Oxana Ya - Franz Liszt: Schubert Song Transcriptions [CD]

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Franz Liszt (1811-1886)Complete Piano Music, Volume 5 ?\xe1?\xe1?\xe1?\xe1?\xe1 Notonly is Liszt's music brilliant, not only does he pour his wealth of ?\xe1?\xe1?\xe1?\xe1 pearlsand diamonds down the keyboard, but his pieces rise to great ?\xe1?\xe1?\xe1?\xe1 climaxes, aregrandiose in style, overleap all boundaries, and whirl you ?\xe1 away with thevehemence of passion.- Amy Fay(1844-1928), American pianist, author,pupil of Tausig, Kullakand Liszt. Franz Liszt held a commanding position in the world ofmusic, his career likened to the passing of some great flaming meteor acrossthe heavens. Good fairies showered gifts upon him at his cradle and the storyof his later life reads more like an extravagant romance than fact. Not onlydid he become one of the most important composers of the nineteenth centurybut, beyond that, he was one of the greatest pianists in the history of theinstrument. When asked what he would have been had he not been a musician,Liszt is said to have replied that he would have been the greatest diplomat in Europe.As it was, he created a new epoch in the history of the piano. Because the manand his music were one, it was difficult to separate them. Liszt played as helooked, and looked as he played. At the piano his face changed, sometimes nobleand tender, sometimes stormy and defiant, sometimes sardonic, Mephistophelean,and, always underlying everything, expressive of infinite knowledge and power. The music of other composers was Liszt's to mould,transcribe, exalt, promote and popularise on the piano. For the music ofSchubert, a composer he declared to be the most poetic of al' he had aparticular affection and sympathy and this is reflected in some sixtytranscriptions of Schubert songs. Many of these were written in the late 1830sand formed a popular part of his concert programmes during his years as a travellingvirtuoso. Here he was able to express his own enthusiasm for Schubert and tobring this repertoire to the attention of a wider audience. It has beenobserved that these transcriptions, a number of them made towards the end of hisrelationship with Countess Marie d'Agoult, the mother of his three children,during a period spent on the Rhine island of Nonnenwerth, came at a time whenhis own leanings were moving away from France and the Paris of his adolescencetowards Germany. The present release includes fourteen transcriptions ofsongs by Schubert. The first of these is among the best known. Schubert's Aufdem Wasser zu singen (To be sung on the water) is a selling of a poem byFriedrich Leopold Graf zu Stolberg-Stolberg. Liszt's transcription, under thetitle Barcarolle, was published in 1838 with a group of twelve similartranscriptions, eleven of them dedicated to the Countess d' Aragon, and thetwelfth to Marie d' Agoult. Liszt insisted that those who played these songtranscriptions should be aware of the words and that the text should be publishedabove the transcription, as a song text, not, as his first publisher had, placedat the head of the trans

12 Lieder, G-S558, No. 2 - R243, No.2: Auf dem Wasser zu singen

Winterreise, G-S561, No. 6 - R246, No. 6: Wasserflut

6 M\xef\xbf\xbdlllerlieder, G-S565, No. 2 - R249, No. 2: Der M\xef\xbf\xbdller und der Bach

Schwanengesang, G-S560 No. 8 - R245, No. 8: Ihr Bild

Schwanengesang, G-S560 No. 7 - R245, No. 7: St\xef\xbf\xbdndchen

12 Lieder, G-S558, No. 9 - R243, No. 9: St\xef\xbf\xbdndchen (Shakespeare) (Horch, horch, die Lerch)

12 Lieder, G-S558, No. 1 - R243, No. 1: Sei mir gegr\xef\xbf\xbd

Sechs Melodien, G-S558, No. 4 0 R248, No. 4: Trockne Blumen

12 Lieder, G-S558, No. 7 - R243, No. 7: Fr\xef\xbf\xbdhlingsglaube

12 Lieder, G-S558, No. 3 - R243, No. 3: Du bist die Ruh

Schwanengesang, G-S560, No. 12 - R245, No. 12: Der Doppelg\xef\xbf\xbdnger

12 Lieder, G-S558, No. 8 - R243, No. 8: Gretchen am Spinnrade

12 Lieder, G-S558, No. 8 - R243, No. 8: Der Wanderer

Schwanengesang, G-S560, No. 3 - R245, No. 3: Aufenthalt