Liszt - Piano Concertos Nos. 1 & 2 - Deutsche Grammophon: 4235712 - download

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This is playing in the grand manner. From the start of First Concerto you're aware of a consciously leonine approach. Zimerman even deliberately takes risks in a few technically perilous places... — Gramophone Classical Music Guide, 2010 More…

Release Date: 11th Jul 1988
Catalogue No: 4235712
Label: Deutsche Grammophon
Length: 55 minutes

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Liszt: Piano Concerto No. 1 in E flat major, S124

Work length18:27

$3.30

$4.50

Krystian Zimerman (piano)
Boston Symphony Orchestra
Seiji Ozawa
Recorded: 1987-04-27
Recording Venue: Symphony Hall, Boston

I. Allegro maestoso

Track length5:31

$1.10

$1.50

II. Quasi adagio - Allegretto vivace - Allegro animato

Track length8:54

$1.10

$1.50

III. Allegro marziale animato

Track length4:02

$1.10

$1.50

Liszt: Piano Concerto No. 2 in A major, S125

Work length21:50

$4.40

$6.00

Krystian Zimerman (piano)
Boston Symphony Orchestra
Seiji Ozawa
Recorded: 1987-04-27
Recording Venue: Symphony Hall, Boston

I. Adagio sostenuto assai - Allegro agitato assai

Track length7:26

$1.10

$1.50

II. Allegro moderato - Allegro deciso

Track length8:19

$1.10

$1.50

III. Marziale un poco meno allegro

Track length4:22

$1.10

$1.50

IV. Allegro animato - Stretto (molto accelerando)

Track length1:43

$1.10

$1.50

Liszt: Totentanz, S525 for solo piano

Work length15:12

$1.10

$1.50

Krystian Zimerman (piano)
Boston Symphony Orchestra
Seiji Ozawa
Recorded: 1987-04-27
Recording Venue: Symphony Hall, Boston

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Reviews

2010

This is playing in the grand manner. From the start of First Concerto you're aware of a consciously leonine approach. Zimerman even deliberately takes risks in a few technically perilous places where some of his colleagues, at least in the studio, play safe; and indeed his octaves in the opening cadenza are an example.
The result sounds spontaneous and, yes, even brave. Ozawa and the orchestra are behind the soloist in all this. Not only do lyrical sections sing with subtlety, the big passages also are shapely. There's plenty of drive in this Concerto.
In the Second Concerto Zimerman adopts a different approach; he evidently considers it a more poetic piece and the playing style, strong though it is, is to match. Finely though he handles the gentler music, there are odd sniffs and hums in the molto espressivo passage following the D flat major cello solo, and also in the last of the work's quiet sections. In the gorgeously grisly Totentanz, both the music and the playing should make your hair stand on end. The sound has a depth that suits the music and the piano is especially impressive.
Zimerman's freshness (he reminds us that this is a young man's music), and the coupling, makes this disc a most desirable one.

Liszt - Piano Concertos Nos. 1 & 2

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