Please wait...

Hyperion Records

Click cover art to view larger version
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: 25 minutes 45 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 de Lucrezia Borgia – Grande fantaisie sur des motifs favoris de l'opéra de Donizetti, S400
1833; Lucrezia Borgia

Introduction  EnglishFrançaisDeutsch
Donizetti’s Lucrezia Borgia of 1833 was the basis for a concert fantasy which Liszt composed in 1840/1. Its musical material corresponds closely with the second part of the Réminiscences. In 1848 Liszt added his transcription of the second act trio—one of his busiest movements, so fulsome is his use of arpeggio and tremolo. He revised the second part, removing much of the development of the drinking song but improving its presentation, reinstating a short passage from Donizetti’s finale that had been previously overlooked, and inserting a brief reference to the theme of the trio just before the finale. The whole two-movement work emerges as one of Liszt’s largest fantasies. In the first part Liszt makes a great deal of the figure heard at the outset, and he works it into the texture at every opportunity, sometimes at considerable hazard to the performer. The memorable duet of the second part is surrounded by the unbridled liberties of the orgiastic drinking-song. There is much imitation of the possession of three hands, both in the duet and in the martial finale where Liszt’s main text of triplet scales in thirds and sixths is preferable to the ossia welter of glissandos.

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)  
   English   Français   Deutsch