Jean-Nicolas Diatkine - Franz Liszt - Piano transcriptions of Schubert and Wagner (2022) [Hi-Res]
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BAND/ARTIST: Jean-Nicolas Diatkine
- Title: Franz Liszt - Piano transcriptions of Schubert and Wagner
- Year Of Release: 2022
- Label: Solo Musica
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:15:13
- Total Size: 261 mb / 1.14 gb
- WebSite: Album Preview
Tracklist
01. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 2, Auf dem Wasser zu singen [After Schubert's D. 774]
02. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 8, Gretchen am Spinnrade [After Schubert's D. 118]
03. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 10, Rastlose Liebe [After Schubert's D. 138]
04. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 12, Ave Maria [After Schubert's D. 839]
05. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 4, Erlkönig [After Schubert's D. 328]
06. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 1, Liebesbotschaft
07. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 4, Ständchen
08. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 8, Der Atlas
09. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 13, Der Doppelgänger
10. Ballade No. 2 in B Minor, S. 171
11. Isoldes Liebestod aus Tristan und Isolde, S. 447 (After Wagner's WWV 90)
12. Elsas Brautzug zum Münster, S. 445 No. 1 (After Wagner's WWV 75)
13. Pilgerchor aus Tannhäuser, S. 443 (After Wagner's WWV 70)
14. Feierlicher Marsch zum Heiligen Gral aus Parsifal, S. 450 (After Wagner's WWV 111)
Some of Jean-Nicolas Diatkine's singer friends have ended their careers, but their magic is irreplaceable in his eyes, or rather in his ears. He misses them, just as he misses the Schubert, Schumann and Brahms songs they sang. Well, there is only one person who can compensate for this loss, and his name is Franz Liszt. The main aim of transcriptions was to make orchestral works known to a wider audience, at a time when there were far fewer orchestras, and public access to symphony concerts was very limited. But Liszt gives transcriptions a new meaning: he puts the orchestra into the piano, since his style is particularly suited to outsized extravagance. Thus he opens up unprecedented pianistic possibilities, where virtuosity is no longer mere exhibitionism but rather transformed into the art of illusion. His arrangements of Wagner are so convincing that they become his own personal creations.
Laurent Bessières, piano tuner at the Paris Philharmonic, suggested for this recording a Schiedmayer piano of 1916 made in Stuttgart, which he had completely rebuilt in collaboration with Antoine Letessier-Salmon, director of the French National Centre for Scientific Research, and Stephen Paulello, piano maker and inventor of the strings that bear his name. This instrument has almost never been used in concert, however excellent work by Laurent Bessières convinced us to try it out in this very special repertoire.
01. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 2, Auf dem Wasser zu singen [After Schubert's D. 774]
02. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 8, Gretchen am Spinnrade [After Schubert's D. 118]
03. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 10, Rastlose Liebe [After Schubert's D. 138]
04. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 12, Ave Maria [After Schubert's D. 839]
05. 12 Lieder von Franz Schubert, S. 558 (Excerpts): No. 4, Erlkönig [After Schubert's D. 328]
06. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 1, Liebesbotschaft
07. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 4, Ständchen
08. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 8, Der Atlas
09. Schwanengesang, S. 560 (Excerpts) [After Schubert's D. 957]: No. 13, Der Doppelgänger
10. Ballade No. 2 in B Minor, S. 171
11. Isoldes Liebestod aus Tristan und Isolde, S. 447 (After Wagner's WWV 90)
12. Elsas Brautzug zum Münster, S. 445 No. 1 (After Wagner's WWV 75)
13. Pilgerchor aus Tannhäuser, S. 443 (After Wagner's WWV 70)
14. Feierlicher Marsch zum Heiligen Gral aus Parsifal, S. 450 (After Wagner's WWV 111)
Some of Jean-Nicolas Diatkine's singer friends have ended their careers, but their magic is irreplaceable in his eyes, or rather in his ears. He misses them, just as he misses the Schubert, Schumann and Brahms songs they sang. Well, there is only one person who can compensate for this loss, and his name is Franz Liszt. The main aim of transcriptions was to make orchestral works known to a wider audience, at a time when there were far fewer orchestras, and public access to symphony concerts was very limited. But Liszt gives transcriptions a new meaning: he puts the orchestra into the piano, since his style is particularly suited to outsized extravagance. Thus he opens up unprecedented pianistic possibilities, where virtuosity is no longer mere exhibitionism but rather transformed into the art of illusion. His arrangements of Wagner are so convincing that they become his own personal creations.
Laurent Bessières, piano tuner at the Paris Philharmonic, suggested for this recording a Schiedmayer piano of 1916 made in Stuttgart, which he had completely rebuilt in collaboration with Antoine Letessier-Salmon, director of the French National Centre for Scientific Research, and Stephen Paulello, piano maker and inventor of the strings that bear his name. This instrument has almost never been used in concert, however excellent work by Laurent Bessières convinced us to try it out in this very special repertoire.
Year 2022 | Classical | FLAC / APE | HD & Vinyl
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