- Tanguy de Williencourt piano
Richard Wagner Choir of Pilgrims from the 3rd act of Tannhäuser (trb. Ferenc Liszt S.443) [6’]
Richard Wagner Choir of Spinners from the 2nd act of Flying Dutchman (trb. Ferenc Liszt S.440) [6’]
Richard Wagner Isolde’s Love Death from the 3rd act of Tristan and Isolde (trb. Ferenc Liszt S.447) [7’]
Richard Wagner Solemn March to the Holy Grail from the 1st act of Parsifal (trb. Ferenc Liszt S.450) [9’]
Franz Schubert Swan Song (Schwanengesang) D.957 (trb. Ferenc Liszt, selection of songs: Love’s Message (Liebesbotschaft) S.560/4, Resting Place (Aufenthalt) S.560/3, Serenade (Ständchen) S.560/7) [13’]
Franz Schubert To Be Sung on the Water (Auf dem Wasser zu singen) (trb. Ferenc Liszt) [4’]
Romanticism is the “age of passion” or the “century of songs”. One could also say that it was the “era of transcription.” In the 19th century, the writing of arrangements was just a necessity. In the pre-recording age there were three ways you could listen to a piece of music: you had to either attend a concert, “dry-read” the score, or play it – usually on the piano, as it was one of the few instruments that can make so many sounds at once as to imitate an orchestra. Transcription can also be viewed as an art. It was practiced by the greatest composers, including Gustav Mahler, and Ferenc Liszt, and in the 20th century – Arnold Schönberg and Anton Webern.
The absolute classics of the genre include arrangements by Liszt. He “translated” Beethoven’s symphonies (all of them!), the great choruses and instrumental sections of Richard Wagner’s operas and dramas (privately his son-in-law), and the virtuosic pieces of Niccolo Paganini into piano. Liszt also dealt with seemingly lesser tasks – he enjoyed arranging songs, including the most beautiful pieces by Schubert or Schumann.
– Dominika Micał, “Ruch Muzyczny”