
Wydawnictwo: Audite
Nr katalogowy: AUDITE 97793
Nośnik: 2 CD
Data wydania: październik 2022
EAN: 4022143977939
Nr katalogowy: AUDITE 97793
Nośnik: 2 CD
Data wydania: październik 2022
EAN: 4022143977939
Liszt: The Organ Composer
Audite - AUDITE 97793
Kompozytor
Franz Liszt (1811-1886)
Franz Liszt (1811-1886)
Wykonawcy
Anna-Victoria Baltrusch, organ
Anna-Victoria Baltrusch, organ
Utwory na płycie:
Prelude and Fugue on the name B-A-C-H, S. 260 - I. Prelude
Prelude and Fugue on the name B-A-C-H, S. 260 - II. Fugue
Prelude and Fugue on the name B-A-C-H, S. 260 - III. Fugue
Prelude and Fugue on the name B-A-C-H, S. 260 - IV. Fugue
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - I. Moderato
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - II. Animando poco a poco
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - III. Vivace
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - IV. Recitativo
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - V. Adagio
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - VI. Un poco più di moto
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - VII. Adagio
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - VIII. Allegro deciso
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - IX. Fuga. Allegretto con moto
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - X. Allegro con brio
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - XI. Vivace molto
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - XII. Più mosso
Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 - XIII. Choral
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - I. Andante – Presto
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - II. Allegro
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - III. Allegro moderato
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - IV. Variation 1
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - V. Variation 2
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - VI. Variation 3
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - VII. Variation 4
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - VIII. Variation 5
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - IX. Cadenza
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - X. Sempre allegro, ma non troppo
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - XI. Allegretto scherzando
Totentanz. Paraphrase on the 'Dies Irae', S. 126 - XII. Allegro animato
Weinen, Klagen, Sorgen, Zagen. Prelude after J. S. Bach, S. 179 - I. Lento
Weinen, Klagen, Sorgen, Zagen. Prelude after J. S. Bach, S. 179 - II. Poco a poco accelerando e crescendo
Weinen, Klagen, Sorgen, Zagen. Prelude after J. S. Bach, S. 179 - III. Quasi allegro
Weinen, Klagen, Sorgen, Zagen. Prelude after J. S. Bach, S. 179 - IV. Recitativo
Weinen, Klagen, Sorgen, Zagen. Prelude after J. S. Bach, S. 179 - V. Quasi andante
Weinen, Klagen, Sorgen, Zagen. Prelude after J. S. Bach, S. 179 - VI. Choral
CD 1:
Präludium und Fuge über B-A-C-H, S 260
Fantasie und Fuge über den Choral „Ad nos ad salutarem undam”, S 259
CD 2:
Totentanz. Paraphrase über „Dies Irae”, S 126
Weinen, Klagen, Sorgen, Zagen. Präludium nach J. S. Bach, S 179
Präludium und Fuge über B-A-C-H, S 260
Fantasie und Fuge über den Choral „Ad nos ad salutarem undam”, S 259
CD 2:
Totentanz. Paraphrase über „Dies Irae”, S 126
Weinen, Klagen, Sorgen, Zagen. Präludium nach J. S. Bach, S 179
Innovation, colour, virtuosity, spirituality, precipice, transcendence – these are the most important poles explored by organist Anna-Victoria Baltrusch in Liszt’s organ works. Her own adaptation of Liszt’s diabolical Totentanz is a stirring highlight of her CD.
Liszt was a constant musical seeker and researcher: many formal and harmonic innovations of the romantic era can be traced back to him. His three main organ works contributed significantly to the re-evaluation of nineteenth century organ music. Liszt struggled to find ideal formats for them, and also arranged numerous works, penned by him as well as by other composers, for the organ, which for him represented the logical link between the piano and the orchestra. On this CD, the organist Anna-Victoria Baltrusch draws on the evolving nature of his organ music by combining Liszt’s three great organ works with her own highly virtuosic adaptation of his Totentanz (Danse macabre) – originally written in versions for piano and orchestra, two pianos, or piano alone.
Recording: Court Church, Lucerne, June 23 - 25, 2021. Instrument: Große Orgel und Echowerk, Hofkirche Luzern (1977).
Liszt was a constant musical seeker and researcher: many formal and harmonic innovations of the romantic era can be traced back to him. His three main organ works contributed significantly to the re-evaluation of nineteenth century organ music. Liszt struggled to find ideal formats for them, and also arranged numerous works, penned by him as well as by other composers, for the organ, which for him represented the logical link between the piano and the orchestra. On this CD, the organist Anna-Victoria Baltrusch draws on the evolving nature of his organ music by combining Liszt’s three great organ works with her own highly virtuosic adaptation of his Totentanz (Danse macabre) – originally written in versions for piano and orchestra, two pianos, or piano alone.
Recording: Court Church, Lucerne, June 23 - 25, 2021. Instrument: Große Orgel und Echowerk, Hofkirche Luzern (1977).