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Liszt: Wagner Transcriptions / William Wolfram

Liszt / Wolfram,William
Release Date: 08/27/2013 
Label:  Naxos   Catalog #: 8572895  
Composer:  Franz Liszt
Performer:  William Wolfram
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 10 Mins. 

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Notes and Editorial Reviews

Liszt's first meeting with Wagner in 1840 took place when the latter was struggling as a composer, and his transcriptions can be seen as part of a campaign to bring Wagner's work to the notice of a wider audience. These include many of Wagner's most famous dramatic moments, such as Isolde's Liebestod from Tristan und Isolde and the Wedding March from Lohengrin. The program concludes with the Solemn March to the Holy Grail from Wagner's last stage work Parsifal, Liszt's transcription of which was published in 1883, the year of Wagner's death. Liszt's first meeting with Wagner in 1840 took place when the latter was struggling as a composer, and his transcriptions can be seen as part of a campaign to bring Wagner's work to the notice of a wider audience. These include many of Wagner's most famous dramatic moments, such as Isolde's Liebestod from Tristan und Isolde and the Wedding March from Lohengrin. The program concludes with the Solemn March to the Holy Grail from Wagner's last stage work Parsifal, Liszt's transcription of which was published in 1883, the year of Wagner's death. Read less

Works on This Recording

1.
Spinning Chorus from Wagner's "Fliegende Holländer", S 440 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1860; Weimar, Germany 
2.
Senta's Ballad from Wagner's "Der Fliegende Holländer", S 441 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1872; Weimar, Germany 
3.
Pilgrim's Chorus from Wagner's "Tannhäuser", S 443 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1861; Weimar, Germany 
4.
March to the Grail from Wagner's "Parsifal", S 450 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1882; Weimar, Germany 
5.
Isolde's "Liebestod" from Wagner's "Tristan", S 447 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1867; Weimar, Germany 
6.
Festival and Bridal Song from Wagner's "Lohengrin", S 446 no 1 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1854; Weimar, Germany 
7.
Fantasy on themes from Wagner's "Rienzi", S 439 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1859; Weimar, Germany 
8.
Elsa's Dream and Lohengrin's Rebuke from Wagner's "Lohengrin", S 446 no 2 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1854; Weimar, Germany 
9.
Bridal Procession from Wagner's "Lohengrin", S 445 no 2 by Franz Liszt
Performer:  William Wolfram (Piano)
Period: Romantic 
Written: 1852; Weimar, Germany 

Sound Samples

Wagner - 2 Stucke aus Tannhauser und Lohengrin, S445/R278: No. 2. Elsas Brautzug zum Munster
Wagner - Isoldes Liebestod from Tristan und Isolde, S447/R280: Wagner - Isoldes Liebestod aus Tristan und Isolde, S447/R280
Wagner - Phantasiestuck uber Motive aus Rienzi Santo Spirito cavaliere, S439/R272
Wagner - Tannhauser: Pilgrim's Chorus, S443/R276
Wagner - Aus Lohengrin, S446/R279: No. 1. Festspiel und Brautlied
Wagner - Aus Lohengrin, S446/R279: No. 2. Lohengrins Verweis
Wagner - Spinnerlied aus dem Fliegenden Hollander, S440/R273
Wagner - Ballade aus dem fliegenden Hollander, S441/R274
Wagner - Aus Lohengrin, S446/R279: No. 2. Elsa's Traum
Wagner - Feierlicher Marsch zum heiligen Gral aus Parsifal, S450/R283

Customer Reviews

Average Customer Review:  1 Customer Review )
 AN UNPUBLICIZED TREASURE September 26, 2013 By David Flood (Honolulu, HI) See All My Reviews "Neither Arrau nor Rubinstein made these transcriptions soar and sing like this pianist. I was never really a fan of Liszt transcriptions until I heard this record. I now think this is because most great pianists concentrate on the dazzle and not the original musical substance which has merited Liszt's attention.. Wolfram has technique to burn, but he invariably places it at the service of the music. On this record, his remarkable technique is always underlying the musical purpose, never there to call attention to itself. The result: if the listener loves the original music, he will be transfixed by this superb realization of Liszt's intent" Report Abuse
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