Liszt: Piano Works
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Liszt
Magazine Review Date: 6/1988
Media Format: CD or Download
Media Runtime: 102
Mastering:
DDD
Catalogue Number: KTC2012
Tracks:
| Composition | Artist Credit |
|---|---|
| Années de pèlerinage année 3, Movement: Les jeux d'eau à la Villa d'Este |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (6) Consolations, Movement: Lento placido |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 47 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 104 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 123 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Après une lecture du Dante, fantasia quasi sonata |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Mephisto Polka |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Ballade No. 2 |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (3) Liebesträume, Movement: No. 2 in E flat, Gestorben war ich (S308) |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (3) Liebesträume, Movement: No. 3 in A flat, O lieb, so lang du lieben kannst |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (4) Valses oubliées, Movement: No 1 |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Harmonies poétiques et réligieuses, Movement: No. 7, Funérailles |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Mephisto Waltz No. 1, 'Der Tanz in der Dorfschenke |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
Composer or Director: Franz Liszt
Magazine Review Date: 6/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: XTC2012
Tracks:
| Composition | Artist Credit |
|---|---|
| Années de pèlerinage année 3, Movement: Les jeux d'eau à la Villa d'Este |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (6) Consolations, Movement: Lento placido |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 47 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 104 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 123 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Après une lecture du Dante, fantasia quasi sonata |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Mephisto Polka |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Ballade No. 2 |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (3) Liebesträume, Movement: No. 2 in E flat, Gestorben war ich (S308) |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (3) Liebesträume, Movement: No. 3 in A flat, O lieb, so lang du lieben kannst |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (4) Valses oubliées, Movement: No 1 |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Harmonies poétiques et réligieuses, Movement: No. 7, Funérailles |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Mephisto Waltz No. 1, 'Der Tanz in der Dorfschenke |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
Composer or Director: Franz Liszt
Magazine Review Date: 6/1988
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ETC2012
Tracks:
| Composition | Artist Credit |
|---|---|
| Années de pèlerinage année 3, Movement: Les jeux d'eau à la Villa d'Este |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (6) Consolations, Movement: Lento placido |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 47 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 104 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Sonetto 123 del Petrarca |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Années de pèlerinage année 2: Italie, Movement: Après une lecture du Dante, fantasia quasi sonata |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Mephisto Polka |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Ballade No. 2 |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (3) Liebesträume, Movement: No. 2 in E flat, Gestorben war ich (S308) |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (3) Liebesträume, Movement: No. 3 in A flat, O lieb, so lang du lieben kannst |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| (4) Valses oubliées, Movement: No 1 |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Harmonies poétiques et réligieuses, Movement: No. 7, Funérailles |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
| Mephisto Waltz No. 1, 'Der Tanz in der Dorfschenke |
Franz Liszt, Composer
Earl Wild, Piano Franz Liszt, Composer |
Author: James Methuen-Campbell
This is the third and certainly the most satisfying release of Earl Wild's Liszt series. Not only does the piano sound more colourful (the previous two I had heard only in their LP format), but Wild warms to the spirit and the demands of the music to a greater extent. These performances place him firmly alongside the most admired Liszt players of today.
If I were to compare his Dante Sonata with that of Brendel (Philips) or Bolet (Decca), I would say that it is Wild who is the most successful at organizing and projecting the drama of the piece. One feels the scale of conception of the authentic 'romantic pianist': in exploiting the resources that the piano has to offer, in varying touch and texture, it is Wild who is the master. In matters of pure technique many of Brendel's passages are pianistically crude in comparison.
Earl Wild has as great a capacity to dream at the instrument as does any other Liszt player although in his case this characteristic tends towards a uniform, trance-like state of playing. Much of the music included here falls into the reverie category, and so Wild's warm, smoothly romantic vision is ideal in pieces such as the Consolation and the twoLiebestraume. The Petrarch Sonnet No. 123 also has a lyrical breadth that bears all the hallmarks of a deep identification with the composer's style.
Orchestral ideas come very much to the fore in the Ballade—so different in scope and content to those of Chopin. Wild avoids making it melodramatic, he obviously places it amongst Liszt's masterpieces in this genre. He succeeds in immersing himself in the mood of each episode, whether it is the repeated forbidding chromatic rumblings in the bass or the lazy soft colours of the lyrical parts. The writing is never allowed to thicken; the sound is ever-changing. One or two pieces have a fuller recording quality than others, and in ''Funerailles'' the level is rather higher than in the sonnets that precede it. In the former the surges of sonority come over relatively well. The fourth large-scale piece, the Mephisto Waltz No. 1, finds exactly the right balance between devil-may-care energy and accurate virtuosity. Here one can sample Earl Wild at something like his zenith as a Liszt player. Maybe not so dazzling as Mikhail Pletnev's CD (JVC/Target VDC1023, 3/87), he does manage to enter into the diabolic side of the Mephisto piece with more imagination. Strange it should end with a quasi-Rachmaninov improvement of his own one wonders why he didn't opt for something more Lisztian.
Though not up to the sound-quality of the Decca and Philips CDs mentioned, this release has real merits. The piano used sounds somewhat second-rate in condition, and it could have been tuned more frequently between takes (especially the high treble notes in the Petrarch Sonnet No. 123).'
If I were to compare his Dante Sonata with that of Brendel (Philips) or Bolet (Decca), I would say that it is Wild who is the most successful at organizing and projecting the drama of the piece. One feels the scale of conception of the authentic 'romantic pianist': in exploiting the resources that the piano has to offer, in varying touch and texture, it is Wild who is the master. In matters of pure technique many of Brendel's passages are pianistically crude in comparison.
Earl Wild has as great a capacity to dream at the instrument as does any other Liszt player although in his case this characteristic tends towards a uniform, trance-like state of playing. Much of the music included here falls into the reverie category, and so Wild's warm, smoothly romantic vision is ideal in pieces such as the Consolation and the two
Orchestral ideas come very much to the fore in the Ballade—so different in scope and content to those of Chopin. Wild avoids making it melodramatic, he obviously places it amongst Liszt's masterpieces in this genre. He succeeds in immersing himself in the mood of each episode, whether it is the repeated forbidding chromatic rumblings in the bass or the lazy soft colours of the lyrical parts. The writing is never allowed to thicken; the sound is ever-changing. One or two pieces have a fuller recording quality than others, and in ''Funerailles'' the level is rather higher than in the sonnets that precede it. In the former the surges of sonority come over relatively well. The fourth large-scale piece, the Mephisto Waltz No. 1, finds exactly the right balance between devil-may-care energy and accurate virtuosity. Here one can sample Earl Wild at something like his zenith as a Liszt player. Maybe not so dazzling as Mikhail Pletnev's CD (JVC/Target VDC1023, 3/87), he does manage to enter into the diabolic side of the Mephisto piece with more imagination. Strange it should end with a quasi-Rachmaninov improvement of his own one wonders why he didn't opt for something more Lisztian.
Though not up to the sound-quality of the Decca and Philips CDs mentioned, this release has real merits. The piano used sounds somewhat second-rate in condition, and it could have been tuned more frequently between takes (especially the high treble notes in the Petrarch Sonnet No. 123).'
Liszt: Piano Works
Liszt: Piano Works
Liszt: Piano Works
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