Kenneth Hamilton - Kenneth Hamilton Plays Liszt, Vol. 3: Demonic and Divine (2026) Hi-Res
BAND/ARTIST: Kenneth Hamilton
- Title: Kenneth Hamilton Plays Liszt, Vol. 3: Demonic and Divine
- Year Of Release: 2026
- Label: Prima Facie
- Genre: Classical
- Quality: FLAC 16/24 Bit (44,1 KHz / tracks+booklet)
- Total Time: 148:56 min
- Total Size: 498 MB / 1,2 GB
- WebSite: Album Preview
Tracklist:
CD1:
01. Harmonies poétiques et religieuses III, S. 173: No. 1, Invocation
02. Sancta Dorothea, S. 187
03. Scherzo und Marsch, S. 177: I. Scherzo
04. Scherzo und Marsch, S. 177: II. Marsch
05. La lugubre gondola, S. 200:2
06. Liebesszene und Fortunas Kugel aus dem oratorium Die sieben Todsünden, S. 490
07. Aus Lohengrin, S. 446: No. 3, Lohengrins Verweis an Elsa
08. Harmonies poétiques et religieuses III, S. 173: No. 5, Pater noster
09. Fantasy & Fugue on the Chorale "Ad nos, ad salutarem undam", S. 259 (1)
10. Fantasy & Fugue on the Chorale "Ad nos, ad salutarem undam", S. 259 (2)
11. Fantasy & Fugue on the Chorale "Ad nos, ad salutarem undam", S. 259 (3)
CD2:
01. Cavatine de Robert le diable, S. 412a
02. Réminiscences de Robert le diable, S. 413
03. 2 Légendes, S. 175: No. 1, St. François d'assise: La prédication aux oiseaux
04. 2 Légendes, S. 175: No. 2, St. François de Paule. Marchant sur les flots
05. Harmonies poétiques et religieuses III, S. 173: No. 9, Andante lagrimoso
06. Harmonies poétiques et religieuses III, S. 173: No. 10, Cantique d'amour
07. Toccata, S. 197a
08. Wiegenlied, S. 198
09. Harmonies poétiques et religieuses III, S. 173: No. 8, Miserere d'après Palestrina
10. Unstern, S. 208
11. Mephisto Waltz No. 1, S. 514
CD1:
01. Harmonies poétiques et religieuses III, S. 173: No. 1, Invocation
02. Sancta Dorothea, S. 187
03. Scherzo und Marsch, S. 177: I. Scherzo
04. Scherzo und Marsch, S. 177: II. Marsch
05. La lugubre gondola, S. 200:2
06. Liebesszene und Fortunas Kugel aus dem oratorium Die sieben Todsünden, S. 490
07. Aus Lohengrin, S. 446: No. 3, Lohengrins Verweis an Elsa
08. Harmonies poétiques et religieuses III, S. 173: No. 5, Pater noster
09. Fantasy & Fugue on the Chorale "Ad nos, ad salutarem undam", S. 259 (1)
10. Fantasy & Fugue on the Chorale "Ad nos, ad salutarem undam", S. 259 (2)
11. Fantasy & Fugue on the Chorale "Ad nos, ad salutarem undam", S. 259 (3)
CD2:
01. Cavatine de Robert le diable, S. 412a
02. Réminiscences de Robert le diable, S. 413
03. 2 Légendes, S. 175: No. 1, St. François d'assise: La prédication aux oiseaux
04. 2 Légendes, S. 175: No. 2, St. François de Paule. Marchant sur les flots
05. Harmonies poétiques et religieuses III, S. 173: No. 9, Andante lagrimoso
06. Harmonies poétiques et religieuses III, S. 173: No. 10, Cantique d'amour
07. Toccata, S. 197a
08. Wiegenlied, S. 198
09. Harmonies poétiques et religieuses III, S. 173: No. 8, Miserere d'après Palestrina
10. Unstern, S. 208
11. Mephisto Waltz No. 1, S. 514
Prima Facie is delighted to present Demonic and Divine, the eagerly-anticipated third instalment of Kenneth Hamilton’s internationally acclaimed Liszt series. The first volume, Death and Transfiguration, was a Gramophone “Best Classical Album” of 2022 (“Masterly readings…I cannot recommend this release too highly”, Jeremy Nicholas). The second, Salon and Stage, was the Guardian’s “Top Classical Recording of 2023” (“Hamilton’s ability to combine pianistic flair and technical brilliance with an acute understanding of how this music came into existence makes these performances very special indeed”, Andrew Clements).
Volume 3 shares with its predecessors Hamilton’s extraordinary passion for Liszt’s music. He has intensively studied Liszt’s often ignored interpretative advice, and immersed himself in the reminiscences and recordings of his pupils. In fact, he has himself tried to think like a latter-day Liszt student. His efforts have been encouraged by an exciting recent rediscovery in the Czech Republic: the score and manuscript collection of August Stradal, one of Liszt’s last students.
Volume 3 shares with its predecessors Hamilton’s extraordinary passion for Liszt’s music. He has intensively studied Liszt’s often ignored interpretative advice, and immersed himself in the reminiscences and recordings of his pupils. In fact, he has himself tried to think like a latter-day Liszt student. His efforts have been encouraged by an exciting recent rediscovery in the Czech Republic: the score and manuscript collection of August Stradal, one of Liszt’s last students.
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