Class. Music CD Liszt-Trans Schubert Landler

Vladimir Viardo, PianoFranz Liszt (1811 - 1886) Transcription-- Organ - Piano Transcription --J.S. Bach - Liszt: Fantasy and Fugue in G Minor, BWV 542· Fantasy· Fugue-- Song - Piano Transcriptions --Franz Schubert - Liszt· Die Stadt D957 No.11· Der Doppelgänger D957 No.13· Aufenthalt D957 No.5· Der Müller und der Bach D795 No.19· Gretchen am Spinnrade D118· Kriegers Ahnung D957 No.2· Das Wandern D795 No.1· Ständchen D957 No.4· Auf dem Wasser zu singen D774Franz Schubert (1797 - 1828)LändlerNo.1 -6 from "17 Ländler D.366"No.3 from "16 Ländler D.734"No.8 - 12, 14 & 1 from "17 Ländler D.366" J.S. Bach - Liszt: Fantasy in G Minor, BWV 542Total Playing Time 59' 18"“At the first harmonies from the divine instrument, a nightingale drew near in the leafy shado3ws and, like the excellent musician he is, caught the measure and tuned his own ecstatic throat in harmony with the music,  He sang on, but – as though he had become conscious of rivalry – his voice became timid and withdrawn.”Thus wrote French novelist George sand on the evening of June 12, 1837, - her imagination stirred by Franz Liszt’s playing as she sat on the garden steps of her country home at Nohant during a performance for friends of some solo piano arrangements of Schubert songs, which her gifted young friend had been working on for the past few days.In the more intimate Schubert lied arrangements, Liszt shunned extravagant virtuosity effects in an effort to transmit to the listener the essence and beauty of the originals.  He spoke of Schubert as “the most poetical composer who ever lived” and harbored a deep respect for his genius as a melodist and expressive artist.  In the end, Liszt transcribed nearly sixty Schubert songs to satisfy publishers’ demands,  He insisted that the texts be printed above the transcribed melodic line so the pianist could be constantly aware of the poetry that had sparked Schubert’s imagination.           -  Kathy Hinkel -Vladimir ViardoPianistRisk distinguishes Vladimir Viardo's presence in classical music.  His music making is a daring process that invites the listener to explore greater breadth of communication.  Driven by his belief that performance must transcend mere entertainment or display of skill, he induces audiences to join him in a poetic-philosophical research of life through layers of intellect, imagination and cultural association.  Mr. Viardo's exuberant temperament and sincere passion expose spontaneous creativity grounded in a virtuosity that never fails to produce exhilarating exchange, and profound complicity in concert.Although Viardo represents the "Russian School", he is not a typical Russian musician ... a fact recognized even in his homeland.  Born in the Caucasus Mountains near the Black Sea, he studied at the Moscow Conservatory with Lev Naumov (custodian of the Heinrich Neuhaus methods that are credited with producing the extraordinary strain of twentieth-century Russian keyboard masters such as Gilels and Richter).International headlines first arrived at the age of twenty-one, after winning a "Grand Prix” and the "Prix du Prince Rainier' in the 1971 Marguerite Long-Jacques Thibaud Competition in Paris.  Two years later, vying with sixty-six of the best pianists from twenty-one  countries, Viardo carried off the top prize in the Fourth Quadrennial Van Cliburn International Piano Competition.  


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