A central expression of Franz Liszt’s multifaceted creativity was his lifelong engagement with transcription and transformation, using the piano as a medium capable of absorbing the sonorities, gestures and emotional weight of voices and orchestras alike. From the declamatory strength and driving rhythms of the earlier Schnitterchor aus dem Entfesselten Prometheus to various late meditations on An die Künstler, these works trace Liszt’s artistic evolution from the assertive rhetoric of his early maturity to the compressed, exploratory language of his final years.
Liszt: Complete Piano Music Vol. 69, Choral Transcriptions – Michael Kaykov
Schnitterchor aus dem Entfesselten Prometheus, S507a (1850)
Pastorale (Schnitterchor aus dem Entfesselten Prometheus), S508/R199 (1861)
Gaudeamus igitur, Humoreske, S509/R200 (1869–70)
Marche héroïque, S510/R201 (1848)
Trois Chansons, S510a (1852)
Heroide für das Pianoforte von F. Liszt nach C.M. von Webers Leier und Schwert, S452/R285 (1848)
Schlummerlied von C.M. von Weber mit Arabesken, S454/R287 (1848)
Fanfare zur Enthüllung des Carl-Augusts Monument, S542b (1875)
La Charité de Rossini, S552a (1847)
La carità di Rossini, S552b (after 1848)
Album-Leaf in D flat major, S167q ‘Schlusschor des Entfesselten Prometheus’ (1883)
Album-Leaf in B major, S166t/1–5 ‘An die Künstler’ (c. 1870)
Album-Leaf, S167c (1860s)
Michael Kaykov
14,90€
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