Liszt: Piano Concertos Nos. 1 & 2, Tre Sonetti del Petrarca & Tannhäuser Overture (Jorge Bolet: The RIAS recordings, Vol. II) Jorge Bolet, Radio-Symphonie-Orchester Berlin, Lawrence Foster, Edo de Waart

• Franz Liszt (1811 - 1886):
• 1 I. Allegro maestoso - Tempo Giusto 05:49
• 2 II. Quasi Adagio 04:59
• 3 III. Allegretto vivace - Allegro Animato 04:07
• 4 IV. Allegro marziale animato - Presto 04:50
• Piano Concerto No. 2 in A Major, S. 125:
• 5 I. Adagio sostenuto Assai 05:10
• 6 II. Allegro agitato Assai 01:59
• 7 III. Allegro Moderato 05:12
• 8 IV. Allegro Deciso 03:20
• 9 V. Marziale, un poco meno Allegro 04:06
• 10 VI. Allegro animatio - Stretto 02:27
• Années de Pèlerinage - Deuxième Année: Italie, S. 161:
• 11 IV. Sonetto No. 47 del Petrarca in D-Flat Major 06:23
• 12 V. Sonetto No. 104 del Petrarca in E Major 06:51
• 13 VI. Sonetto No. 123 del Petrarca in A-Flat Major 07:02
• Franz Liszt (1811 - 1886), Richard Wagner (1813 - 1883): Overture to 'Tannhäuser', Paraphrase S. 442:
• 14 Overture to 'Tannhäuser', Paraphrase S. 442 16:53
• Total Runtime 01:19:08

Info for Liszt: Piano Concertos Nos. 1 & 2, Tre Sonetti del Petrarca & Tannhäuser Overture (Jorge Bolet: The RIAS recordings, Vol. II)

Jorge Bolet - the last gentleman of the piano: Cuban-American pianist Jorge Bolet (1914-1990), misleadingly labeled the "last Romantic" among 20th century pianists and marketed under this title when he achieved world fame at the end of his career, was first and foremost a gentleman of the piano. Few pianists interpreted the great piano music of the 19th and early 20thcenturies with such unerring stylistic assurance and technical mastery that was at the same time completely free of vanity and striving for effect. Rather than vague sentimentality, Bolet - who studied at the world-renowned Curtis Institute of Music in Philadelphia with David Saperton, son-in-law of the legendary pianist Leopold Godowsky, and later succeeded Rudolf Serkin as director of ist piano department - sought a balance between musical and pianistic intelligence. Thanks to these qualities, his recordings, which include not-uncontroversial transcriptions from the golden age of piano playing before 1914, are considered benchmarks. These recordings for the RIAS Berlin from 1962-73, featuring works by Chopin, Liszt, and Debussy alongwith highly virtuosic encores and arrangements by Moritz Moszkowski and Godowsky (among others), are no exception: here we experience a pianist and musician who rightly occupies aplace among the pantheon of great pianists.

All the recordings are first releases from the master tapes.

Appearing soon, the follow-up CD broadens the selection to include concerto repertoire (concert recordings of Liszt's piano concertos with the RSO Berlin under Lawrence Foster / Edo de Waart); it also presents further great piano works by the composer (Tannhäuser Paraphrase, Années de pèlerinage. Deuxième année. Italie). The stereo recordings were made in 1971 and 1982 and offer testimony of the "late" Jorge Bolet.

"This Audite set is invaluable, because it brings out for the first time on CD, recordings Bolet made in Berlin for German radio from the 1960s onwards. There is real treasure trove here, and no pianophile should miss this set." (Classic FM)

Jorge Bolet, piano

Digitally remastered

No biography found.

Booklet for Liszt: Piano Concertos Nos. 1 & 2, Tre Sonetti del Petrarca & Tannhäuser Overture (Jorge Bolet: The RIAS recordings, Vol. II)