Vladimir Feltsman - Liszt: Works for Piano (2012)
BAND/ARTIST: Vladimir Feltsman
- Title: Liszt: Works for Piano
- Year Of Release: 2012
- Label: Nimbus Alliance
- Genre: Classical Piano
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:13:17
- Total Size: 193 mb
- WebSite: Album Preview
Tracklist
01. Liebesträume No. 3 in A-Flat Major, S. 541
02. Ballade No. 2 in B Minor, S. 171
03. Six Consolations, S. 172: I. Andante con moto
04. Six Consolations, S. 172: II. Un poco piu mosso
05. Six Consolations, S. 172: III. Lento placido
06. Six Consolations, S. 172: IV. Quasi adagio
07. Six Consolations, S. 172: V. Andantino
08. Six Consolations, S. 172: VI. Allegretto sempre cantabile
09. Harmonies poétiques et religieuses III, S.173: Bénédiction de Dieu dans la Solitude
10. Berceuse in F-Sharp Major, S. 714
11. Elegia, S. 196
12. La Lugubre Dondola II, S. 200
13. En Rêve, S. 207: Nocturne
This 2013 Nimbus release by Vladimir Feltsman is a collection of favorite piano pieces by Franz Liszt, showing the reflective side of the composer, instead of the purely virtuosic. That is not to say that these selections aren't dazzling in their own way, since few of Liszt's compositions are wholly free of technical wizardry, but the dominant tones of the album are thoughtful and serious. Feltsman's program opens with the famous Liebesträum No. 3 in A flat major, one of Liszt's greatest hits, a quiet, sentimental miniature that is both lyrical and passionately Romantic. This "dream of love" sets the tone for the other short pieces, which include the delicate Berceuse in F sharp major, along with three late compositions: Elegia, the second version of La lugubre gondola, and the nocturne En rêve, which balance and contrast the two large meditative pieces at the heart of the album, the Six Consolations, and the title work, Bénédiction de Dieu dans la solitude, from Harmonies poétiques et religieuses. Only the Ballade No. 2 in B minor is characteristically flashy and tumultuous, and Feltsman was wise to include at least one showstopper in what is otherwise a subtle and fairly introspective recital. The recording is clear and resonant, and because the microphone isn't especially close, the acoustics are allowed to enhance the sound.
01. Liebesträume No. 3 in A-Flat Major, S. 541
02. Ballade No. 2 in B Minor, S. 171
03. Six Consolations, S. 172: I. Andante con moto
04. Six Consolations, S. 172: II. Un poco piu mosso
05. Six Consolations, S. 172: III. Lento placido
06. Six Consolations, S. 172: IV. Quasi adagio
07. Six Consolations, S. 172: V. Andantino
08. Six Consolations, S. 172: VI. Allegretto sempre cantabile
09. Harmonies poétiques et religieuses III, S.173: Bénédiction de Dieu dans la Solitude
10. Berceuse in F-Sharp Major, S. 714
11. Elegia, S. 196
12. La Lugubre Dondola II, S. 200
13. En Rêve, S. 207: Nocturne
This 2013 Nimbus release by Vladimir Feltsman is a collection of favorite piano pieces by Franz Liszt, showing the reflective side of the composer, instead of the purely virtuosic. That is not to say that these selections aren't dazzling in their own way, since few of Liszt's compositions are wholly free of technical wizardry, but the dominant tones of the album are thoughtful and serious. Feltsman's program opens with the famous Liebesträum No. 3 in A flat major, one of Liszt's greatest hits, a quiet, sentimental miniature that is both lyrical and passionately Romantic. This "dream of love" sets the tone for the other short pieces, which include the delicate Berceuse in F sharp major, along with three late compositions: Elegia, the second version of La lugubre gondola, and the nocturne En rêve, which balance and contrast the two large meditative pieces at the heart of the album, the Six Consolations, and the title work, Bénédiction de Dieu dans la solitude, from Harmonies poétiques et religieuses. Only the Ballade No. 2 in B minor is characteristically flashy and tumultuous, and Feltsman was wise to include at least one showstopper in what is otherwise a subtle and fairly introspective recital. The recording is clear and resonant, and because the microphone isn't especially close, the acoustics are allowed to enhance the sound.
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