Liszt: Songs and Sonnets

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Release Date: 19th Sep 2011
Catalogue No: 94149
Label: Brilliant Classics
Length: 47 minutes

Usually despatched in 3 - 4 working days

Liszt: Sonetto 104 del Petrarca 'Pace non trovo', S270 No. 1

Work length18:09

$3.00

$3.90

Marcello Nardis, Michele Campanella

No. 1, Pace non trovo (Sonnet No. 104)

Track length6:05

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$1.30

No. 2, Benedetto sia 'l giorno (Sonnet No. 47)

Track length5:59

$1.00

$1.30

No. 3, I' vidi in terra angelici (Sonnet No. 123)

Track length6:05

$1.00

$1.30

Liszt: Kling Leise, mein Lied, S301

Work length6:32

$1.00

$1.30

Marcello Nardis, Michele Campanella

Liszt: Im Rhein, im schönen Strome, S272

Work length2:45

$1.00

$1.30

Marcello Nardis, Michele Campanella

Liszt: Schwebe, schwebe, blaues Auge, S. 305

Work length4:47

$1.00

$1.30

Marcello Nardis, Michele Campanella

Schwebe, schwebe, blaues Auge, S305 / 1 / R581a (1st Version)

Track length4:47

$1.00

$1.30

Liszt: Liebesträume, No. 1. Hohe Liebe, S. 307 / R. 587

Work length2:02

$1.00

$1.30

Marcello Nardis, Michele Campanella

Liebestraume: No. 1, Hohe Liebe, S. 307 / R. 587

Track length2:02

$1.00

$1.30

Liszt: Morgens steh' ich auf und frage, S290 / 1 / R576a (1st Version)

Work length2:30

$1.00

$1.30

Marcello Nardis, Michele Campanella

Liszt: Die Macht der Musik, S. 302 / R. 583

Work length10:36

$3.00

$3.85

Marcello Nardis, Michele Campanella

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Liszt’s songs are among his least performed works. With the bicentenary of his birth upon us, much of his output will be performed and recorded, and no doubt re-assessed. The composer himself was aware that he was difficult to categorise, and that the public face he had was as a flashy virtuoso pianist composer – a reputation that survives to this day, as the Rick Wakeman’s 1975s rock-opera ‘Lisztomania’ (filmed by Ken Russell, and starring The Who’s Roger Daltry as Liszt) testifies.

‘Everyone is against me: the Catholics because they find my music profane, the protestants because my music is Catholic, the Masons because they find my music too clerical. For the conservatives I am a revolutionary, for the futurists I am a phony Jacobin. For the Italians, in spite of Sgambati (his pupil and fellow composer), if they are Garibaldini they hate me because the think me a bigot, if they are on the Vatican’s side, they accuse me of turning the Tempio di Venere into a church. For Bayreuth I am an advertising agent rather than a composer. The Germans hate my music because they think it French, the French hate it because they think it German. For the Austrians I make Gypsy music, for the Hungarians I make foreign music. And the Jews hate me and my music without any reason.’

Interesting words, from a deeply frustrated Liszt. So how do we or should we find a definition for his music? The songs provide a fascinating clue. The writing for voice is clearly of Latin origin, skillfully woven into German Lied. Liszt manages to adapt the ‘feel’ of the music depending on the language he was setting – so a French text and the music ‘sounds’ of French origin and so on. Such stylistic flexibility can also be found in his orchestral, choral and solo piano works making this great composer a difficult customer in an age where we like to ‘pigeon-hole things. The songs require great skill from both singer and accompanist to reveal their many treasures.

Liszt: Songs and Sonnets

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