Liszt: Twelve Symphonic Poems: for 2 pianos

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Release Date: 7th Sep 2018
Catalogue No: 95748
Label: Brilliant Classics
Length: 3 hours 42 minutes

Liszt: Ce qu'on entend sur la montagne, symphonic poem No. 1, for two pianos, S635

Work length29:51

Album only

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Tasso, S636 / R358

Work length17:44

$4.00

$5.15

Leslie Howard (piano), Mattia Ometto (piano)

Tasso, Lamento e trionfo, for two pianos, S. 636

Track length17:44

$4.00

$5.15

Liszt: Les Préludes for two pianos, S.637

Work length14:44

$3.00

$3.85

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Orpheus for two pianos, S638

Work length10:13

$3.00

$3.85

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Prometheus: symphonic poem for two pianos, S639

Work length12:32

$3.00

$3.85

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Mazeppa for two pianos, S640 / R362

Work length16:31

$4.00

$5.15

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Festklänge, symphonic poem No. 7, for two pianos, S641

Work length19:01

$4.00

$5.15

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Héroide funèbre, for two pianos, S. 642

Work length24:03

Album only

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Hungaria for two pianos, S. 643

Work length21:25

Album only

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Hamlet, symphonic poem No. 10, for two pianos, S644

Work length13:39

$3.00

$3.85

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Hunnenschlacht for two pianos, S. 645

Work length15:09

$4.00

$5.15

Leslie Howard (piano), Mattia Ometto (piano)

Liszt: Die Ideale for two pianos, S646 / R368

Work length27:09

Album only

Leslie Howard (piano), Mattia Ometto (piano)

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The pre-eminent Lisztian of our day, Leslie Howard recorded every bar of the composer’s music for solo piano during the 1990s and 2000s, including many items new to the catalogue. This new album forms a significant appendix to that monument of gramophone history.

Liszt’s pioneering series of 12 symphonic poems came to fruition during his time as Kapellmeister at the court of the Duke of Weimar in the 1850s, although the gestation of many of the pieces begins somewhat earlier. Liszt did not conceive the final order of the works until all the pieces were ready for publication, but it is clear that he thought of all 12 works as a gigantic cycle. He issued them in versions for orchestra, for two pianos, and for piano duet.

Thus, although works such as Les Préludes are familiar in their orchestral guise, they were conceived from the outset no less for the keyboard. The two-piano versions of these pieces are no mere transcriptions: Liszt allows quite considerable variance from the orchestral scores in order to make real duos, occasionally even adding some bars (as in Hungaria), omitting bars – especially of untuned percussion (as in Ce qu’on entend), or transforming the material with new harmonies instead of untuned percussion (as in Heroïde funèbre). As with his monumental versions of the Beethoven symphonies, he often makes an informed trade of the letter of the score for the spirit of it, and happily gets all the closer to the musical substance.

Leslie Howard contributes a detailed booklet essay on the cycle of 12 poems, making this new studio recording all the more essential for Lisztians. He is joined in performance by the Italian pianist Mattia Ometto, who was praised by Aldo Ciccolini as a pianist ‘with a marvellous sensitivity, one of those artists whose responsibility is to make audiences perceive what real talent is.’

Liszt: Twelve Symphonic Poems

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