Liszt – Wanderer Fantasy arrangements, S653 / S366 (Hwang/Ryu, Wallisch/Haselböck) скачать в хорошем качестве

Liszt – Wanderer Fantasy arrangements, S653 / S366 (Hwang/Ryu, Wallisch/Haselböck)

The two versions here presented are first the two-piano adaptation S653, and the piano and orchestral arrangement S366. Notes on the orchestral version: "Alongside his showpieces, Liszt also crafted higher-value arrangements with meticulous care and sophistication. These included works by rising stars like Berlioz and Wagner, as well as forgotten older masters whom Liszt’s efforts helped reintroduce to the public. It was Liszt who first presented the then-unknown Schubert to audiences across Europe, and his arrangements of Schubert’s songs are often regarded as the pinnacle of his achievements as an arranger. Liszt’s most ambitious Schubert arrangement is the ‘Wanderer Fantasy’, originally composed for solo piano in 1822. Liszt was enchanted by Schubert’s romantic depiction of the ‘wanderer’ pursuing a journey of self-discovery. It perfectly exemplified the creative ideas Liszt believed in: a single musical theme symbolically representing a character undergoing transformations, culminating in its full realization only towards the end of the journey. Liszt transformed the fantasy into a concertante work for piano and orchestra almost simultaneously with the completion of his two piano concertos (1853-1859), establishing significant parallels between these compositions. Like the fantasy, which flows through four movements seamlessly, drawing from a single thematic pool, Liszt’s concertos feature a sense of organic unity. Likewise, the orchestration of the fantasy mirrors that of the concertos, juxtaposing powerful orchestral tutti sections with chamber-like solo passages for cello, oboe and horn. The orchestration showcases Liszt’s virtuosity as an orchestrator, moving far beyond Schubert’s orchestral style and into more colourful and effect-laden writing, so typical of the later nineteenth century. In the first section, Liszt lets the orchestra speak first, and the piano enters only with the second, quiet statement of the principal theme. Liszt takes various melodic fragments into the orchestra—often as woodwind solos—and gives some of Schubert’s repeated chords over to the orchestra altogether. The slow movement is left to the piano to begin, the orchestra entering where Schubert’s left-hand tremolo is now taken up by both hands on the piano whilst the thematic material is passed to a dialogue between wind and strings. In the variation with the filigree writing in the right hand Liszt restores Schubert’s theme in the winds and in the left hand, where Schubert’s original merely hints at it, and he allows the whole orchestra to join in Schubert’s mighty climax. Exchanging phrases between piano and orchestra is Liszt’s starting point for the arrangement of the scherzo and the fugal exposition of the finale is left to the piano, with the orchestra joining gradually thereafter in a nicely calculated crescendo. Throughout the piece, Schubert’s more extreme demands are modified: the octaves at the end of the first movement, the terrible leaps to the right-hand arpeggios at the end of the scherzo, and the final page of arpeggios in both hands which so often brings disaster in concert are entirely avoided, these last being replaced by more solid chords from the piano and fanfares from the horns and trumpets. Why did Liszt feel the need to transform Schubert’s piano fantasy into a concertante-orchestral work? The answer probably lies in Schubert’s own piano writing. Schubert was not a concert pianist, and his writing for piano often lacks idiomatic pianistic qualities in a way that belies his marvellous musical ideas. Liszt perhaps felt that the immense musical richness of the original fantasy surpassed the capacity of a single piano and thus needed to be expressed on a far broader canvas. Despite Liszt’s significant achievement, his arrangement did not pass without criticism: he added numerous passages and instrumental effects to the solo piano part, some enhancing the composition organically, but others verging on excessive virtuosity. In addition, his massive orchestration sometimes overwhelms Schubert’s delicate piano lines." (Lev, Howard) 00:00 S653 Große Phantasie op. 15 von Franz Schubert pf: Seung-won Hwang (I), Seung-hyun Ryu (II) 22:59 S366 Franz Schubert: Grosse Fantasie opus 15—symphonisch bearbeitet für Piano und Orchester pf: Gottlieb Wallisch; Orchester Wiener Akademie cond. Martin Haselböck