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Track(s) taken from CDA67948

Romance oubliée, S132


Steven Isserlis (cello), Thomas Adès (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: December 2011
Concert Hall, Wyastone Estate, Monmouth, United Kingdom
Produced by John Fraser
Engineered by Ben Connellan
Release date: October 2012
Total duration: 3 minutes 42 seconds

Cover artwork: Le Palais da Mula (1908) by Claude Monet (1840-1926)
Private Collection / Photo © Christie's Images / Bridgeman Art Library, London

Other recordings available for download

Leslie Howard (piano), Paul Coletti (viola)


'This blissfully unhackneyed and brilliantly executed recital … the performance's sheer panache is as persuasive as the tonal refinement preceding it, and the recording throughout gives the players all the space and atmosphere they need to characterise the varied moods and textures of an unusually rewarding programme' (Gramophone)

'Something very special. Their choice of repertory here—devised as an extended upbeat to Adès's Lieux retrouvés at the end of the programme—is unusual, memorable, and wonderfully performed from start to finish' (BBC Music Magazine)

'Lieux retrouvés is some of the most enjoyable and readily accessible contemporary music you're likely to encounter … this music, like everything else on this recording, is brilliantly played by Isserlis and Adès. Unreservedly recommended' (International Record Review)

'Isserlis's brilliant recital disc with Adès makes an admirably integrated whole. The Proustianly titled Lieux retrouvés, which Adès wrote for the cellist and himself, is, in effect, a four-movement sonata whose figuration and part-writing knock at the door of the complex to seek the visionary. Isserlis is furiously lyrical and concentrated here, but no less so in the other works, which offer aptly Romantic-modern context for Adès's inspiration. Fauré's beautiful Second Sonata is dispatched not merely with superb elan, but with almost desperate intensity from both players' (The Sunday Times)

'Isserlis plays with almost tangible intensity and soul, while Adès finds charm and natural expression at every turn—a true musical dialogue' (Financial Times)

'There is an engaging emotional path running through, from the nostalgic resignation of late Liszt—three stark but lyrical transcriptions—to Adès' stirring title piece … the two men secure what Adès describes as the inner illumination and rapture of Fauré's 1921 Second Sonata, investing its Finale with the sinew and thrust of a younger Ravel' (The New Zealand Herald)
This is the only Liszt work for piano and viola, apart from the Harold transcription, and the broken chords which inform the coda to the Romance oubliée are quite clearly an act of homage to the marvellous viola writing at the end of the Pilgrims’ March in Harold. Indeed, the whole final section is a later addition to the Romance oubliée, which was a reworking of an earlier piano Romance of 1848, itself derived from the song O pourquoi donc of 1843. The Romance oubliée was Liszt’s response in 1880 to a request to reprint the earlier piano piece. He prepared it for the viola virtuoso Hermann Ritter, but also made versions (with different piano parts) for violin and for cello, as well as a new piano transcription.

from notes by Leslie Howard © 1993

C’est la seule œuvre de Liszt, à part la transcription de Harold, pour piano et alto, et le grand nombre d’accords arpégés dans la coda de la Romance oubliée sont sans aucun doute un hommage envers la magnifique écriture pour alto qui se trouve à la fin de la Marche des Pèlerins dans Harold. En fait, toute la section finale est une adjonction ultérieure à la Romance oubliée, qui était une recomposition d’une Romance pour piano écrite en 1848, elle-même dérivée de la mélodie O pourquoi donc de 1843. La Romance oubliée était la réponse de Liszt, en 1880, à une demande de réimpression de l’œuvre pour piano précédente. Il la prépara pour l’altiste virtuose Hermann Ritter, mais fit aussi plusieurs versions (avec différentes partitions de piano) pour violon et pour violoncelle, ainsi qu’une nouvelle transcription pour piano.

extrait des notes rédigées par Leslie Howard © 1993
Français: Alain Midoux

Sie ist von der Harold-Transkription abgesehen das einzige Werk, das Liszt für Klavier und Bratsche geschrieben hat, und die arpeggierten Akkorde, die der Coda ihr Gepräge geben, sind eine eindeutige Hommage an die herrliche Bratschenpassge am Ende des Pilgermarschs in Harold. Übrigens wurde der ganze Schlußteil erst später an die Romance oubliée angehängt. Sie selbst ist nämlich aus einer älteren Klavierromanze von 1848 hervorgegangen, und diese wiederum aus dem Lied O pourquoi donc von 1843. Mit der Romance oubliée reagierte Liszt 1880 auf die Bitte um eine Neuauflage des älteren Klavierstücks. Er bearbeitete es für den Bratschenvirtuosen Hermann Ritter und schuf gleichzeitig Versionen für Violine und Cello (mit jeweils anderem Klavierpart) sowie eine neue Klaviertranskription.

aus dem Begleittext von Leslie Howard © 1993
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

Liszt: The complete music for solo piano, Vol. 23 - Harold in Italy
Liszt: Complete Piano Music
CDS44501/9899CDs Boxed set + book (at a special price)
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