Liszt: Sacred Music Transcriptions
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Composer: Franz LisztPerformer: Philip Thomson
Edition: Music CD
CD Release Date: 1998-06-02
Music Label: Naxos
Soundtracks:
- Benedictus & Offertorium aus der ungarischen Kr�¶nungsmesse, for piano, S. 501 (LW A238): 1. Benedictus
- Benedictus & Offertorium aus der ungarischen Kr�¶nungsmesse, for piano, S. 501 (LW A238): 2. Offertorium
- Urbi et Orbi -- B�©n�©diction papale, for piano, S. 184 (LW A229)
- Ave maris stella, for piano, S. 506 (LW A243)
- O Roma Nobilis, for piano, S. 506b (LW A294)
- Christus ist geboren: Nato e Cristo Redentor (Weinachtslied), for piano, S. 502 (LW A227)
- Zum Haus des Herrn ziehen wir, for piano, S. 505 (LW A332)
- In festo transfigurationis Domini nostri Jesu Christi, for piano, S. 188 (LW A300)
- L'hymne du pape, transcription for piano, S. 530 (LW A228)
- Stabat Mater, for piano, S. 172b (LW A142)
- Chorales (12), for piano (Zw�¶lf alte deutsche gestliche), S. 504b (LW A286a): 1. Crux ave benedicta (S50, No. 9 / R72, No. 9)
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 2. Jesu Christe pro nobis crucifixe (S50, No. 12 / R72,
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 3. Meine Seel' erhebt den Herrn (S51 / R507)
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 4. Nun danker alle Gott! (S50, No. 11 / R72, No. 11 & S
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 5. Nun ruhen alle Wälder (S50, No. 3 / R72, No. 3)
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 6. O Haupt voll Blut und Wunden (S50, No. 4 / R72, No.
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 7. O Lamm Gottes (S50, No. 5 / R72, No. 5)
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 8. O Traurigkeit (S50, No. 10 / R72, No. 10)
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 9. Vexilla Regis prodeunt (S50, No. 8 / R72, No. 8)
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 10. Was Gott tut (S50, No. 6 / R72, No. 6)
- Chorales (12), for piano (Zwölf alte deutsche gestliche), S. 504b (LW A286a): 11. Wer nur den lieben Gott (S50, No. 7 / R72, No. 7)
- Sancta Dorothea, for piano, S. 187 (LW A278)
- Alleluia, for piano, S. 183/1 (LW A216/1)
Music reviews of Liszt: Sacred Music Transcriptions
Music Review: Liszt - Religiosity through Minimalism
Rating: 4 Stars
Volume 9 of the Naxos Complete Piano Music of Liszt series is a special release. Most of the pieces here have only been recorded once before by the indefatigable Leslie Howard. The return of Philip Thomson, one of the greatest pianists showcased in this entire series, is also notable. I couldn't think of a better messenger to lend some quality to these mystical and unusual religious piano works. Liszt's sacred music is generally forgotten, but it exists as another great monument of Liszt's compositional scope. The pieces here exhibit startling diversity. Most are calm and introspective; others are majestic and sublime; and some are like hymns played on the piano.
Liszt's "Hungarian Coronation Mass" was composed in honor of Franz Josef who became King of Hungary in 1867. This ceremonial choral work has been recorded before, but Liszt's two transcriptions are exquisite rarities. The 'Benedictus' is gentle but rapturous, while the 'Offertorium' exudes both quiet contemplation and ecstatic jubilance. "Urbi et orbi" (To the City and the World) is a powerful work quite alien to Liszt's aesthetic. While Liszt stamps his signature with dramatic religiosity and pianistic virtuosity, the expressive rhetoric of this through-composed music is unlike anything he's written. The Debussyan scintillating figurations that precede an eerie monophonic hymn played in pianissimo is just one example of this work's originality. "Ave maris stella" (Hail Star of the Sea) is a tranquil essay with occasional moments of understated intensity. "O Roma nobilis" and "Weihnachtslied" are all-too-brief with slight musical value.
"Zum Haus des Herrn ziehen wir" (We Shall Go into the House of the Lord) is extrovert and Thomson pummels the massive fortissimo proclamation of chords with conviction. "In festo transfigurationis" is perhaps one of the finest gems on this recording, and shows Liszt forecasting minimalism. With scarce pianistic resources and within a few minutes, Liszt achieves a depth of profundity and musical substance incomparable to the previous works. I found the "Eleven Chorales" less than appealing, though their simplicity and serenity are captured remarkably well through Thomson's performance. The musically rich "Alleluja" is a whirling storm of majestic chords played with full-blooded passion by Thomson. The virtuosic excitement inherent in this piece makes it a worthy candidate for piano recitals. I believe the "Stabat Mater," however, is the greatest work featured here. Who could deny the profound emotional impact this work is capable of? The music alternates between loud unmerciful bass chords and soft pleading chords in the treble: there is obviously a program behind this. My own imagination creates the scenario of the bass chords representing Death, and the innocent and gentle response is the Soul (or life). There is a moving dialogue between the sinister character of Death and the despairing Soul. In an utterly transcendent moment, the Soul soars over the sorrow of Death through a gorgeous series of arpeggiated statements, bringing the work to a glorious end.
Bottom line: I encourage others to experience the wealth of stirring moments in these reflective pieces. All of the music is agreeable, though some are too plain and boring. Despite the discrepancies of quality, Thomson's pianism and musicianship is in a league of its own; he is definitely the greater pianist to emerge from this Naxos series. The esoteric "Urbi et orbi," "In festo transfigurationis" and "Stabat Mater" are enough to make this recording worth owning.
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