liszt schubert litanei

How much was Hélène Grimaud influenced by her teachers György Sándor and Martha Argerich? If the flowers were buried in his grave, and if she realized that his feelings had been true, then the flowers would spring to life again. Filter results Show results filters Hide results filters. Musicians and Artists: William Grant Still and Sculpture. The cleverness of the modern compact disc player will allow the gentle listener to experiment at will, but here the transcriptions are given as Liszt published them, and they comprise numbers 1, 23, 22, 13, 4, 6, 5, 24, 19, 21, 18 and 17 of Schubert’s cycle. Litany for the Feast of All Souls, Schubert, transcribed Liszt. (Der originale Geisterchor erschien erst nach dem Tode Liszts.) ‘His idiomatic grasp and utter reliability remain as admirable as in earlier instalments. Share on Facebook Tweet on Twitter Pin on Pinterest. $1.40. Das Fischermädchen (‘The Fisher-maiden’) is a straightforward transcription with an extra final verse mirroring the ‘Ebb’ und Flut’ (‘ebb and flow’) of the text with its delicate fluttering between major and minor. Finally, Die Forelle, D550d, is given a full-blooded concert transcription. Liszt chooses numbers 1, 19, 14, 17, 2 and 7 from the original twenty settings of Wilhelm Müller: Das Wandern (‘Wandering’) is two verses shorter than the song expressing the poet’s joy in tramping about, but is delightfully varied. Come, bring me joy!’). (‘Whither?’) solves the problem of adding the voice to the accompaniment by dividing the babbling brook which has attracted the poet’s attention between the inner fingers of the two hands, and occasionally by letting it wash the melody from above; and Ungeduld (‘Impatience’)—the poet is desperate to proclaim his love to the whole world—is set, like the first song, with one fewer verse than Schubert, in a theme and two variations. David Owen Norris has also argued for re-ordering the Liszt transcriptions along similar lines. LISTING & MENU. Liszt: Litanei (4 Geistliche Lieder S. 562 No. 12 Lieder von Franz Schubert Alt ernative. Franz Peter Schubert est le 12e d'une famille de quatorze enfants. 4 from Schwanengesang, S560, after Schubert) Liszt: Auf dem Wasser zu singen (No. Sort by: Results per page: Showing 10 results per page. Classical Music Beyond the Concert Stage: Ten Classical Pieces Used in Commercials. The two verses of Der Jäger (‘The Huntsman’)—in which the poet asks the hunter to keep away from the stream and shoot only that which frightens his loved one—are given a very sprightly decoration, and are set either side of the transcription of Die böse Farbe (‘The Evil Colour’). Every transcription has whole passages given in alternative text, thus forming a possible second version of the whole cycle (see Volume 33), but here the main text is given throughout. Franz Liszt Litanei, transcription for piano, S. 562/1 (LW A73/1) (after Schubert. Liszt begins his journey as does Schubert, with the uncannily imaginative walking song Gute Nacht (‘Goodnight’), eliminating the penultimate verse and treating the piece as a theme and variations. Liszt’s methods and intentions in his Schubert song transcriptions vary quite broadly. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Instrumentations: CHOIR - VOCAL › Piano and Voice (1) Original PIANO › Piano solo (2)VIOLA › Viola and Harp (1)FLUTE › Flute and Harp (1) Arrangers: › Schubert, Franz Peter (1) › Godowsky, Leopold (1) › Magatagan, Mike (2) › Zencovich, Antonio (1) Sheet music menu: BROWSE BY DIRECTORIES. He wrote some 600 lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, and a large body of chamber and solo piano music. Excellent sonics and informative notes by the performer’ (American Record Guide), ‘These discs not only bear moving witness to Howard's devotion to Liszt, and Liszt's devotion to Schubert, but also offer a wealth of insight into both composers’ (Classic CD), ‘Other performers should be inspired to include this repertoire in their programs after hearing Howard's persuasive presentation’ (Piano & Keyboard), This second collection of Liszt’s tributes to the genius of Schubert is largely confined to song transcriptions, and especially to the sets of pieces based on the song cycles. Like the Schwanengesang transcriptions, Liszt furnished alternative readings, but in this case only for five of the songs (see Volume 33). FRANZ SCHUBERT-LISZT Litanei auf das Fest Aller Seelen (Litany for the Feast of All Souls), D.343 FRANZ LISZT Venezia e Napoli: Gondoliera, Canzone, Tarantella MSR Classics. coda. phone: 203.304.2486. But there is something uncomfortable about ending with such an un-valedictory piece as Die Taubenpost, especially hard on the heels of Der Doppelgänger, and although Liszt preserves the juxtaposition of these two, he does not hesitate to return to a minor key to complete his cycle, and to choose a different order for the other songs. 811,866 listeners Felix Mendelssohn. Duplexity Piano Duo Duo Pianists Brenda Hunting and Anna Lu Here are some of Duplexity's videos: Special Promotion for Teachers! S.558 ; LW.A42 I-Catalogue Number I-Cat. 1841 – Hamburg: Schuberth & Co. Schubert/Liszt: Litanei In his Paraphrases and Reminiscences, Liszt offers a re-interpretation based on thematic material drawn from the original source, his best known being based on operas by Verdi. General Information. Scrobble Stats ? The so-called ‘Troisième Edition’ of the Marche hongroise was made by a complicated cobbling together of the first edition (as in Mélodies hongroises—see Volume 31), and of the second Diabelli Edition (as in Ungarische Melodien in this volume) with a new introduction and several new interludes as well as many alterations of texture, all of which adapt the spirit of the old Liszt to the music of his youth. The Schiller song Des Mädchens Klage (‘The Maiden’s Lament’, D191b) brings us to Schubert proper, and a complex transcription cast as a theme and variations dramatically depicting the maiden’s discovery, having lived and loved a little, that sorrow and tears follow hard on the heels of joy. Usually despatched in 2 - 3 working days. Hymne is actually the Geisterchor (‘Chorus of Spirits’)—one of a group of vocal numbers from the ill-fated incidental music to Rosamunde, D797, which Schubert arranged with piano accompaniment (the original is for chorus with brass) which appeared in 1824 as Opus 25, with this particular piece as No 3. (It is still published by Schirmer in one of their collections of Schubert Songs!) In Die Post the poet has an involuntary leaping of the heart at the sound of the posthorn presaging mail from the town where he once had a true love, knowing that there will be no post for him. 36 (1931) Audio CD (August 18, 2017) Label: Decca Gold; ASIN: B0714LX5MR; Share. This earlier version contains a beautiful alternative reading for the second verse (given here) which was unaccountably deleted later. Schubert: Litanei in E-flat Major - S. 562 No. Music notes for Choral sheet music by Franz Schubert Franz Schubert: Hal … (The original Geisterchor did not appear until even after Liszt’s death.) This is not the place to go too deeply into the history of the original Schubert cycle, D911, but it was composed in two bursts of creativity in 1827, to poems by the same Wilhelm Müller whose texts inform Die schöne Müllerin. How did various businesses use classical music in advertisement? There are some simple arrangements, in which vocal line and accompaniment are wedded comfortably without much in the way of decoration. BROWSE BY OPUS [Op.] Joined: Jul 13, 2006 Messages: 2,387 Likes Received: 0 Location: Obamanation, unfortunately... Last Name: Grocholski First Name: Julius. Finally there is a group of very freely treated songs where the transcription endeavours to give full expression to the ideas behind the song as well as the musical text itself. Liszt deliberately begins tentatively, with the melody slightly displaced from the beat, but as the song’s anguish mounts he becomes forthright and impassioned. (‘To the East!’) in 1824, but it was reissued in 1843 with new words (by Branger) as Adieu and translated as ‘Lebe wohl!’ under Schubert’s name. Then there are works where the first verse of a song is given unembroidered, but what amounts to a set of variations follows, and oft-times the variation is predicated by the text of the song. When Liszt issued his Sechs Melodien von Franz Schubert in 1844, he was as unaware as most of the musical world at the time that the first song which he transcribed was a misattribution to Schubert. Schumann's outpouring of love to Clara Wieck. Liszt had already made two transcriptions from Die schöne Müllerin—Trockne Blumen and Ungeduld—when he produced his set of Six Mélodies favorites in 1846, in which the former does not appear and the latter is transcribed anew and in a different key. Service fees apply. The text, a likely candidate for the worst piece of German poetry, is by Wilhelmine von Chézy, and deals with Light living in the Depths and Shining (‘In der Tiefe wohnt das Licht. Liszt – Transcriptions for solo piano of the songs “Widmung” (Dedication) by Robert Schumann and “Litanei” (Litany) by Franz Schubert. By way of an encore, this set ends with yet another version of the Marche hongroise, the one reprinted by the Russian State Music Publishers, presumably taken from the early Richault edition in which Liszt revised many small details and added extra ossia passages which are included here to give the broadest variety of all his many efforts towards this one work. Sometimes the tempo of a transcription, because of the variations in the verses, may seem slightly different from customary usage, but Liszt’s interpretations may also reveal to us a different attitude and tradition towards tempo which might otherwise not have survived. Page # of # Difficulty Level: nothing ... Geistliche Lieder, by Schubert, S.562 - No.1 Litanei (auf das Fest aller Seelen) (S.5621) Geistliche Lieder, by Schubert, S.562 - No. Liszt trug die Vier geistlichen Lieder aus zwei Quellen zusammen: die ersten drei Originale waren drei Jahre nach Schuberts Tod gedruckt, und das dritte in einer Klavierfassung von Schubert selbst herausgegeben worden, die den Kompilatoren des Grove-Lexikons entgangen sein muß. Bach... Do you know them all? From Ruth Dana Collection of Liszt editions. Erstarrung (‘Numbness’) finds the poet in pain at his loss. Liszt-Schubert, Litanei Brenda performed this beautiful Lied by Schubert, transcribed by Liszt, at a student Soirée. No. These are not simple transcriptions or “opera medleys” but rather Liszt takes the principal elements of the opera and creates a new art work. Songs Litanei auf des Fest Allerseelen (1816) D343 This song was recorded on the album 'Schubert Year by Year' on Stone Records, in preparation for Oxford Lieder's 2014 The Schubert Project, the first ever complete performance of Schubert's songs in a single festival.It features one song from each year of Schubert's creative life. IFL 122 Movements/Sections Mov'ts/Sec's: 4 pieces Year/Date of Composition Y/D of Comp. In Der Atlas the poet likens the burden of a lover’s sorrow to the weight of the world borne by Atlas, and blames his heart’s will. The second disc closes with two rarities: Frühlingsglaube, D686c (‘Spring Faith’—as nature changes in spring, so must all things, but to the good), appears in a similar transcription in the Zwölf Lieder, S558. Nature, like his heart, is frozen, but if it should melt, then so would his inner image of his love in his as-dead heart. For a single performer : Genre. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Save my name, email, and website in this browser for the next time I comment. Himmelsfunken, D651 (‘Heaven’s Gleam’) is a simple strophic song in contemplation of heaven, which Liszt arranges as a theme with two variations. (Liszt’s number of variations is sometimes greater or fewer than the number of verses in Schubert’s songs, however.) Liszt makes a palindromic key pattern by setting the pieces in B flat major, G minor, C minor/C major/C minor, G major and B flat major, even though this puts the narrative of the original quite out of order and changes Schubert’s keys for numbers 4 and 6—originally in B major and A major. SCHUBERT-LISZT Litanei auf das Fest Aller Seelen. 10; 20; 30; 40; View: Showing long format results grid. Komm, beglücke mich!’ (‘Trembling, I await your approach! Liebesbotschaft (‘Message of Love’) is one of the happier songs of the cycle. Complete program and concert information is at salonpianoseries.org. Offer, Franz Liszt: The Schubert Song Transcriptions for Solo Piano 2. Schubert: Litanei in E-flat Major S. 562 No. RACHMANINOV Sonata No. MOSTLY TRANSCRIPTIONS 2 Bach & Beethoven [Busoni, Liszt & TIEN HSIEH [MS1531] ©2011 MSR Music LLC. He is particularly noted for his original melodic and harmonic writing. Liszt’s setting is straightforward, with one or two musical sighs added, and a splendid self-mocking clatter at the coda. Liszt makes a virtual symphonic poem of the piece by providing textures that express exactly a troubled mind before sleep comes at last with the happier thoughts of the distant beloved. What is scrobbling? View credits, reviews, tracks and shop for the 2001 CD release of Liszt•Schubert•Schubert/Liszt on Discogs. Title Composer Liszt, Franz: Opus/Catalogue Number Op./Cat. And finally here are Liszt’s last thoughts on Ständchen (‘Leise flehen meine Lieder’) (‘Serenade—Gently imploring go my songs’, D957/4) from Schwanengesang, effectively his fourth version of it—he had first issued a transcription of it long before he set about preparing the whole of the collection, effectively in two complete versions. Curiously, it approches the business of conveying the poet’s impatient passion in quite a different way from the later transcription, and adds a short, extremely blue. Liszt varies Schubert’s tremolo accompaniment at the beginning with patterns of six semiquavers—slightly alarming in its unfamiliarity at first, but more effective in retrospect to save the demisemiquavers for the end. The grief-stricken poet’s Aufenthalt (‘Resting Place’) can only be rushing river, roaring forest or inflexible rock—and Liszt’s response is full of clever word-painting. In Die Nebensonnen (‘Mock Suns’) Liszt takes Schubert’s song in one verse and extends it into a dramatic narrative that truly reflects the emotional compass of this prickly poem: the conceit of an optical illusion of three suns representing the poet’s failure in human relationships. 718,841 listeners Wolfgang Amadeus Mozart. Liszt manages to include Schubert’s constant demisemiquavers, which represent the rushing brooklet carrying greetings to the poet’s loved one. Liszt’s key structure is typically interesting: D minor, B flat major (Schubert has A major), G minor, E flat major, C minor, E minor (Schubert has F sharp minor), E major, A minor, A major, F major and D minor/D major/D minor. Schubert, Franz Litanei auf das Fest Alle Seelen Sheet music for Voice - 8notes.com 2 from Zwölf Lieder von Franz Schubert, S558) Liszt: Aufenthalt (No. Franz Liszt - Litanei (by Schubert) Comments; No.2 Intimations of Heaven. Liszt’s tremolos correspond exactly to Schubert’s and he conjures the mood perfectly. This is shorn of its short introduction and coda, but handled very ebulliently, with some treacherous double notes in the right hand to stress the pride and boldness of the lover’s preferred and mocking green. Der Lindenbaum (‘The Linden Tree’) is the poet’s solace, his sheet-anchor in times good and bad, and finally a recollected place of peace. Franz Peter Schubert (German: [ˈfʁant͡s ˈpeːtɐ ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. The new publication bears the German title Schuberts Ungarische Melodien, and adds the legend ‘auf eine neue leichtere Art gesetzt’ (‘arranged in a new easier manner’). Liszt sustains the still slowness of Schubert’s masterpiece with a remarkable variety of textures, finally allowing himself tremolos and trills to underline the misery of rest denied. 1,738,958 listeners View all similar artists. It is impossible to say exactly how Schubert achieved the spiritual depth and the emotional … Only the first of them is well known in song recitals—Litanei auf das Fest aller Seelen, D343a, (‘Litany for All Souls’ Day’) is a requiem prayer which Liszt treats with beautiful simplicity, even in the octave doublings of the second verse. His Zwölf Lieder von Franz Schubert—[aus] Winterreise (‘Twelve songs of Franz Schubert—[from] Winter’s Journey’) are of exactly the same fine quality as his Schwanengesang transcriptions, and to have only half the cycle is tantalizing, even though the selection and arrangement of it has its own story to tell. In Ständchen Liszt famously permits himself to set the whole of the third and fourth verses of the melody, and the right hand of the accompaniment, in canon, without doing any damage thereby. By 1846 Liszt had probably noticed that his long and complex Mélodies hongroises—his piano solo version of Schubert’s Divertissement à l’hongroise—were not being taken up, except for the central March (see Volume 31). 2 Himmelsfunken (S.5622) (Pages 5-7) Geistliche Lieder, by Schubert, S.562 - No. Wohin? Bien que mort à 31 ans, Schubert est un des grands compositeurs du XIXe siècle, et le maître incontesté du lied. Franz Peter Schubert (1797-1828) was an Austrian composer. Liszt moves the vocal line from tenor to soprano (in tenths) between the verses. Peter Schöne (voice), Boris Cepeda (piano) Javascript is required to submit files. Only the first of them is well known in song recitals—Litanei auf das Fest aller Seelen, D343a, (‘Litany for All Souls ... Liszt takes Schubert’s song in one verse and extends it into a dramatic narrative that truly reflects the emotional compass of this prickly poem: the conceit of an optical illusion of three suns representing the poet ’s failure in human relationships. Typically, Liszt’s understanding of what an amateur might find easy was compromised by the fact that he himself seemingly found nothing to be difficult. Abschied (‘Farewell’) is a marvellous piece of enforced jollity at parting, brilliantly set by Schubert and well captured by Liszt, who adds his usual musical commentary upon the text to make a lively set of variations with much jumping about in triplets. No. Die Taubenpost (‘The Pigeon-post’) is a joyful contrast to the lonely misery of the previous piece. They were published as a set of four, and almost immediately were reissued in a set often with the Sechs geistliche Lieder (Gellert) transcribed from Beethoven (in Volume 15 of this series). S.562 ; LW.A73 I-Catalogue Number I-Cat. Performed by Brenda Hunting, 11 September 2016.A tribute to the victims of the 9/11 attacks. For Piano solo (Liszt) See: Franz Schuberts geistliche Lieder, S.562, by Franz Liszt (No.1) Free Recordings. Title by uploader: Franz Liszt - Himmelsfunken (by Schubert) Look inside. Liszt, Ferencz (1811-86) Works. What makes her one of the most highly sought after pianists? The first CD puts down an opening marker with the anti-virtuosic ruminations of Schubert’s Litanei and Liszt’s La lugubre gondola – the latter a wonderful piece, played with sad and searching intensity. Contact Us; Shipping. Liszt’s pieces correspond to numbers 11, 10, 5, 12, 7, 6, 4, 9, 3, 1, 8, 13, 14 and 2 of the published order of the songs, giving him another interesting key structure of C minor, A flat major, E minor, C major, E flat major, B minor, D minor, B flat minor, B flat major, G major, G minor. Seller Baradello: PDF, 1.40 Mb ID: SM-000346171 Upload date: 16 Jan 2019. Schubert sets this most introspectively, and Liszt follows him to the letter. Schubert, Franz Litanei auf das Fest Alle Seelen Sheet music for Violin - 8notes.com Suggest a correction for this page. 1 from Vier Geistliche Lieder, S562, after Schubert) Composer: Ferencz Liszt (1811–86) Showing 1 - 10 of 12 results. 1 Auf Das Fest Aller Seelen) Work length 3:30. Both Schubert and Liszt manage to make something quite beautiful from this tripe. Hyperion offers both CDs, and downloads in a number of formats. Work Title Am Tage Aller Seelen - Litaney auf das Fest Aller Seelen Alt ernative. In his last years he added to the second version a new cadenza at the coda for his student and biographer, Lina Ramann, further underlining the sense of the closing lines: ‘Bebend harr ich dir entgegen! The largest group are his over six hundred Lieder for solo voice and piano. To close, Liszt allows his robust transcription of Der stürmische Morgen (‘The Stormy Morning’—the poet sees the foul weather as a reflection of his heart and mind) to be played before and after Im Dorfe (‘In the Village’): the poet may not linger amongst the sleeping villagers, who are able to refresh themselves in dreams. For those who know the song-cycle well, it comes as rather a surprise to encounter Der Leiermann (‘The Organ Grinder’) anywhere but at the end, where the poet’s disillusion becomes complete. Can you recognize the work and the performers? $1.00. (The title of Schubert’s version with piano is confusing, because ‘Hymne’ applies legitimately to quite a number of Schubert songs and choruses.) Change quantity Add to basket . The originals, D957—seven songs to poems by Rellstab, six to Heine (all composed in August, 1828) and one to Seidl (composed around the same time as the famous Der Hirt auf dem Felsen (‘The Shepherd on the Rock’) in October 1828 and therefore Schubert’s last song for voice and piano)—were collected and published in 1829. Format. This last phenomenon is the one which has caused most criticism historically, and therefore warrants a little explanation. Schumann – Symphonic Etudes, Op.13 (1830) Bishop – Home, Sweet Home. Encouraging Engagement With Classical Music, But not shaming them for liking the popular pieces, 7 Studies on Themes of Paul Klee by Gunther Schuller, Listen to art songs by Beethoven, Britten, Schumann, and Shostakovich inspired by Burns. Explore; Explore Composers. ... Franz Liszt. But Liszt sees a good juxtaposition with the next song and treats this one as a simple introduction, moving without pause to the false attraction (so beautifully captured by both Schubert and Liszt) of Täuschung (‘Delusion’), in which the poet imagines briefly that a friendly light will lead him out of his cold wanderings into warmth and even into love. Again Liszt sets the work as a theme and variations of great refinement and intricacy. Instrumentation. Liszt’s mighty transcription, subtitled ‘Lamentation’, pierces the heart of both words and music. The poet speaks to a few dead flowers which were the only gift he had had from his beloved. The piece is nevertheless offered here to keep Liszt’s collection intact, and the obscurity into which it would fall if listed as a song by its true author is reason enough to preserve its quite Schubertian beauty in the noble context which Liszt intended. Your email address will not be published. Liszt: Am Meer (No. Gift Shop; Cliburn Alumni; Documentaries; Van Cliburn; Program Book; Archives; Cliburn.org; Assistance . Just as in his transcriptions of orchestral music by Beethoven, Berlioz or Wagner, Liszt often conveys a precision of sound and spirit by his conscious avoidance of literal representation of the notes, so with the song transcriptions does he often compensate for the sound of a great singer in full flight in response to both words and music by adopting an apparently new musical text. Print and Download Litanei (Auf Das Fest Aller Seelen) (arr. What a pity that Liszt did not transcribe the whole cycle of Winterreise! How ‘letting go’ allows us to cultivate a greater sense of acceptance and self-confidence, A discussion in response to studies on improved intelligence because of musical training. Browse: Liszt - Litanei - Andante Religioso (No. Die schöne Müllerin (‘The Fair Mill-maid’, D795) is far too familiar to require much explanation. How do Royalties work in the music world? He recast the piece, making trenchant cuts and simplifying a lot of the texture. Liszt’s transcription is, if it were possible, even more touching in its tranquillity than the original, and the wrench back to the reality of life’s storms is the solution to his own personal life’s journey. Liszt treats Mut (‘Courage’) with appropriately festive decoration (and eliminates the reprise of the introduction at the coda), merrily facing with Müller and Schubert the world’s squalls. D 343/1) Am Meer tells, by the sea in the twilight, of love lost, and of the poet’s being poisoned by the tears which he has drunk away from the hand of the unhappy woman whom he loves. Das Wirtshaus (‘The Wayside Inn’) is really a graveyard, where the poet is ready to lie down, but his time is not come and he must move on.

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