Athanor. A mysterious name to designate, in alchemy, the long-combustion furnace that produces the philosopher’s stone. This matrix, which symbolises the quest of one who seeks to the Absolute, is a metaphor of Liszt’s approach. With the patience of the alchemist who pursues the perfection of the material, the virtuoso composer and pianist has long matured the genesis of his two Piano Concertos and of the Totentanz: in fact, more than 20 years separate the first sketches of their publication. These three major works are each crossed by a powerfull and captivating leading theme, and driven by a logic of transformation: the Totentanz uses the theme and variations form while the concertos are unifyed by a unique theme that nourishes the whole musical flow through its metamorphoses. Pianist Beatrice Berrut, who was already venturing on the Lisztian paths in her previous record, testifies here to the infinite invention of the composer: she performs the first Concerto with its last variants noted by Liszt himself on the copy of his pupil Hans von Bülow.
曲目：
Franz Liszt (1811 – 1886)
1. Totentanz. Paraphrase on “Dies Irae” for Piano and Orchestra, S. 126 15:52
2. Piano Concerto No. 1 in E-Flat Major, S. 124: I. Allegro maestoso 05:34
3. Piano Concerto No. 1 in E-Flat Major, S. 124: II. Quasi adagio 04:46
4. Piano Concerto No. 1 in E-Flat Major, S. 124: III. Allegretto vivace – Allegro animato 04:13
5. Piano Concerto No. 1 in E-Flat Major, S. 124: IV. Allegro marziale animato 04:08
6. Piano Concerto No. 2 in A Major, S. 125: I. Adagio sostenuto assai – Allegro agitato assai – Un poco più mosso – Tempo del 07:11
7. Piano Concerto No. 2 in A Major, S. 125: II. Allegro moderato 05:18
8. Piano Concerto No. 2 in A Major, S. 125: III. Allegro deciso – Marziale un poco meno allegro – Un poco meno mosso 07:05
9. Piano Concerto No. 2 in A Major, S. 125: IV. Allegro animato 01:46
Personnel:
Beatrice Berrut, piano
Czech National Symphony Orchestra
Julien Masmondet, conductor
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发表于 2020-7-29 07:15:07
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