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
Nagrody i rekomendacje
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).
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