Label: Challenge Classics
Format: CD
Barcode: 0608917292824
Catalog number: CC 72928
Releasedate: 06-01-23
Format: CD
Barcode: 0608917292824
Releasedate: 06-01-23
- A stunning debut by 24 years old chinese pianist Yang Yang Cai.
- For her first disc she carefully selected six very diversified works by Liszt, in order to convey all her pianistic qualities: prowess and virtuosity, but also philosophical insight and colouristic finesse.
- Her craftsmanship, musicality and fine taste are perfectly in balance.
- For her first disc she carefully selected six very diversified works by Liszt, in order to convey all her pianistic qualities: prowess and virtuosity, but also philosophical insight and colouristic finesse.
- Her craftsmanship, musicality and fine taste are perfectly in balance.
For Liszt’s biographer Derek Watson - “The music reflects the man in its range from the ascetic to the sumptuous, from the trivial and profane to the sublime and spiritual.” Alfred Brendel, another Liszt-admirer, has remarked: “For Liszt … the piano was an object to be transformed into an orchestra, turned into the elements, lifted into the spheres.” In addition to this keyboard-related revolution, Liszt's harmonic language deeply influenced Wagner, while his pioneering development of the symphonic poem genre also contributed to his far-reaching influence.
Liszt's Trois Études de Concert S 144 (Trois caprices poétiques in the 2nd edition) date from 1848.
The origin of their individual titles (Lamento, La Leggierezza Sospiro) which were added later, is something of a mystery, but they have proved to be generally popular and evidence suggests that Liszt himself was happy with them.
Liszt was only twenty-two when he composed the three Apparitions. These innovative, surprisingly forward-looking pieces are among the most important of his early works, imbued with an otherwordly spirit, suspended and dream-like.
Liszt composed his Six Grandes Études de Paganini in 1851. He had first heard Paganini play in 1831 and, in common with many other composers and performers, was bewitched – so much so that he was inspired to emulate his astonishing degree of technical mastery in extending the musical expression of his own instrument. No 2 in E flat major (marked Andantino capriccioso) is based on the seventeenth of Paganini's solo violin Caprices, but Liszt superbly recreates this music in pianistic terms.
The sparkling Valse-Impromptu in A flat major (c1850) is Liszt at his most elegant and charming.
Du Bist die Ruh' is one of twelve Schubert lieder which Liszt transcribed in 1838. Here Liszt writes a decorative, widely-spaced left hand part but preserves the calm, dignified mood of the song.
The outlandishly demanding Transcendental Études date from 1851. Chasse-neige is the final Étude No 12 in B flat minor. Busoni described it as “the noblest example, perhaps, amongst all music of a poetising nature ... a sublime and steady fall of snow which gradually buries landscape and people.”
Liszt's Trois Études de Concert S 144 (Trois caprices poétiques in the 2nd edition) date from 1848.
The origin of their individual titles (Lamento, La Leggierezza Sospiro) which were added later, is something of a mystery, but they have proved to be generally popular and evidence suggests that Liszt himself was happy with them.
Liszt was only twenty-two when he composed the three Apparitions. These innovative, surprisingly forward-looking pieces are among the most important of his early works, imbued with an otherwordly spirit, suspended and dream-like.
Liszt composed his Six Grandes Études de Paganini in 1851. He had first heard Paganini play in 1831 and, in common with many other composers and performers, was bewitched – so much so that he was inspired to emulate his astonishing degree of technical mastery in extending the musical expression of his own instrument. No 2 in E flat major (marked Andantino capriccioso) is based on the seventeenth of Paganini's solo violin Caprices, but Liszt superbly recreates this music in pianistic terms.
The sparkling Valse-Impromptu in A flat major (c1850) is Liszt at his most elegant and charming.
Du Bist die Ruh' is one of twelve Schubert lieder which Liszt transcribed in 1838. Here Liszt writes a decorative, widely-spaced left hand part but preserves the calm, dignified mood of the song.
The outlandishly demanding Transcendental Études date from 1851. Chasse-neige is the final Étude No 12 in B flat minor. Busoni described it as “the noblest example, perhaps, amongst all music of a poetising nature ... a sublime and steady fall of snow which gradually buries landscape and people.”
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1Valse-impromptu, S.21307:12
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2Grandes études de Paganini, S.141II. Andante06:24
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3Apparitions, S.155I. Senza lentezza quasi Allegretto08:25
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4Apparitions, S.155II. Vivamente04:36
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5Apparitions, S.155III. Fantaisie sur une valse de François Schubert. Molto agitato ed appassionato09:14
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6Trois études de Concert, S.144I. Il Lamento11:22
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7Trois études de Concert, S.144II. La Leggierezza05:48
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8Trois études de Concert, S.144III. Un Sospiro06:25
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9Études d’exécution transcendante, S.139Étude No. 12 “Chasse-neige”06:12
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1012 Lieder von Schubert, S. 558III. Du bist die Ruh’05:51