This recital represents a well-planned view of several sides of Liszt's multi-Faceted genius. And whether you warm to him as a nationalist poet, ardent lyricist, diabolist, elegist or intricate and mischievous arranger of other people's music, here you t will find his art in all its infinite variety.The Twelfth Hungarian Rhapsody (1853) is a notably eloquent and flamboyant example of a hybrid form. Decried by Liszt's detractors as paste rather than diamonds, the Hungarian Rhapsodies are of mixed gypsy origin rather than true Magyar descent, yet this in no way compromises their very real qualities. In the Twelfth, high drama alternates with a relaxed charm, and the music's mercurial changes of mood and dress are accentuated by vivid contrasts of register, texture and rhythm. The third Liebestraum (c 1850, subtitled "Nocturne") has achieved an even greater popularity than the Rhapsody. An arrangement of his setting of Ferdinand Freiligrath's "O love as long as you can love", Liszt's florid and impassioned treatment of his own heart-easing melody is in sharp contrast to the more pungent view of love represented by the First Mephisto Waltz (1859-60).(more in the booklet)
2. Liebestraum No. 3 (4:54)
3. Mephisto Waltz No. 1 (11:35)
4. Funérailles (11:20)
5. Rigoletto (Verdi) - Concert Paraphrase (7:04)
6. La Campanella (1851) (5:06)
La Campanella
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