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WR 6043
LISZT, F.: Piano Music (Richter Plays Liszt: Live From Moscow and Budapest) (1958-1961)

LISZT, F.: Piano Music (Richter Plays Liszt: Live From Moscow and Budapest) (1958-1961)

The Classical Shop
release date: June 2013

Originally recorded in 2012

Artists:

Hungarian State Orchestra

Orchestra

Janos Ferencsik

Conductor

Sviatoslav Richter

Soloist

Janos Ferencsik

Soloist

Venue:

Moscow

Venue

Budapest

Venue

Record Label
West Hill Radio Archives

Genre:

Instrumental


Classical

Total Time - 79:43
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LISZT, F.: Piano Music (Richter Plays Liszt: Live From Moscow and Budapest) (1958-1961)

     
Select Complete Single Disc for
 

FRANZ LISZT

     
 

Liebestraume, S541/R211: No. 3. Nocturne in A flat major

 
1 No. 2. Nocturne in E flat major 4:25
2 No. 3. Nocturne in A flat major 4:21
 Sviatoslav Richter Soloist
     
 

4 Valses oubliees, S215/R37

 
3 Valse oubliee No. 1 2:37
4 Valse oubliee No. 2 5:39
5 Valse oubliee No. 3 4:39
 Sviatoslav Richter Soloist
     
6 

Der Tanz in der Dorfschenke, S514/R181, "Mephisto Waltz No. 1"

11:02
 Sviatoslav Richter Soloist
     
7 

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

14:57
 Janos Ferencsik Soloist
 Janos Ferencsik Conductor
     
8 

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

20:52
 Janos Ferencsik Soloist
 Janos Ferencsik Conductor
     
9 

Harmonies poetiques et religieuses, S173/R14

11:11
 Sviatoslav Richter Soloist
     


Richter’s Liszt repertoire was characteristically selective. It included works both major and minor, difficult and simple, profound masterpieces as well as crowd-pleasers, programmatic as well as “absolute” music. He focused on music from Liszt’s maturity, only occasionally dipping into the showpieces of Liszt’s youth or the strange experiments of his old age, and he mostly avoided Liszt’s arrangements. Still, Richter was one of the twentieth century’s important Liszt interpreters, deeply committed to those Liszt works he did play. His Liszt was bold, potent, epic in scale, but also, where appropriate, probing, introspective, even haunting. Listening to the concert performances from 1958 released here, one hears tenderness, delicacy, and great lyric power in the two Liebesträume; wit and bite, as well as immaculate fingerwork and a wide, occasionally impressionistic tonal palette, in the Valses oubliées; real ferocity and sometimes frantic drive, as well as considerable mystery, in the Mephisto Waltz No. 1. Of the opening of Funérailles, the Liszt biographer Alan Walker wrote, “The player who lacks the courage to keep the pedal down may produce a ‘cleaner’ sound, but he will lose the noise and clangor of funeral bells which build up to a deafening roar. If he loses that, he loses the piece.” Not surprisingly, Richter, in the monumental, powerfully expressive account released here, does not “lose the piece”: he never lacked that particular kind of courage, for it was not in his nature to compromise interpretively.

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