in Piano International (May, 2016)
The underlying theme of Olivia Sham’s debut recording is the technical development of the pianoforte and how it influenced Liszt’s compositional style – and vice versa. To illustrate this, Sham plays three different instruments: two Erard pianos made in Paris in the 1840s for the earlier works such as the three Études d’exécution transcendante (‘Ricordanza’, ‘Eroica’ and ‘Wilde Jagd’); and a modern Steinway for the later, more delicate pieces, including the Valses oubliées. The ethereal textures of the first Apparition sound truly unearthly on the Erard, while the Bagatelle sans tonalité (1885) sounds oddly earthbound. The net result feels like the soundtrack to a lecture rather than a recital. Oddly, …
Liszt: The Art Of Remembering – Sham
Valse oubliée no.1, S.215
Etudes pour le piano-forte en quarante-huit exercices dans tous les tons majeurs et mineurs, S.136 IX
Petite valse favorite, S.212
Valse oubliée no.2, S.215
Etudes d’exécution transcendante, S.139 IX. Ricordanza
Symphonie fantastique op.4 (Berlioz), S.470 IV. Marche au supplice
Liebesträum no.2 ‘Seliger tod’, S.541
Valse oubliée no.3, S.215
Etudes d’exécution transcendante, S.139 VII. Eroica
Etudes d’exécution transcendante, S.139 VIII. Wilde Jagd
Apparitions no.1, S.155
En rêve, nocturne, S.207
Valse oubli?e no.4, S.215
Schlaflos, Frage und Antwort, S.203
Trauervorspiel und Trauermarsch, S.206
Bagatelle sans tonalit?, S.216
Fünf kleine klavierstück, S.192 V. Sospiri!
Fünf kleine klavierstück, S.192 I. [Sehr langsam]
Sham, Olivia
20,60€
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