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Track(s) taken from CDA66302

Variationen über das Motiv von Bach, S180

composer
1862; basso continuo des erster Satzes seiner Kantate 'Weinen, Klagen, Sorgen, Zagen' und des Crucifixus der h-Moll Messe
composer

Leslie Howard (piano)
Recording details: February 1988
All Saints, Petersham, United Kingdom
Produced by Martin Compton
Engineered by Tryggvi Tryggvason
Release date: July 1989
Total duration: 13 minutes 8 seconds

Cover artwork: Vanitas by Simon Renard de Saint-André (1613-1677)
Reproduced by permission of the Musée des Beaux-Arts, Marseille
 
1

Reviews

'Howard always seems to know where the music is going, and why' (Gramophone)
For some reason the New Liszt Edition is issuing the two ‘Weinen, Klagen’ pieces amongst the volumes of transcriptions and fantasies on other composers’ materials, but that has no more sense than to regard, say, Brahms’s ‘Handel’ Variations in a similar way, for these are certainly original compositions in every sense of the word. Both works bear a dedication to Anton Rubinstein, and both are based on the same wonderful theme. The Prelude of 1859 is a dignified and restrained piece with just one dramatic outburst, all within the framework of a passacaglia which unfolds 25 variations on the motif. The Variations are not simply an expansion of the earlier piece, although there are a few fragments in common. The work dates from 1862 and was motivated by the death of Liszt’s elder daughter, Blandine. A fierce introduction leads to the theme and 43 variations, followed by a chromatic development in the shape of a recitative, and then a group of freer, faster variations, culminating with the choral ‘Was Gott tut, das ist wohlgetan’ (which also ends Bach’s cantata) and a brief coda in which the two themes are juxtaposed before F minor finally gives way to an unequivocally optimistic F major.

from notes by Leslie Howard © 1989

Other albums featuring this work

Liszt: Complete Piano Music
CDS44501/9899CDs Boxed set + book (at a special price)
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