works by Schumann and Brahms was judged one of the best CDs of the year by BBC Music, and his interpretations of Liszt’s complete works for piano and orchestra and of Beethoven’s complete piano sonatas were both selected as Editor’s Choice in Gramophone.

Liszt was an artist by nature. He seemed to feel and be affected by external influences far more deeply than most, and he was a master at translating these feelings into music.

The first Year of the Années de Pèlerinage, a reworking of pieces from his earlier Album d’un Voyageur, was inspired by his travels in Switzerland as a young man. In this work, the music does not depict or describe particular scenes or landscapes, rather it attempts to communicate the feeling that Liszt experienced when he saw them, his ‘strongest sensations and most lively impressions’.
‘Chapelle de Guillaume Tell’, for example, depicts a fourteenth-century Swiss hero through a broad and stately theme that quotes a Swiss Alpine horn melody with trumpet calls, echoes, and tremolos. ‘Au lac de Wallenstadt’ depicts the gently rising and retreating waves of the lake, over which Liszt places a theme of beautiful simplicity.

The second Year was inspired by the art and literature that Liszt encountered on his travels in Italy. ‘Sposalizio’  was inspired by Raphael’s painting The Marriage of the Virgin in the Brera in Milan, and ‘Il Penseroso’ by Michelangelo’s statue on the tomb of Lorenzo de’ Medici in the church of San Lorenzo in Florence.

The third and last Year of the Années de Pèlerinage was written much later, when Liszt was in his sixties, and at a time when both the man and the style of his music had undergone a vast change. The pieces show far more simplicity in the treatment of the musical components and often convey a mood of despair and stark austerity.

From the outset, Liszt knew that his Années de Pèlerinage was unlikely to appeal to the masses. In his own words, the work was ‘written for the few rather than the many – not ambitious of success, but of the approval of that minority which conceives art as having other uses than the beguiling of idle hours, and asks more from it than the futile distraction of a passing entertainment’.
 

     Gramophone Recommends
“Louis Lorte is spellbinding in Liszt’s evocative travel diaries.”

Bryce Morrison – Gramophone – June 2011


           Performance ****      Recording ****
“... this is an excellent set to be warmly recommended.”

Malcolm Hayes – BBC Music Magazine – May 2011


“...Les Cloches de Genève ... is about as exquisite as it gets ... A fine set...” ****

Tim Ashley – The Guardian 8 April 2011
 


"The three sets of Années – based on Liszt’s voyages to Switzerland and Italy - are gigantic in scope, and I would deem few pianists are able to interpret this music convincingly. Needless to say, Lortie does so brilliantly. As befits this repertoire, his approach is bold and impassioned, demonstrating a herculean technique. The Vallée d’Obermann from the first set presents technical challenges that would make the average pianist wince, but Lortie brings it off with aplomb. On the other hand, his treatment of such pieces as the Sonetto 47 and 123 from the second set, Italie, is elegantly understated. Bringing the disc to a rousing conclusion is the flamboyant Tarantella, music requiring almost superhuman powers."

Richard Haskell – Musicdata.com – 1 April 2011


               IRR Outstanding
“...Lortie is, above all, a cultivated musician, the subtlest of pianists, blessed with rich imagination. These qualities, combined with the wisdom of life experience, are everywhere evident in a deeply considered and vivid performance of this summit of Romantic piano music.”
Patrick Rucker – International Record Review – April 2011


“Complete – and completely successful - traversals of Années de Pélerinage are relatively thin on the ground. This is one of them... A superior contribution to the Liszt bicentenary ...” *****

Jeremy Nicholas – Classic FM Music Magazine May 2011
 


“...It takes a pianist of a very high calibre to undertake the monumental task of not only learning these pieces, but to be able to see past their extreme technical demands and expose their multi-layered facets... Canadian pianist Louis Lorte, whose many previous recordings have always been recipients of international acclaim, is of that calibre.  ...he clearly demonstrates that he and the instrument have become one.” - Jean-Yves Duperron

Classical Musical Sentinel.com    - March 2011                                          





*****
This is my third recording of Lizst's 'Annees de Perlinage' and it is by far the best. Lortie plays with sensitivity and consummate skill turning every track into a gem of joy. Listens to this album again and again and be surprised anew by more discoveries and pleasurable insights of musicality. Highly recommended.
M Percival