Pianist Louis Lortie performs works composed or orchestrated by Franz Liszt – one of the greatest pianists of all time.

This disc features the very rare Grand fantasie symphonique on these from Berlioz’s Léilo which is rarely performed either in its original form or in Liszt’s transcription.

Lortie and Pehlivanian have performed Liszt together many times in concert – this is the first time their partnership has been heard on disc.


Beethoven wrote Ruins of Athens as incidental music for a play by Kotzebue whose text he admired. It is by no means a great work but served patriotic purposes. Beethoven’s music for theatre was uneven, and the incidental music to The Ruins of Athens consists of an overture and a medley of choruses and marches with occasional arias, recitatives and melodramas. Liszt however transforms the works into a brilliant piece. He introduces strings, horns, triangle and cymbals to great effect. ‘Grande Fantasie Symphonique on Themes from Berlioz’s Léilo’ is an extremely unusual work and is rarely performed. Its original form was a monodrama to be played straight after Symphonie fantastique – invisibly: the chorus, orchestra and soloists are behind a curtain, in front of which Léilo speaks. Liszt’s transcription presents the player with great technical difficulties. Weber’s Pollacca brillante and Invitiation to the Dance are his most brilliant piano pieces. Lizst changed the title from the Italian ‘Polacca’ to the French Polonaise, and transcribed the piece at about the same time as he transcribed Schubert’s Wandererfantasie. Liszt was particularly interested in Schubert’s WandererFantasie which was unique in Schubert’s output. It was not a sonata or a set of variations although it contains elements of both. Liszt, like Wagner, was experimenting with writing music of some length without having to break it up into smaller sections, which meant developing a way of unifying themes that could be sung or played continuously. The orchestral quality of Der Wanderer was certain to attract Liszt’s attention, and he has divided the material between the orchestra and the piano with characteristic insight.

Pianist Louis Lortie performs works composed or orchestrated by Franz Liszt – one of the greatest pianists of all time.

This disc features the very rare Grand fantasie symphonique on these from Berlioz’s Léilo which is rarely performed either in its original form or in Liszt’s transcription.

Lortie and Pehlivanian have performed Liszt together many times in concert – this is the first time their partnership has been heard on disc.


Beethoven wrote Ruins of Athens as incidental music for a play by Kotzebue whose text he admired. It is by no means a great work but served patriotic purposes. Beethoven’s music for theatre was uneven, and the incidental music to The Ruins of Athens consists of an overture and a medley of choruses and marches with occasional arias, recitatives and melodramas. Liszt however transforms the works into a brilliant piece. He introduces strings, horns, triangle and cymbals to great effect. ‘Grande Fantasie Symphonique on Themes from Berlioz’s Léilo’ is an extremely unusual work and is rarely performed. Its original form was a monodrama to be played straight after Symphonie fantastique – invisibly: the chorus, orchestra and soloists are behind a curtain, in front of which Léilo speaks. Liszt’s transcription presents the player with great technical difficulties. Weber’s Pollacca brillante and Invitiation to the Dance are his most brilliant piano pieces. Lizst changed the title from the Italian ‘Polacca’ to the French Polonaise, and transcribed the piece at about the same time as he transcribed Schubert’s Wandererfantasie. Liszt was particularly interested in Schubert’s WandererFantasie which was unique in Schubert’s output. It was not a sonata or a set of variations although it contains elements of both. Liszt, like Wagner, was experimenting with writing music of some length without having to break it up into smaller sections, which meant developing a way of unifying themes that could be sung or played continuously. The orchestral quality of Der Wanderer was certain to attract Liszt’s attention, and he has divided the material between the orchestra and the piano with characteristic insight.

Pianist Louis Lortie performs works composed or orchestrated by Franz Liszt – one of the greatest pianists of all time.

This disc features the very rare Grand fantasie symphonique on these from Berlioz’s Léilo which is rarely performed either in its original form or in Liszt’s transcription.

Lortie and Pehlivanian have performed Liszt together many times in concert – this is the first time their partnership has been heard on disc.



Beethoven wrote Ruins of Athens as incidental music for a play by Kotzebue whose text he admired. It is by no means a great work but served patriotic purposes. Beethoven’s music for theatre was uneven, and the incidental music to The Ruins of Athens consists of an overture and a medley of choruses and marches with occasional arias, recitatives and melodramas. Liszt however transforms the works into a brilliant piece. He introduces strings, horns, triangle and cymbals to great effect. ‘Grande Fantasie Symphonique on Themes from Berlioz’s Léilo’ is an extremely unusual work and is rarely performed. Its original form was a monodrama to be played straight after Symphonie fantastique – invisibly: the chorus, orchestra and soloists are behind a curtain, in front of which Léilo speaks. Liszt’s transcription presents the player with great technical difficulties. Weber’s Pollacca brillante and Invitiation to the Dance are his most brilliant piano pieces. Lizst changed the title from the Italian ‘Polacca’ to the French Polonaise, and transcribed the piece at about the same time as he transcribed Schubert’s Wandererfantasie. Liszt was particularly interested in Schubert’s WandererFantasie which was unique in Schubert’s output. It was not a sonata or a set of variations although it contains elements of both. Liszt, like Wagner, was experimenting with writing music of some length without having to break it up into smaller sections, which meant developing a way of unifying themes that could be sung or played continuously. The orchestral quality of Der Wanderer was certain to attract Liszt’s attention, and he has divided the material between the orchestra and the piano with characteristic insight.

Pianist Louis Lortie performs works composed or orchestrated by Franz Liszt – one of the greatest pianists of all time.

This disc features the very rare Grand fantasie symphonique on these from Berlioz’s Léilo which is rarely performed either in its original form or in Liszt’s transcription.

Lortie and Pehlivanian have performed Liszt together many times in concert – this is the first time their partnership has been heard on disc.



Beethoven wrote Ruins of Athens as incidental music for a play by Kotzebue whose text he admired. It is by no means a great work but served patriotic purposes. Beethoven’s music for theatre was uneven, and the incidental music to The Ruins of Athens consists of an overture and a medley of choruses and marches with occasional arias, recitatives and melodramas. Liszt however transforms the works into a brilliant piece. He introduces strings, horns, triangle and cymbals to great effect. ‘Grande Fantasie Symphonique on Themes from Berlioz’s Léilo’ is an extremely unusual work and is rarely performed. Its original form was a monodrama to be played straight after Symphonie fantastique – invisibly: the chorus, orchestra and soloists are behind a curtain, in front of which Léilo speaks. Liszt’s transcription presents the player with great technical difficulties. Weber’s Pollacca brillante and Invitiation to the Dance are his most brilliant piano pieces. Lizst changed the title from the Italian ‘Polacca’ to the French Polonaise, and transcribed the piece at about the same time as he transcribed Schubert’s Wandererfantasie. Liszt was particularly interested in Schubert’s WandererFantasie which was unique in Schubert’s output. It was not a sonata or a set of variations although it contains elements of both. Liszt, like Wagner, was experimenting with writing music of some length without having to break it up into smaller sections, which meant developing a way of unifying themes that could be sung or played continuously. The orchestral quality of Der Wanderer was certain to attract Liszt’s attention, and he has divided the material between the orchestra and the piano with characteristic insight.

‘Lortie’s playing has all the warmth and musicality one could wish for… fine recording.’
‘His [Lortie’s] carefully shaded tone, coupled with rhythmic finesse and communicative dynamism are qualities that convey both the poetry and the creative substance of these remarkable works!’
‘Lortie is a stunning pianist gifted with a dazzling technique that sounds effortless.’

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