1/23/2024 0 Comments Date of franz lizst concerto no 1![]() ![]() Francis of Paola (who was Liszt's name saint), drawn by Eduard von Steinle. The piece was inspired by a picture owned by Liszt of St. He reportedly laid his cloak on the water, tied one end to his staff as a sail, and sailed across the strait with his companions following in the boat. Francis of Paola, according to which he was refused passage by a boatman while trying to cross the Strait of Messina to Sicily. François de Paule marchant sur les flots, S.175/2 is based on a legend of St. The piece contains representations of birdsong, one of the few examples in Liszt's works of onomatopaeia. About this Piece Composed: 1839-1849 rev. The key of the piece is A major, often associated by Liszt with religious sentiment. ![]() ![]() Francis told his companions to "wait for me while I go to preach to my sisters the birds." The birds surrounded him, intrigued by the power of his voice, and not one of them flew away. It is said that, one day, while Francis was travelling with some companions, they happened upon a place in the road where birds filled the trees on either side. François d'Assise: La prédication aux oiseaux, S.175/1 is based on a story of St. In 1863 Liszt made an orchestration of both legendes, S. The Deux légendes ( French: Two legends) are a pair of pieces for solo piano, (S.175 in the catalogue compiled by Humphrey Searle) by Franz Liszt, written in 1863. Martin in the Fields Chamber Ensemble (5) Academy of St.Two pieces for piano solo by Franz Liszt Saint Francis of Paola, in an engraving by Marco Pitteri, after Federiko Benković Over the six decades of his career, Watts performed as soloist with every major American orchestra and most of the world's finest orchestras, 1 including the New York Philharmonic, National Symphony Orchestra, and London Symphony Orchestra. Müzik (2) Aaron Copland (15) Aaron Shorr (1) Aarre Merikanto (5) ABC Classics (4) Abegg Trio (1) Abel Decaux (1) Academy of St. Andr Watts (J July 12, 2023) was an American classical pianist. But I prefer Zimerman's freshness (he reminds us that this is a young man's music), and his coupling of the Totentanz.Ī.K. ![]() He is a thoughtful artist with a fine technique, and the Hungarian Fantasia is good. Kerikan (3) Complete Performance (live) 386524 - 19. 2, which is (I think mistakenly) played first. Duchable (Erato / RCA) too is rather lugubrious in places such as the start of No. That price tag attracts on Berman's DG version, as do some subtleties, but he often seems contrived in this direct music, while the piano sound is not very attractive. The sound has a depth that suits the music and the piano is especially impressive, and though in a few passages I wondered whether there was too much bass, I find it attractive.Īmong alternatives in the concertos, Richter with Kondrashin and the LSO on Philips remains in a class by himself for sheer effortless command but the 1961 recording is not striking and 39 minutes is short even for this magisterial playing it would be more competitive at medium price. In the gorgeously grisly Totentanz, both music and playing should make your hair stand on end. Finely though he handles the gentler music, there are odd sniffs and hums in the molto espressivo passage following the D flat major cello solo, and also in the last of the work's quiet sections. In the A major Zimerman adopts a different approach, he evidently considers it a more poetic piece and the playing style, strong though it is, is to match. There is plenty of drive in this Concerto. But don't let me imply a lack of finesse not only do lyrical sections sing with subtlety, the big passages also are shapely. Ozawa and the orchestra are behind the soloist in all this and the deciso element is fully realized. The result sounds spontaneous and, yes, even brave. I even felt he was deliberately taking risks in a few technically perilous places where some of his colleagues, at least in the studio, play safe and indeed his octaves in the opening cadenza are an example. This is no bad thing either for the music really calls for it. I have associated Krystian Zimerman in the past with refinement rather than bravura, while of course saluting his technique, but from the start of the E flat major Concerto I note a consciously leonine approach. ![]()
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