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PT 6397
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PT 6397
LISZT, F.: Piano 5 Nos. 1 and 2 / Totentanz / Hungarian Fantasy (Arghamanyan, Berlin Radio Symphony, Altinoglu)

LISZT, F.: Piano 5 Nos. 1 and 2 / Totentanz / Hungarian Fantasy (Arghamanyan, Berlin Radio Symphony, Altinoglu)

The Classical Shop
release date: December 2012

Originally recorded in 2012

Artists:

Berlin Radio Symphony Orchestra


Altinoglu, Alain


Nareh Arghamanyan

Soloist

Alain Altinoglu

Soloist

Record Label
PentaTone

Genre:

Orchestral & Concertos


Classical

Total Time - 71:50
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LISZT, F.: Piano 5 Nos. 1 and 2 / Totentanz / Hungarian Fantasy (Arghamanyan, Berlin Radio Symphony, Altinoglu)

     
Select Complete Single Disc for
 

FRANZ LISZT

     
 

Piano Concerto No. 1 in E flat major, S124/R455

 
1 Allegro maestoso 5:24
 Nareh Arghamanyan Soloist
2 Quasi adagio - Allegretto vivace 9:10
 Alain Altinoglu Soloist
3 Allegro marziale animato 4:14
 Nareh Arghamanyan Soloist
     
 

Piano Concerto No. 2 in A major, S125/R456

 
4 Adagio sostenuto assai - 5:10
 Alain Altinoglu Soloist
5 Allegro agitato assai - 7:38
 Alain Altinoglu Soloist
6 Allegro deciso - 2:56
 Nareh Arghamanyan Soloist
7 Marziale un poco meno allegro 6:07
 Alain Altinoglu Soloist
     
 

Totentanz, S126/R457

 
8 Andante - Allegro - Allegro moderato - 2:00
 Nareh Arghamanyan Soloist
9 Variation 1 - Variation 2 - 1:33
 Alain Altinoglu Soloist
10 Variation 3 - 0:33
 Alain Altinoglu Soloist
11 Variation 4 - 3:22
 Alain Altinoglu Soloist
12 Variation 5 - 3:59
 Alain Altinoglu Soloist
13 Variation 6 4:11
 Nareh Arghamanyan Soloist
     
14 

Fantasia on Hungarian Folk Themes, S123/R458, "Hungarian Fantasy"

15:33
 Nareh Arghamanyan Soloist
 Altinoglu, Alain


 New ideas for an ancient genre
 
During his stay in the French capital, the German poet Heinrich Heine wrote a series of articles for the Augsburger Allgemeine Zeitung, entitled "Musikalische Saison in Paris" (= musical season in Paris). These articles still make for fascinating reading, with Heine providing a highly ironic and personal account of musical life in Paris. And, of course, he repeatedly dealt with composer Franz Liszt. This was again the case in the article devoted to the year 1841. That year, Liszt had given two piano recitals based on the music of Beethoven. Heine writes the following: "Despite his genius, Liszt meets with opposition here in Paris, which usually consists of serious musicians and crowns his rival, the imperial Thalberg, with laurels. – Liszt has already given two concerts in which he has played all by himself, against all tradition, without involving other artists. He is now preparing a third concert in honour of Beethoven. This composer must indeed appeal most to the taste of someone like Liszt."
This passage is interesting for several reasons. Not only does Heine inform us that the piano recital was at that time something completely new, but as least as important is his remark concerning Liszt’s affinity to Beethoven, which apparently is contrary to that of other great piano virtuosos, such as his "competitor" Sigismond Thalberg.
In the nineteenth century, namely, the great piano virtuosos – such as Johann Nepomuk Hummel, Henri Herz, and the above-mentioned Thalberg – preferred to play their own piano concertos in concerts with orchestra. Even Chopin performed his two piano concertos during his rare appearances in public. By contrast, Franz Liszt preferred to perform works such as Beethoven’s Piano Concerto No. 5, Weber’s Konzertstück, or the virtuoso work Hexameron, which was written collectively by a group of composers, consisting of Chopin, Czerny, Pixis, Herz, Thalberg, and himself.
                      Artistic Quality 9      Sound Quality 10
"... this release’s interpretive care and high sonic standards deserve serious consideration..."
 
Jed Distler - ClassicsToday.com - May 2013

                Performance ***          Recording ***

"... the technique of this young Armenian-born pianist is beautifully flluent, giving her playing freedon that is not at all slick or perfunctory, and she also offers likeable, rounded tone and more than reasonable firepower... The pleasing tone of Arghamanyan’s playing is well captured by the recording..."

malcolm Hayes - BBC Music magazine - February 2013




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