Vanessa Wagner: Liszt, Pärt
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Liszt, Arvo Pärt
Genre:
Instrumental
Label: La Dolce Volta
Magazine Review Date: 01/2019
Media Format: CD or Download
Media Runtime: 81
Mastering:
DDD
Catalogue Number: LDV46
Tracks:
Composition | Artist Credit |
---|---|
Harmonies poétiques et réligieuses, Movement: No. 1, Invocations |
Franz Liszt, Composer
Franz Liszt, Composer Vanessa Wagner, Piano |
Harmonies poétiques et réligieuses, Movement: No. 3, Bénédiction de Dieu dans la solitude |
Franz Liszt, Composer
Franz Liszt, Composer |
Trivium |
Arvo Pärt, Composer
Arvo Pärt, Composer Vanessa Wagner, Piano |
Harmonies poétiques et réligieuses, Movement: No. 4, Pensée des morts |
Franz Liszt, Composer
Franz Liszt, Composer Vanessa Wagner, Piano |
Pari intervalli |
Arvo Pärt, Composer
Arvo Pärt, Composer Vanessa Wagner, Piano |
Harmonies poétiques et réligieuses, Movement: No. 6, Hymne de l'enfant à son réveil |
Franz Liszt, Composer
Franz Liszt, Composer Vanessa Wagner, Piano |
Harmonies poétiques et réligieuses, Movement: No. 7, Funérailles |
Franz Liszt, Composer
Franz Liszt, Composer Vanessa Wagner, Piano |
Harmonies poétiques et réligieuses, Movement: No. 9, Andante lagrimoso |
Franz Liszt, Composer
Franz Liszt, Composer Vanessa Wagner, Piano |
Für Alina |
Arvo Pärt, Composer
Arvo Pärt, Composer |
Harmonies poétiques et réligieuses, Movement: No. 10, Cantique d'amour |
Franz Liszt, Composer
Franz Liszt, Composer |
Author: Patrick Rucker
From the opening bars of ‘Invocation’, we are confronted by frenetic rhetoric which, undergirded with a rubato verging on hysteria, threatens incoherence. Any hopes that things may cool down a bit in ‘Bénédiction de Dieu’ are quickly dashed. Wagner seems unable to let the music speak for itself but superimposes all manner of overwrought accelerations that leave the impression that God’s benediction in solitude must be a harrowing experience. ‘Pensée des morts’, Liszt’s final word on ideas previously elaborated in the piano piece Harmonies poétiques et religieuses and the so-called De profundis Concerto, both from 1834, fares somewhat better, despite cavalier disregard of the composer’s pedal markings and dynamic indications. Refusal to take ‘Funérailles’ at face value, namely as an expression of the immense dignity surrounding national mourning, akin to Héroïde funèbre or Berlioz’s Symphonie funèbre et triomphale, transforms pathos into strident bathos.
Wagner is clearly more at home in the more intimate sound worlds of Pärt. Her Liszt interpretations, on the other hand, seem filled with the very qualities that she says made his music so difficult to assimilate.
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