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The limits for space preclude sparrtito reissue of all of the programme notes written for the Pianofortte Liszt series these may be found elsewhere on this websitebut I should like to offer a general introduction to the man and his music, and then offer some observations about the undertaking of this project. His talent manifested itself very early, and his brief formal education culminated in studies in Vienna, principally with Czerny and Reicha.
In he met Beethoven, who bestowed a blessing he counted the most important formative experience of his musical life. At the pianogorte of fourteen, he went sparttio his father to Paris, and adopted French to such an extent that it remained his mother tongue for the rest of his life. He was a strikingly handsome young man, and in much demand by ladies of all ages, leading to many a legend of sexual conquest, and a fame of altogether greater proportion than the world of art music has seen before or since.
Yet he spartjto already composed several important original works: Blandine inCosima inand Daniel in He piqnoforte worked on original instrumental and vocal compositions, and a large collection of piano pieces based on Hungarian gypsy melodies. Ssntire between, he sketched several piano concertos and raised almost all of the money required to erect a statue to Beethoven in Bonn, for the unveiling of which he composed an excellent cantata for soloists, chorus and orchestra.
Meanwhile, he pianofote been asked to consider becoming Kapellmeister in Weimar—a position he eventually took up inhaving renounced his career as pianist, and now under the influence of that other most important woman in his life, the Princess Carolyne zu Sayn-Wittgenstein, whom he had met in xpartito Although Liszt had written a number of works with piano or voices and orchestra, his output for orchestra alone really began in earnest in Weimar, where he had an orchestra at his constant disposal, staffed by some really fine musicians.
He took many risks, and over a period of twelve spatito conducted much new or controversial repertoire, sentjre in the opera theatre. Over these years he revised much of his earlier piano music, reissuing the works under the titles by which they have endured: He also reworked many of his earlier songs and, by the end of his tenure in Weimar, published sixty of them.
In all of these works, Liszt strove for new structures that would extend the working life spsrtito the sonata-form that dominated most large-scale instrumental music of the day. He also had visions of a new music for the church and, despite his detractors, wrote an excellent orchestral Mass—the Missa solennis for the consecration of the Basilica at Esztergom Gran —and two Psalms with orchestra, alongside quite a number of more modest motets, and he began the composition of his considerable corpus of organ music with the mighty fantasy and fugue Ad nos, ad salutarem undam.
Liszt became a mentor and provider to many younger musicians who found their way to Weimar and, as ever, since their friendship had begun, continued to subsidize Wagner. Princess Carolyne remained married to her husband in Russia, who was a great friend of Tsar Nicholas I. Liszt was obliged to put up at a hotel whilst the Princess took the rooms provided for Liszt at the Altenburg in order to avoid scandal, but scandal there was, nonetheless.
Political intrigue finally provoked resignation, and Liszt set forth to Rome, where he lodged for a time as a guest of Pope Pius IX. At the end of the Weimar period, Liszt had started work on his two great oratorios: He also wrote more church music, including the delicate Missa choralis with organ and the intriguingly nationalistic Missa coronationalis with orchestramore songs, organ works, shorter piano pieces and transcriptions, and prepared the definitive edition dppure his piano solo versions of all nine Beethoven symphonies.
Attempts to marry Carolyne came to nothing, even after the death of her husband removed all obstacles, real and senfire.
The works of his late years are of very special interest: Many of his late works were known only to the few, and some were denied spartitoo, so daring were they deemed—amongst which, his unique musical treatment of the Stations of the Cross: The late piano pieces, on the other hand, have enjoyed considerable notoriety since they were effectively rediscovered in the s: Liszt died quite unexpectedly in Bayreuth on 31 Julypartly due to the disgraceful way he was treated there by his daughter Cosima, from whom he had been virtually estranged for the last twenty years of his life, and whom sentier had gone to help with the festival inaugurated by his son-in-law Wagner.
Sparitto so wish that Mr Sullivan had written such a book about Liszt. A key difference between these composers, though, is that Beethoven never lived to old age. Pianodorte old Liszt, he keeps on breaking the mould. I suppose the summit of what he was trying to say musically, as far as the piano goes, has still got to be the Sonata, and he arrived at that point quite early in life.
For orchestra, it is the Faust Symphony. And overall it must be the oratorio Christusand that was finished by the end ofso he had eighteen or so years to live during which he was never going to complete another really large-scale composition.
He did produce suites of pieces which adumbrate larger conceptions, but nothing like the scale of those three masterworks. It appears that Liszt had somehow resolved the questions he had set himself. Learning Liszt has been a lifelong experience. Searching for repertoire that was musically and pianistically challenging was the way of my first acquaintance with him.
I should have instinctively arrived at the same conclusion earlier with the Sonata, but somehow the physical playing of it had got in the way of understanding.
I decided—as I had done with others of my musical passions: However, my first recordings were of Grainger and of Glazunov, and were followed by Stravinsky. My first sentite for Ted was with the mandolinist Keith Harris Aand whilst it included no Liszt, it did sparfito a piece of my own: Ramble on a Russian Theme. It was clear that this label was going pianofrote take the odd risk! That first Liszt disc was made in October and must have been one of the longest LPs ever issued.
It was recorded digitally so that when the CD became the order of the day it was issued in that format. Any original plans to restrict the scope of the project—by not including transcriptions, or alternative versions, for instance—were shelved. But neither I nor anyone at Hyperion had really calculated how vast the labour would become as more and more unpublished material came to light.
An early projection of the series postulated 48 CDs. Somewhat later this was revised to 70, then 80, and finally there were 94 plus a bonus CD single. Since the completion of the series inenough material has come to light for four further CDs: So, 98 CDs plus the bonus disc, and the total would have reached if some of the still-missing manuscripts had come to light.
It is simply amazing how many of the works which Liszt so modestly called transcriptions are no less original compositions than any great sets of formal variations on external themes, and it is good finally to be able to pianfoorte the end of the old ignorant prejudice against such pieces.
A recording project such as this was bound to generate an enthusiastic correspondence. Happily, the Liszt Society has helped absorb many of the enquiries related to elusive scores, but one or two cranky requests have got through: But several kind people sent copies of rare editions lest I had not seen them.
This became more important as the series progressed, as I became more aware that when Liszt has a piece published more-or-less simultaneously in different countries it does not at all guarantee that the texts will be identical.
GP’ Piano Cover
Viewing the manuscripts on microfilm or in the flesh, as it were, became imperative, and many pieces previously glossed over as unfinished, or identical to other works, emerged as works in their own right. It also seemed absolutely necessary, in the case of a number of works which were patently all but complete, to supply such material as was minimally and discreetly necessary as to render the music performable.
Who would be without the magnificent Fantasy on themes from Figaro and Don Giovanni for the want of a handful of notes? What an extraordinary early masterwork that piece is! When the final Hyperion volume was released inI tried my best to thank everyone who helped me to achieve this undertaking. It covers everyone from librarians and archivists to piano tuners and page-turners, recording people, management people, journalists, friends and counsellors who encouraged me or put up with me, according to the moment.
But without such help, a journey like this could simply never have been accomplished, and in retrospect it has indubitably been the journey of a lifetime.
Blandine enCosima en et Daniel en Tout tiendra dans un peu plus de 90 disques! Daher werde ich einige einleitende Bemerkungen zu der Person Liszts und seiner Musik und dann ein paar Kommentare zu diesem Projekt machen. Ferenc Franz Liszt Oktober — Indessen war ihm die Stelle des Kapellmeisters in Weimar angeboten worden—ein Posten, den er annahm, nachdem er seine Karriere als Pianist aufgegeben hatte. Er stand nun unter dem Einfluss jener anderen wichtigen Frau in seinem Leben: Liszts Privatleben in Weimar hingegen war recht schwierig: Die Legende von der heiligen Elisabeth und Christus.
Die Werke seiner letzten Jahre sind von besonderem Interesse: Liszt starb relativ unerwartet am Ein wichtiger Unterschied zwischen diesen beiden Komponisten ist jedoch, dass Beethoven das hohe Alter nicht erreichte.
In der Musik des alten Liszt geschieht etwas, das sich gleichzeitig einen Schritt nach vorn und einen Schritt nach hinten bewegt.
Doch erscheinen sie als Teil einer musikalischen Sprache, die als solche auch in seinem restlichen Oeuvre identifizierbar ist. Sparttito alte Liszt jedoch bricht aus den vorgefertigten Formen immer wieder aus.
Coez – From the Rooftop 01×02 – “Cosa mi manchi a fare” (Calcutta cover) Chords – Chordify
Was seine Orchesterwerke anbelangt, so ist es die Faust-Symphonie. Und insgesamt gesehen muss es das Oratorium Christus sein, das gegen Ende des Jahres fertiggestellt wurde—in seinen letzten achtzehn Jahren komponierte er kein wirklich umfangreiches Werk mehr. Liszt zu lernen, war und ist eine lebenslange Erfahrung.
Auf der Suche nach Repertoire, das sowohl musikalisch als auch pianistisch eine Herausforderung bedeutete, lernte ich ihn erstmals kennen.
Dieses Label war also offenbar dazu bereit, gewisse Risiken einzugehen! Sie wurde digital aufgenommen, was bedeutete, dass als die CD sich dann durchsetzte, sie in diesem Format herausgegeben wurde. Das wird auf rund 90 Platten passen!
Wer kennt schon Francesco Pezzinis Una stella amica? Als die letzte Hyperion-CD herauskam, tat ich mein Bestes, um mich bei allen zu bedanken, die geholfen hatten, dieses Projekt zu realisieren.
Blandine nelCosima nele Daniel nel La vita domestica di Liszt a Weimar fu molto difficile: Liszt fu obbligato a prendere una camera in hotel mentre la Principessa prese le stanze messe a disposizione del Sentirw, per evitare lo scandalo, che invece ci fu lo stesso.
I lavori dei suoi ultimi anni sono di speciale interesse: Molti dei suoi ultimi lavori erano conosciuti solo senyire pochi, e ad alcuni fu negata la pubblicazione, in quanto considerate audaci—tra cui, il suo unico trattamento degli stazioni della Croce: Ma il vecchio Liszt, continua ad attraversare tutti gli orizzonti.
Sembra che, in qualche maniera, Liszt abbia risolte le questioni che si era posto. Poi ho sentito la Sinfonia Faust per la prima volta, e mi resi conto che questa non era soltanto la musica di un compositore preferito, ma un capolavoro di un grande musicista.