Wai Yin Wong - Liszt Complete Piano Music, Vol. 52: Transcriptions from Operas by Auber & Verdi (2019) [Hi-Res]
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BAND/ARTIST: Wai Yin Wong
- Title: Liszt Complete Piano Music, Vol. 52: Transcriptions from Operas by Auber & Verdi
- Year Of Release: 2019
- Label: Naxos
- Genre: Classical
- Quality: flac 24bits - 96.0kHz +Booklet
- Total Time: 01:16:01
- Total Size: 1.1 gb
- WebSite: Album Preview
Tracklist
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01. Tarantelle di bravura d'après la tarantelle de "La muette de Portici", S. 386 (1846 Version) [After Auber]
02. Tarantelle di bravura d'après la tarantelle de "La muette de Portici", S. 386 (1869 Version) [After Auber]
03. I Lombardi alla prima crociata: Salve Maria de Jérusalem, S. 431 (2nd Version) [After Verdi]
04. 3 Pieces from "La muette de Portici", S. 387: No. 1, Introduction (Prière)-No. 2, Cavatine (Berceuse) [After Auber]
05. Paraphrase de concert sur "Ernani" I, S. 431a (After Verdi)
06. Tyrolean Melody, S. 385a (After Auber's "La fiancé")
07. Grande fantaisie sur "La tyrolienne" de l'opéra "La fiancée", S. 385 (1829 Version) [After Auber]
08. Grande fantaisie sur "La tyrolienne" de l'opéra "La fiancée", S. 385 (1842 Version) [After Auber]
Over a four-decade span Liszt turned to a sequence of transcriptions drawn from operas by Verdi and Auber. Auber’s La muette de Portici (‘The Mute Girl of Portici’) marks the beginnings of French grand opera, to which Liszt responded with two versions of a Tarantelle that differ relatively little from each other but offer formidable challenges to the performer in their increasingly complex virtuosity. His elaborate variations on Auber’s La fiancée and his concert paraphrase on Verdi’s Ernani and on a prayer from I Lombardi (called Jérusalem in the French staging) offer their own profoundly expressive textures.
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01. Tarantelle di bravura d'après la tarantelle de "La muette de Portici", S. 386 (1846 Version) [After Auber]
02. Tarantelle di bravura d'après la tarantelle de "La muette de Portici", S. 386 (1869 Version) [After Auber]
03. I Lombardi alla prima crociata: Salve Maria de Jérusalem, S. 431 (2nd Version) [After Verdi]
04. 3 Pieces from "La muette de Portici", S. 387: No. 1, Introduction (Prière)-No. 2, Cavatine (Berceuse) [After Auber]
05. Paraphrase de concert sur "Ernani" I, S. 431a (After Verdi)
06. Tyrolean Melody, S. 385a (After Auber's "La fiancé")
07. Grande fantaisie sur "La tyrolienne" de l'opéra "La fiancée", S. 385 (1829 Version) [After Auber]
08. Grande fantaisie sur "La tyrolienne" de l'opéra "La fiancée", S. 385 (1842 Version) [After Auber]
Over a four-decade span Liszt turned to a sequence of transcriptions drawn from operas by Verdi and Auber. Auber’s La muette de Portici (‘The Mute Girl of Portici’) marks the beginnings of French grand opera, to which Liszt responded with two versions of a Tarantelle that differ relatively little from each other but offer formidable challenges to the performer in their increasingly complex virtuosity. His elaborate variations on Auber’s La fiancée and his concert paraphrase on Verdi’s Ernani and on a prayer from I Lombardi (called Jérusalem in the French staging) offer their own profoundly expressive textures.
Year 2019 | Classical | FLAC / APE | HD & Vinyl
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