Paul Williamson - Liszt: Complete Piano Music, Vol. 67 - COMPACT DISCS [CD]
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Marches and other patriotic music frequently occupied the final place in Liszt's recitals, often emphasising the Hungarian cause, which Liszt supported. They also could have contributed to the previously mentioned mood of Lisztomania. It is therefore unsurprising that marches are to be found in Liszt's compositions and arrangements throughout his lifetime. They are represented here with works from around 1830 to 1879, all arrangements of other composers' music, which, in Liszt's hands, achieve artistic heights only found infrequently elsewhere. Given the common practice of the era for performer-composers to play their own music, Liszt could, through the inclusion of an arrangement of a well-known march, acknowledge others' music, and also pay respect to the culture of wherever the concert was taking place. In an era when recordings were not possible, piano arrangements of orchestral and vocal works were commonplace. Liszt cultivated this medium particularly successfully, creating arrangements of, for example, Beethoven symphonies and paraphrases of stage works by Russian composers such as Glinka. Arrangements heard here of marches by Beethoven, Giuseppe Donizetti, Glinka, Massenet, Meyerbeer, Rossini, Schubert and Szechenyi, indicate the breadth of Liszt's programming for his time. Album Tracks 1. Einleitung Und Ungarischer Marsch Von Graf Imre Széchényi (Bevezetés ÉS Magyar Induló GRÓF Széchényi Imrétol), S573/R261 2. Grande Paraphrase de la Marche de Giuseppe Donizetti Composée Pour Sa Majesté Le Sultan Abdul Medjid Khan, S403/R157 3. Revive Szegedin, Marche Hongroise de Szabady Transcrite Pour Piano D'après L'orchestration de J. Massenet, S572/R260 4. Introduction Des Variations Sur Une Marche Du Siège de Corinthe de Rossini, S421A 5. Marche Funèbre de la Symphonie Héroïque de L. Van Beethoven. Partition de Piano Par F. Liszt, S464/R128 6. Marche Mi
- GenreClassicalDescriptionMarches and other patriotic music frequently occupied the final place in Liszt's recitals, often emphasising the Hungarian cause, which Liszt supported. They also could have contributed to the previously mentioned mood of Lisztomania. It is therefore unsurprising that marches are to be found in Liszt's compositions and arrangements throughout his lifetime. They are represented here with works from around 1830 to 1879, all arrangements of other composers' music, which, in Liszt's hands, achieve artistic heights only found infrequently elsewhere. Given the common practice of the era for performer-composers to play their own music, Liszt could, through the inclusion of an arrangement of a well-known march, acknowledge others' music, and also pay respect to the culture of wherever the concert was taking place. In an era when recordings were not possible, piano arrangements of orchestral and vocal works were commonplace. Liszt cultivated this medium particularly successfully, creating arrangements of, for example, Beethoven symphonies and paraphrases of stage works by Russian composers such as Glinka. Arrangements heard here of marches by Beethoven, Giuseppe Donizetti, Glinka, Massenet, Meyerbeer, Rossini, Schubert and Szechenyi, indicate the breadth of Liszt's programming for his time. Album Tracks 1. Einleitung Und Ungarischer Marsch Von Graf Imre Széchényi (Bevezetés ÉS Magyar Induló GRÓF Széchényi Imrétol), S573/R261 2. Grande Paraphrase de la Marche de Giuseppe Donizetti Composée Pour Sa Majesté Le Sultan Abdul Medjid Khan, S403/R157 3. Revive Szegedin, Marche Hongroise de Szabady Transcrite Pour Piano D'après L'orchestration de J. Massenet, S572/R260 4. Introduction Des Variations Sur Une Marche Du Siège de Corinthe de Rossini, S421A 5. Marche Funèbre de la Symphonie Héroïque de L. Van Beethoven. Partition de Piano Par F. Liszt, S464/R128 6. Marche MiArtistPaul WilliamsonTitleLiszt: Complete Piano Music, Vol. 67FormatCDLabelNaxos
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Marches and other patriotic music frequently occupied the final place in Liszt's recitals, often emphasising the Hungarian cause, which Liszt supported. They also could have contributed to the previously mentioned mood of Lisztomania. It is therefore unsurprising that marches are to be found in Liszt's compositions and arrangements throughout his lifetime. They are represented here with works from around 1830 to 1879, all arrangements of other composers' music, which, in Liszt's hands, achieve artistic heights only found infrequently elsewhere. Given the common practice of the era for performer-composers to play their own music, Liszt could, through the inclusion of an arrangement of a well-known march, acknowledge others' music, and also pay respect to the culture of wherever the concert was taking place. In an era when recordings were not possible, piano arrangements of orchestral and vocal works were commonplace. Liszt cultivated this medium particularly successfully, creating arrangements of, for example, Beethoven symphonies and paraphrases of stage works by Russian composers such as Glinka. Arrangements heard here of marches by Beethoven, Giuseppe Donizetti, Glinka, Massenet, Meyerbeer, Rossini, Schubert and Szechenyi, indicate the breadth of Liszt's programming for his time. Album Tracks 1. Einleitung Und Ungarischer Marsch Von Graf Imre Széchényi (Bevezetés ÉS Magyar Induló GRÓF Széchényi Imrétol), S573/R261 2. Grande Paraphrase de la Marche de Giuseppe Donizetti Composée Pour Sa Majesté Le Sultan Abdul Medjid Khan, S403/R157 3. Revive Szegedin, Marche Hongroise de Szabady Transcrite Pour Piano D'après L'orchestration de J. Massenet, S572/R260 4. Introduction Des Variations Sur Une Marche Du Siège de Corinthe de Rossini, S421A 5. Marche Funèbre de la Symphonie Héroïque de L. Van Beethoven. Partition de Piano Par F. Liszt, S464/R128 6. Marche Mi
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