- Trio Nebelmeer
- Artur Decaris violin
- Albéric Boullenois cello
- Loann Fourmental piano
- Katarzyna Gluza violin
- Michał Kot viola
Ferenc Liszt Tristia for piano trio, S. 378c (Vallée d’Obermann from Années de Pèlerinage, First Year: Switzerland, trb. Ferenc Liszt, Eduard Lassen) [16’]
Juliusz Zarębski Piano Quintet in G minor, Op. 34 [35’]
III. Scherzo. Presto
IV. Finale. Presto
We like to compare Ferenc Liszt with Frédéric Chopin – one is difficult to understand without the other, both were active in Paris at the same time, and both – though in different ways – defined the future of piano music and virtuosity. But there are two major differences between the two: Liszt was also interested in other instruments and lived much, much longer. He had time for performing and composing many works (as well as for intensive, multiple arrangements of his own or others’ pieces), as well as writing and teaching a group of students.
They were not only pianists. Many continued the tradition of combining virtuosity with composing. Among this group was Eduard Lassen, who based on his teacher’s notes arranged one movement of Liszt’s cycle inspired by his own travels and Johann Wolfgang von Goethe’s Years of Learning Wilhelm Meister – Vallée d’Obermann. The importance of transcription in the 19th century was also evidenced by the fact that Liszt further revised Lassen’s arrangement of his work and gave it its final title.
Among Liszt’s most promising students, both as a pianist and composer, was Julius Zarębski. Although his untimely death ended his career, he left behind the most important Polish chamber work of the 19th century, the Piano Quintet in G minor and the visionary series of piano miniatures Róże i ciernie [Roses and Thorns].
– Dominika Micał, “Ruch Muzyczny”