Liszt

The Transcendental Études form a cycle of twelve pieces whose composition began in 1826 and was completed in 1851. Starting from the idea of an encyclopædic collection which, in the manner of Johann Sebastian Bach’s Well-Tempered Clavier, Liszt’s Transcendental Études became something of a seismograph of his compositional aesthetic, first strongly under the influence of Paganini, later more in the style of character pieces. These études are among the most difficult works ever written for the piano. Together with Chopin’s Études, they serve as a basis for piano technique, some of them already prefiguring musical impressionism, and they had a significant influence on subsequent piano music, most notably that of Debussy, Rachmaninov, Bartók, and Ligeti.

The extraordinary hold Fassbaender exerts over audiences, in the concert hall and on record, surely derives from her singular strength of personality reflected in her dark, vibrant mezzo with its emotional overtones evident in every bar she sings. Even when an excess of vibrato intervenes, which happens seldom in this recital, it seems part of the very individual and immediately recognizable Fassbaender manner.

With ‘La Ronde’, Nicholas Angelich pays tribute to the relationships between three of Romanticism’s greatest composers for the piano. Schumann, Chopin and Liszt were born within 18 months of each other and knew each other personally. Schumann dedicated Kreisleriana to Chopin, who dedicated two of his Op.10 Etudes to Liszt, who, closing the circle, dedicated his B minor Piano Sonata to Schumann.

"In this second volume of "Legends of the Saints", the Orchester Wiener Akademie, under the direction of conductor and organist Martin Haselböck, continues its recording of Liszt's mystical works. During the frequent religious periods of his life, the composer turned his attention to the lives of great martyrs and saints, who provided him with an entire body of work. These works, including two previously unreleased recordings of Jeanne d'arc au bûcher, Die heilige Caecilia and the Salve Polonia from the oratorio St Stanislaus, are performed here by the Wiener Akademie and a magnificent vocal cast (Sunhae Im, Stephanie Houtzeel and Sofia Vinnik as well as Thomas Hampson), whose timbres blend with the organ, harmonium, piano and harp to reveal the inexhaustible genius of Liszt's work."