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Liszt/Wagner: Imogen Cooper

Imogen Cooper (piano)

Liszt/Wagner: Imogen Cooper

Awards:

Cooper’s keyboard mastery is as searching as the music itself…her way of balancing chords mesmerises the ear – both in the consonant close of Sposalizio (whose poised opening is exquisitely...

Liszt/Wagner: Imogen Cooper

Imogen Cooper (piano)

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This release includes a digital booklet

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Awards:

Cooper’s keyboard mastery is as searching as the music itself…her way of balancing chords mesmerises the ear – both in the consonant close of Sposalizio (whose poised opening is exquisitely...

About

After highly successful recordings of works by Brahms, the Schumanns, and Chopin, Imogen Cooper plunges into the world of another great romantic, Franz Liszt, and places him alongside that other giant, Richard Wagner. This is an evocative programme of original compositions and intimate transcriptions, ranging from poetic movements from the Années de Pèlerinage: Italie to darker and deeply elegiac pieces, including Liszt’s La lugubre gondola I and Wagner’s Elegie. It also features a transcription by Zoltán Kocsis of the intensely passionate prelude to Tristan und Isolde. The famous pianist and conductor died prematurely in November 2016. It was his work that inspired this recording to begin with, and Imogen Cooper dedicates the disc to his memory.

Breathtaking music in unique interpretations: romanticism without melodrama, virtuosity without fuss.

Contents and tracklist

No. 1. Sposalizio (Marriage of the Virgin)
Track length7:19
No. 2. Il penseroso (The Thinker)
Track length4:13
No. 3. Canzonetta del Salvator Rosa (Canzonetta of Salvador Rosa)
Track length3:12
No. 5. Sonetto 104 del Petrarca (Sonnet 104 of Petrarch)
Track length6:54
Tristan und Isolde, WWV 90: Prelude (Arr. Z. Kocsis)
Track length8:14

Awards and reviews

  • BBC Music Magazine
    May 2017
    Instrumental Choice

May 2017

Cooper’s keyboard mastery is as searching as the music itself…her way of balancing chords mesmerises the ear – both in the consonant close of Sposalizio (whose poised opening is exquisitely delivered) and the strangely dissonant final bars of Il penseroso. This is altogether exceptional music-making

November/December 2017

Chandos’ sound is superb and Conor Farrington’s accompanying essay is a fine bonus.

classicalsource.com September 2017

it's about crystalline arpeggios and cut-glass chords, about trills that purl and tremble like fairy waterfalls at sunset.
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