David Ezra Okonsar | Ferenc Liszt: Années De Pèlerinage (Complete) Vol. 2: Italy (Deuxième Année) S.161

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Ferenc Liszt: Années De Pèlerinage (Complete) Vol. 2: Italy (Deuxième Année) S.161

by David Ezra Okonsar

Franz Liszt: Années de Pèlerinage (complete) VOL.2: Italy ("Italie",Deuxième Année) S.161, complete from N.2 "Il penseroso" to "Venezia e Napoli" (inc.)
Genre: Classical: Romantic Era
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  Song Share Time Download
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1. Années De Pèlerinage, Deuxième Année: Italie, S.161: II. Il Penseroso
4:34 $1.99
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2. Années De Pèlerinage, Deuxième Année: Italie, S.161: III. Canzonetta Del Salvator Rosa
3:13 $1.99
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3. Années De Pèlerinage, Deuxième Année: Italie, S.161: VI. Sonetto 47 Del Petrarca
8:15 $1.99
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4. Années De Pèlerinage, Deuxième Année: Italie, S.161: V. Sonetto 104 Del Petrarca
8:01 $1.99
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5. Années De Pèlerinage, Deuxième Année: Italie, S.161: VI. Sonetto 123 Del Petrarca
9:12 $1.99
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6. Années De Pèlerinage, Deuxième Année: Italie, S.161: VII. Après Une Lecture De Dante: Fantasia Quasi Sonata
19:14 $1.99
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7. Années De Pèlerinage, Deuxième Année: Italie, S.161: VIII. Venezia E Napoli: Gondoliera
5:28 $1.99
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8. Années De Pèlerinage, Deuxième Année: Italie, S.161: XI. Venezia E Napoli: Canzone-Tarantella
13:15 $1.99
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ABOUT THIS ALBUM


Album Notes
VOL.2
"Italie" (Deuxième Année) S.161 (Second Year: Italy)

Sposalizio (Andante - Andante quieto - Più lento - Quasi allegretto mosso - Adagio)

The overall perfect symmetry of this painting from Rafaello ("Le Mariage de la Vierge", 1504) which is in the Brera Palace of Milan, as well as the sacred vision of the painter can be traced in the purity of form of this lyrical piece.

A bells-like motive opens the piece, this near pentatonic figure will be used at the coda as well. The ethereal harmonies of the Andante quieto reflects the delicacies of the Quattrocento painting, a warm light is all over the figures, just as in the painting. A prudish modesty and humility echoes on every musical gesture.

Il penseroso (Lento)

A Michelangelo sculpture located at the grave of Julien de Medicis in Firenze, at the church San Lorenzo is the inspiration for this second piece of the series.

The music represents admirably the melancholy of the "thinker" with dark chords and profound dissonances.

Sounding bare fifths are like mirroring the coldness of the marble and the chromatic dive in the coda with dissonances in a held pedal create a unique atmosphere.

This piece had a particular meaning for the composer. Later he made a larger orchestral version of it, named La Notte, from another sculpture of Michelangelo in the

Canzonetta del Salvator Rosa (Andante marziale)

This canzonetta is a faithfully transcribed popular Italian march-song. The original song's lyrics are commonly attributed to the Neapolitan painter and adventurer of the seventieth century Salvator Rosa (1615-1673) "Vado ben spesso cangiando loco":

Rather often go I
changing place;
but unable am I
to change my desire.

Always the same
my fire will be;
and always the same
I will be myself.

Rather often go I
changing place;
but unable am I
to change my desire.

The main melody, however, is not from Rosa, but from Giovanni Battista Bononcini (1670-1747) an Italian baroque opera composer. A charming and naive piece.

Sonetto 47 del Petrarca (Preludio con moto - Ritenuto - Sempre mosso con intimo sentimento)

The three Petrarca Sonnets are initially composed in 1838-39 as lieds for high tenor and piano, then Liszt transcribed them for piano solo, approximately at the same time. But shortly before 1858, the composer rewrote them, giving the final version as we know today. Towards 1865 he even did yet another version for baritone voice and piano.

The vocal versions are far below the level of lyricism and the richness of creativity shown in the piano solo versions which are among the greatest pieces of the romantic repertoire.

The Sonnet 47 is immersed in sheer ecstasy, the melody gently settles over a lute-like accompaniment of the left hand.

I find no peace, and all my war is done.
I fear and hope. I burn and freeze like ice.
I fly above the wind, yet can I not arise;
And nought I have, and all the world I season.
That loseth nor locketh holdeth me in prison
And holdeth me not--yet can I scape no wise --
Nor letteth me live nor die at my device,
And yet of death it giveth me occasion.
Without eyen I see, and without tongue I plain.
I desire to perish, and yet I ask health.
I love another, and thus I hate myself.
I feed me in sorrow and laugh in all my pain;
Likewise displeaseth me both life and death,
And my delight is causer of this strife.

Sonetto 104 del Petrarca (Agitato assai - Adagio)

This musical poem, again starts with a prelude climbing with pain to a climax where the recitative is of a sustained vehemence.

"Pace non trovo" (I find no peace), the principal theme in E major is spasmodic, often broken its lyrical momentum. It alternates between enthusiasm ("vibrato, con esultazione") and most poignant sadness ("languido, dolce dolente").

At the end, all appease in a sigh of reconciliation with a more serene passion.

I find no peace, and yet I make no war:
and fear, and hope: and burn, and I am ice:
and fly above the sky, and fall to earth,
and clutch at nothing, and embrace the world.

One imprisons me, who neither frees nor jails me,
nor keeps me to herself nor slips the noose:
and Love does not destroy me, and does not loose me,
wishes me not to live, but does not remove my bar.

I see without eyes, and have no tongue, but cry:
and long to perish, yet I beg for aid:
and hold myself in hate, and love another.

I feed on sadness, laughing weep:
death and life displease me equally:
and I am in this state, lady, because of you.

Sonetto 123 del Petrarca (Lento placido - Sempre lento - Più lento)

This piece is a contemplative love dream with a confident fulfillment. The main melody is wrapped with an infinite tenderness, it does, however leads to a dramatic surge. Yet, at the end of each passionate impetus it appears with even more lovingness, often sustained with most tender harp-like chords.

I saw angelic virtue on earth
and heavenly beauty on terrestrial soil,
so I am sad and joyful at the memory,
and what I see seems dream, shadows, smoke:

and I saw two lovely eyes that wept,
that made the sun a thousand times jealous:
and I heard words emerge among sighs
that made the mountains move, and halted rivers.

Love, Judgement, Pity, Worth and Grief,
made a sweeter chorus of weeping
than any other heard beneath the moon:

and heaven so intent upon the harmony
no leaf was seen to move on the boughs,
so filled with sweetness were the wind and air.

Après une lecture de Dante: Fantasia Quasi Sonata

Also called "Dante-Sonata", this is the longest and last piece of the series. The title is from a poem by Victor Hugo, however, we know that Liszt was reading intensively the Divina Commedia in Italy where he was with Marie d'Agoult.

A first draft was titled: "Paralipomènes à la Divina Commedia, Fantaisie Symphonique" in 1837.

Liszt premiered the piece in Vienna in 1839, then he revised it the next year. The work got its final form in 1849.

The Inferno of Dante is depicted here with its "terrible tongues, horrific screams, roars of pain". In one single movement, the "Dante-Sonata" is also a deep reflection between the sonata form and the cyclic one with the use of leitmotives.

Venezia e Napoli:

As a supplement to the book of Second Year of Pilgrimage, Liszt included this series of three pieces from popular inspiration.

Originally, in 1838 there were four pieces, the first one was then removed but included in the symphonic poem Tasso.

The three pieces of the final version of 1859, published in 1861, are, regarding the first and third ones, rewritings of the initial first and fourth pieces. Compared to the earlier version, the final writing is more fluid, richer and more elegant.

Gondoliera (Quasi allegretto)

Based on the song "La biondina in Gondoletta" by Cavaliere Perucchini the Gondoliera is an amiable piece with a notable ending figuring a perfect compositional elaboration of a fade-out effect.

Canzone (Lento doloroso)

"Nessun maggior dolore" from Otello by Rossini is the source of this piece, elaborated simply but effectively on tremolos at the left hand all over it. It connects to the last number.

Tarantella (Presto - Più vivace - Canzone Napoletana - Prestissimo)

The longest piece of the series mostly based on an interplay between major and minor keys of G.

The theme is from Louis Cottrau (1797-1847), French composer and music publisher. The dance figures are around a central movement featuring a Neapolitan song (Canzone Napoletana) ornamented with brilliant arabesques.

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