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Hyperion Records

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Track(s) taken from CDA67101/2
Recording details: August 1995
Unknown, Unknown
Produced by Tryggvi Tryggvason
Engineered by Tryggvi Tryggvason
Release date: November 1996
Total duration: 19 minutes 59 seconds

'A major revelation of nineteenth-century ideas and techniques. There is musical nourishment here as well as entertainment' (Gramophone)

'This new two-CD set is as fascinating as any and contains many recordings which are thought to be first, and which are probably the first performances at all for more than 100 years. A pair of discs to which I shall often return, marvelling at the brio that Leslie Howard unfailingly brings to this taxing music' (Classic CD)

'Obras brillantes, repletas de fuerza y apasionamiento, pero portadoras de un profundo sentido poético que ahora son interpretadas por un magistral Leslie Howard' (La Revista Integral)

Réminiscences des Puritains – Grande fantaisie sur des thèmes de l'opéra de Bellini, S390i
1836; first version
1834/5; I puritani

Introduction  EnglishFrançaisDeutsch
The fantasy on themes from I Puritani, Réminiscences des Puritains, invites comparison with the better known Réminiscences de Norma in terms of its structure, although Liszt makes less attempt here to encapsulate the line of the drama, which is in any event not of the same quality. Rather, he absorbs and amplifies the character of the work, enriching the harmonic vocabulary and exploiting orchestral sonorities at the keyboard. Much of the martial music (but not ‘Suoni la tromba’, which is the basis for the Hexaméron variations, which was not in the original Paris version of Bellini’s opera) is used in the dramatic introduction and in transition passages, but the bulk of the work is constructed upon two themes: Arturo’s beautiful cavatina ‘A te, o cara’, and Elvira’s brilliant aria in the form of a polonaise ‘Son vergin vezzosa’. Bellini’s opera was produced in 1835 and Liszt’s fantasy appeared the following year. Unfortunately, the sheer size and difficulty of the fantasy have led to its neglect, and perhaps account for Liszt’s slightly simplified rewriting of the concluding Introduction et Polonaise of 1840, in which the rest of the fantasy is jettisoned. Certainly, for those interested in a short and effective concert piece, the shorter work is much more practical. Even so, it too is unaccountably passed over by most pianists today.

from notes by Leslie Howard © 1996

Other albums featuring this work
'Liszt: Complete Piano Music' (CDS44501/98)
Liszt: Complete Piano Music
MP3 £160.00FLAC £160.00ALAC £160.00Buy by post £200.00 CDS44501/98  99CDs Boxed set + book (at a special price)  
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