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Liszt - The Organ Composer

97793 - Liszt - The Organ Composer

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Innovation, colour, virtuosity, spirituality, precipice, transcendence – these are the most important poles explored by organist Anna-Victoria Baltrusch in Liszt’s organ works. Her own adaptation of Liszt’s diabolical Totentanz is a stirring highlight of her CD.more

Franz Liszt | Frédéric Chopin

Innovation, colour, virtuosity, spirituality, precipice, transcendence – these are the most important poles explored by organist Anna-Victoria Baltrusch in Liszt’s organ works. Her own adaptation of Liszt’s diabolical Totentanz is a stirring highlight of her CD.

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CD 1 von 2 (46:46)

Franz Liszt Prelude and Fugue on the name B-A-C-H, S. 260 (14:00) Anna-Victoria Baltrusch

II. Fugue (Andante) (03:01)
III. Fugue (Allegro) (03:50)
IV. Fugue (Maestoso) (02:33)

Franz Liszt Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 (32:46) Anna-Victoria Baltrusch

II. Animando poco a poco (a capriccio) (01:58)
IV. Recitativo (00:50)
VI. Un poco più di moto (02:32)
VIII. Allegro deciso (01:12)
IX. Fuga. Allegretto con moto (02:34)
X. Allegro con brio (01:08)
XI. Vivace molto (02:33)
XII. Più mosso (01:39)
XIII. Choral (Adagio) (02:10)

CD 2 von 2 (37:33)

Franz Liszt Totentanz. Paraphrase on the 'Dies Irae', S. 126 (18:08) Anna-Victoria Baltrusch

I. Andante – Presto (01:02)
III. Allegro moderato (00:30)
IV. Variation 1 (01:01)
V. Variation 2 (00:45)
VI. Variation 3 (00:40)
VII. Variation 4 (03:47)
VIII. Variation 5 (03:19)
X. Sempre allegro, ma non troppo (00:32)
XI. Allegretto scherzando (03:29)
XII. Allegro animato (00:57)

Franz Liszt Weinen, Klagen, Sorgen, Zagen. Prelude after J. S. Bach, S. 179 (19:25) Anna-Victoria Baltrusch

II. Poco a poco accelerando e crescendo (02:02)
III. Quasi allegro (02:47)
IV. Recitativo (Lento) (01:34)
V. Quasi andante (04:30)
VI. Choral (Lento) (03:29)


Bonustracks (02:16)

This bonus track is only available as a download!

Franz Liszt (Arranger), Frédéric ChopinAnna-Victoria Baltrusch

Prélude, Op. 28/4, S. 662 (02:16)

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Details

Liszt - The Organ Composer
article number: 97.793
EAN barcode: 4022143977939
price group: BCE
release date: 7. October 2022
total time: 86 min.

Bonus Material

Informationen

​Liszt was a constant musical seeker and researcher: many formal and harmonic innovations of the romantic era can be traced back to him. His three main organ works contributed significantly to the re-evaluation of nineteenth century organ music. Liszt struggled to find ideal formats for them, and also arranged numerous works, penned by him as well as by other composers, for the organ, which for him represented the logical link between the piano and the orchestra. On this CD, the organist Anna-Victoria Baltrusch draws on the evolving nature of his organ music by combining Liszt's three great organ works with her own highly virtuosic adaptation of his Totentanz (Danse macabre) - originally written in versions for piano and orchestra, two pianos, or piano alone.

Reviews

Gramophone
Gramophone | Tuesday, January 10, 2023 | Jeremy Nicholas | January 10, 2023 | source: https://www.gram... Liszt's Totentanz: a guide to the best recordings
Franz Liszt’s scintillating journey to the Underworld challenges pianists and thrills audiences. Jeremy Nicholas compares a selection of recordings of this diabolic masterpiece and selects his favourite

Pisa’s Piazza dei Miracoli, also known as the Piazza del Duomo, contains the Cathedral, the Baptistry, the Campanile (aka the Leaning Tower) – andMehr lesen

Pisa’s Piazza dei Miracoli, also known as the Piazza del Duomo, contains the Cathedral, the Baptistry, the Campanile (aka the Leaning Tower) – and the Camposanto Monumentale. Among its murals is an impressive fresco entitled Il trionfo della Morte: ‘The Triumph of Death’. Once attributed to Orcagna, nowadays to Buonamico Buffalmacco or, by some scholars, to Francesco Traini, it was created in 1338‑39. Five hundred years later, one of those who came to the Camposanto to admire the work was Franz Liszt in the company of his mistress the Countess Marie d’Agoult. It was the sight of this, it is said, that first inspired the composition of his Totentanz – Danse macabre, though it would not appear in its final form for nearly three decades.

The couple had eloped in 1835, leaving Paris for Geneva and thence, for the next few years, travelling through Switzerland and Italy absorbing scenery, places, literature and painting, while producing three illegitimate children. The first of these was their daughter Cosima, later to become the wife of Hans von Bülow and latterly of Richard Wagner. From this period of Liszt’s prolific output came early versions of the 12 Transcendental Études, the Six Études de Paganini and the first two volumes of Années de pèlerinage, and much else besides. Totentanz, a series of variations on the Latin plainsong chant of the ‘Dies irae’, can be considered ‘the spiritual sister’ of these ‘Years of Travel’ (indeed, Variation 5 puts one in mind of the central section of the Dante Sonata).

The gestation of Totentanz was protracted and complex. Without going into great detail, basically there exist two versions: the first, dated October 21, 1849, with the title Fantasie für Pianoforte und Orchester was not published until 1919 (in an edition by Busoni); it is generally known as the ‘De profundis’ version because it incorporates the plainsong setting of Psalm 130 (‘Out of the depths have I cried unto thee, O Lord’).

Liszt continued tinkering with the score between 1853 and 1859, when a second version appeared. This dispenses with all of the ‘De profundis’ material and other sections never sanctioned for publication by the composer. It was issued with the title Todtentanz [sic] (Danse macabre) – Paraphrase über ‘Dies irae’, and published in 1865, the same year in which Liszt’s versions for solo piano and two pianos were published. It was dedicated to his son-in-law Hans von Bülow and it was he who gave the first performance of this version on April 15, 1865, in The Hague with an orchestra conducted by the Dutch composer Johannes Verhulst. Though there are several other editions, notably by Liszt pupils Alexander Siloti, Bernhard Stavenhagen and Eugen d’Albert, it is Liszt’s second version that is most frequently heard today,

Liszt was not the first – and by no means the last – to use the ‘Dies irae’ (‘Day of Wrath’, used for centuries in the Roman Catholic rite of the Mass for the Dead). Berlioz quotes it in his Symphonie fantastique (1830), the premiere of which was attended by Liszt. The music is a sequence of variations on the theme, interspersed with three cadenzas, a development section and a coda. Only the first five variations are so numbered in the score but it is possible to identify over 30 different treatments of the theme (or part of the theme) by the piano or other instruments in the course of the work, often variants within the variations.

This survey is concerned principally with the second version. Why? Despite the two versions having many sections in common, they are two distinct and different works. Version 2 represents Liszt’s final, definitive thoughts (ie he decided his intentions were better realised by cutting the ‘De profundis’ material) to form, in this writer’s opinion, a tone poem that expresses itself more powerfully with greater economical means.
[…]
The version for solo piano is also the basis for its adaptation as a work for organ, an instrument to which Totentanz is particularly well suited. There’s a new recording of it, this one based on the two-piano arrangement, made and played by Anna‑Victoria Baltrusch (reviewed on page 71). It’s impressive enough but not the equal of the quite stunning performance by Thomas Mellan on the organ of the First United Methodist Church, San Diego (available to view on YouTube), one of several filmed accounts on the organ. This one, while properly thrilling, highlights the ‘Dies irae’ quotations more clearly than many accounts of the second piano-and-orchestra version, recordings to which it is now high time we turn.
Pisa’s Piazza dei Miracoli, also known as the Piazza del Duomo, contains the Cathedral, the Baptistry, the Campanile (aka the Leaning Tower) – and

www.ResMusica.com
www.ResMusica.com | Le 3 janvier 2023 | Frédéric Muñoz | January 3, 2023 | source: https://www.resm... Franz Liszt et l’orgue avec Anna-Victoria Baltrusch à Lucerne

C’est dans cette œuvre que l’interprète Anna-Victoria Baltrusch montre le plus ses qualités de grande virtuose et de musicienne très subtile dans le choix des jeux, des équilibres et du côté orchestral donné à ces pages. Par une grande musicalité, elle nous fait aimer Liszt organiste, alors que lui-même le fut assez peu, bien que grandement inspiré dans ces compositions.<br /> Voici une version qui fait partie désormais des références, sur un orgue exceptionnel de plus de 100 jeux et dans une prise de son très soignée.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
C’est dans cette œuvre que l’interprète Anna-Victoria Baltrusch montre le plus ses qualités de grande virtuose et de musicienne très subtile dans le choix des jeux, des équilibres et du côté orchestral donné à ces pages. Par une grande musicalité, elle nous fait aimer Liszt organiste, alors que lui-même le fut assez peu, bien que grandement inspiré dans ces compositions.
Voici une version qui fait partie désormais des références, sur un orgue exceptionnel de plus de 100 jeux et dans une prise de son très soignée.

Choir & Organ
Choir & Organ | January 2023 | Chris Bragg | January 1, 2023

Yet another Liszt recording? Yes indeed, although this survey of the large-scale organ works has, as a bonus, the performer’s own virtuosicMehr lesen

Yet another Liszt recording? Yes indeed, although this survey of the large-scale organ works has, as a bonus, the performer’s own virtuosic transcription of Liszt’s Totentanz which she delivers with considerable aplomb. Anna-Victoria Baltrusch holds positions at both the Hochschule für Kirchenmusik and concert hall in Halle, having previously taught at the Hochschule für Musik in Leipzig and having won many prizes at competitions as prestigious as St Albans, Magdeburg and the ARD International competition. The playing on this release is of considerable stature, and one seldom feels that Baltrusch’s virtuosity is misplaced; Ad Nos clocks in at chunky 33 minutes. There is no information about the organ beyond a specification and the faintest of black and white photos. Perhaps not the most imaginative of choices (less evocative certainly than Michael Schönheit at Magdeburg or Zuzana Ferjenčíková at Fribourg, both on MDG), the high pressure Alphorns in the new Echowerk provide convincingly distant excitement, almost Strauss like (in Ad Nos’s ‘Tromba’) fanfares, Baltrusch impresses with her muscularly vivid interpretations.
Yet another Liszt recording? Yes indeed, although this survey of the large-scale organ works has, as a bonus, the performer’s own virtuosic

Gramophone
Gramophone | December 2022 | Jeremy Nicholas | December 1, 2022 | source: https://www.gram...

A good programme, this, with all three of Liszt’s major organ works and the addition of Totentanz in an arrangement by Anna-Victoria Baltrusch basedMehr lesen

A good programme, this, with all three of Liszt’s major organ works and the addition of Totentanz in an arrangement by Anna-Victoria Baltrusch based on the composer’s two-piano score. The latter is a close relation for, like its siblings, it too is permeated with ‘incessant sighing chromaticisms’, as the booklet has it. Pain, grief, anguish, high drama and violent contrasts are the order of the day.

Disc 1 (46'46") opens with the Prelude and Fugue on B-A-C-H, using the second of the two versions (1870 rather than 1855), following it with the mighty Fantasy and Fugue on the chorale Ad nos, ad salutarem undam. Inspired by a theme from Meyerbeer’s opera Le prophète, it is the organ equivalent of Liszt’s B minor Sonata, with which it has much in common: apart from their considerable demands on stamina and technique, both have a three-movements-in-one structure lasting roughly 30 minutes with reflective central sections in Liszt’s favourite spiritual key of F sharp major, closely followed by a fugue and virtuoso finale. On disc 2 (37'33") we have Totentanz and Weinen, Klagen, Sorgen, Zagen.

There’s no doubting Baltrusch’s impressive technical facility. The recording captures the full sonority of the great organ of the Court Church, Lucerne, with its powerful 32ft Principal and three 16ft pedal stops growling away beneath to thrilling effect. Her registration choices for the softer central recitativo and adagio sections of Ad nos, where many organists like to make a contrast with disquieting nasal reeds, are agreeably concomitant with the boisterous outer sections. There’s one big problem. The church acoustic has a long decay and when fingers and feet are flying, detail is at a premium. It is certainly sonically awe-inspiring, but for long stretches – and especially if you do not have scores to follow – it is hard to know what is going on amid the amorphous cathedral rumble.

Textural clarity is less of a problem in Baltrusch’s own resourceful arrangement of Totentanz. Who can deny the pleasure of the ‘Dies irae’ theme thundered out fortissimo on the pedals? Yet the performance is too sectionalised to be completely successful. Over-long pauses between variations and an over-languid tempo for the canonic fourth variation contribute to an extra three minutes above the average performance time. Compared to the razor-sharp transcription and its malevolent, speaker-crunching performance by Thomas Mellan on the organ of the First United Methodist Church, San Diego (available to view on YouTube), Baltrusch is more thé dansant than danse macabre.
A good programme, this, with all three of Liszt’s major organ works and the addition of Totentanz in an arrangement by Anna-Victoria Baltrusch based

www.orgelnieuws.nl | 31. oktober 2022 | October 31, 2022 | source: https://www.orge...

Niederländische Rezension siehe PDF!Mehr lesen

Niederländische Rezension siehe PDF!
Niederländische Rezension siehe PDF!

Orgelportal | 28. OKTOBER 2022 | Thomas Haubrich | October 28, 2022 | source: https://orgelpor... Review der neuen Doppel-CD | CD des Monats Oktober 2022
Anna-Victoria Baltrusch an der Grossen Kuhn-Orgel der Hofkirche St. Leodegar Luzern

Anna-Victoria Baltrusch bietet mit dem vorliegenden Doppel-CD-Album die höchst willkommene Ergänzung ihres Liszt-Kompendiums, das sie mit derMehr lesen

Anna-Victoria Baltrusch bietet mit dem vorliegenden Doppel-CD-Album die höchst willkommene Ergänzung ihres Liszt-Kompendiums, das sie mit der Edition „Liszt – The Friend and Paragon“ (Audite CD 97.792) begonnen hat. An der grossen Hoforgel von Kuhn in Sankt Leodegar, mit ihrem unvergleichlichen Raum-Effekt von viermanualiger Emporenorgel, dem grossen Fernwerk unter dem Dach – samt den drei durchschlagenden Zungenstimmen – und dem neuen üppigen Echowerk im Altarbereich, stehen ihr auf fünf Rosenholz-Manualen und Pedal nicht weniger als sieben Manual-Abteilungen und drei Pedal-Abteilungen zur Verfügung. Das Klangspekturm reicht von den historischen barocken Geissler Registern, über die romantische „Herrlichkeit“ von Haas und Goll, zu den modernen Zutaten von Kuhn, samt der glücklichen Ergänzung – ebenfalls durch Kuhn – um das Echowerk. All das grundiert von nicht weniger als drei (bzw. vier) 32′-Registern.

Baltrusch nutzt diesen einzigartigen Klang-Kosmos mit feinsinnigem Gespür für Farben, Dramatik und Virtuosität kongenial aus. Als Repertoire dieser Doppel-CD hat sie sich nicht weniger als Liszts drei Grosswerke – „Präludium und Fuge über B-A-C-H“, die epochale „Fantasie und Fuge über „Ad nos ad salutarem undam“ und das Spätwerk „Weinen, Klagen, Sorgen, Zagen“ – vorgenommen. Mit stupender Virtuosität und einer grossartigen Klangregie vermag die Interpretin all diesen drei orgelmusikalischen „Achttausendern“ gerecht zu werden, von denen jedes einzelne Werk schon eine tüchtige Herausforderung an Spieler, Hörer und Instrument darstellt.

Besonders hervorzuheben sind die grossen Spannungsbögen, die die Interpretin sowohl im „Ad nos“ wie auch im „B-A-C-H“ zu zeichnen vermag, damit der Gesamtzusammenhang des, sich in zahlreiche Unter-Ideen verästelnden Flusses nicht verloren geht. Interessanterweise nimmt sie beim Ersteren einige Stellen der Klavierfassungen Liszts mit hinein, was dem Ganzen sehr zugute kommt. Berührend etwa der mystische Mittelteil in der Prophetenfantasie; unmittelbar klanglich physisch „angreifend“ dagegen beispielsweise der Dialog der Fanfaren (Tuba mirabilis im Altarwerk gegen die grosse Orgel).

Für mich als „Höhepunkt“ der CD – wenn man dann eine grandiose Leistung überhaupt noch zu steigern vermag, ist ihre eigene Orgelfassung von Liszts „Totentanz“, einer zwölfteiligen Paraphrase über das „Dies irae“, die in ihrer Perfektion nur darauf hoffen lässt, dass die Interpretin ihre Transkription auch als Notenausgabe veröffentlichen wird – eine willkommene Bereicherung des Liszt-Repertoires und in der Wirkung quasi ein vollkommen genuines „Orgelstück“ – als sei es der Hoforgel und der Organistin auf den Leib geschrieben.

Fazit: eine der besten CD-Neuerscheinungen des Jahres 2022!
Anna-Victoria Baltrusch bietet mit dem vorliegenden Doppel-CD-Album die höchst willkommene Ergänzung ihres Liszt-Kompendiums, das sie mit der

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Nov 2, 2022
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CD presentation by Klassiek Centraal
Jan 16, 2023
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Gramophone
A good programme, this, with all three of Liszt’s major organ works and the...
Jan 16, 2023
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Gramophone
Liszt's Totentanz: a guide to the best recordings
Jan 10, 2023
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La Clef Resmusica - Liszt - The Organ Composer
Jan 10, 2023
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www.ResMusica.com
Franz Liszt et l’orgue avec Anna-Victoria Baltrusch à Lucerne
Dec 21, 2022
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Gesamtbewertung: 4 Sterne - Liszt - The Organ Composer
Dec 21, 2022
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Choir & Organ
Yet another Liszt recording? Yes indeed, although this survey of the large-scale...
Nov 28, 2022
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CD des Monats - Liszt - The Organ Composer
Nov 15, 2022
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Advertisment in Choir & Organ (November 2022)
Nov 14, 2022
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Note 1 music: new releases (4-2022)
Nov 10, 2022
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www.orgelnieuws.nl
Niederländische Rezension siehe PDF!...
Nov 1, 2022
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jpc-courier 11/2022: new releases of the month
Oct 31, 2022
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Orgelportal
Review der neuen Doppel-CD | CD des Monats Oktober 2022
Oct 7, 2022
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Liszt's 'Allegretto Scherzando' from Totentanz. Paraphrase on the 'Dies Irae' was added to the Youtube Music playlist 'Klassik Neu & Zeitlos' (#11/50)
Aug 18, 2022
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The album 'Liszt - The Organ Composer' was pitched for different Curated Classical Playlists
Aug 12, 2022
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Chopin's Prélude Op. 28, No. 4 in E Minor (Arr. for Organ by F. Liszt) was added to the Youtube Music playlist 'Klassik zum Einschlafen' in Germany and other countries (#5/70)
Aug 12, 2022
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Chopin's Prélude Op. 28, No. 4 in E Minor (Arr. for Organ by F. Liszt) was added to iTunes and Apple Music Playlist "Neu in: Klassische Musik" in Germany and other countries (#76/100)
Aug 3, 2022
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Liszt's 'Allegro animato' from Totentanz. Paraphrase on the 'Dies Irae' was pitched for different Curated Classical Playlists
Aug 3, 2022
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Liszt's 'Variation 1' from Totentanz. Paraphrase on the 'Dies Irae' was pitched for different Curated Classical Playlists
Aug 3, 2022
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Liszt's 'Un poco più di moto' from Fantasia and Fugue on the choral "Ad nos, ad salutarem undam" was pitched for different Curated Classical Playlists
Jul 29, 2022
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Liszt's 'I. Moderato' from Fantasia and Fugue on the choral "Ad nos, ad salutarem undam" was added to the Youtube Music playlist 'Klassik Neu & Zeitlos' in Germany and other countries (#13/50)
Jul 29, 2022
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Liszt's 'I. Moderato' from Fantasia and Fugue on the choral "Ad nos, ad salutarem undam" was added to iTunes and Apple Music Playlist "Neu in: Klassische Musik" in Germany and other countries (#63/100)
Jul 22, 2022
class_NewsItem

Chopin's Prélude Op. 28, No. 4 in E Minor (Arr. for Organ by F. Liszt) was pitched for different Curated Classical Playlists
Jul 4, 2022
class_NewsItem

Liszt's 'I. Moderato' from Fantasia and Fugue on the choral "Ad nos, ad salutarem undam", S. 259 was pitched for different Curated Classical Playlists
Jun 30, 2022
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Liszt's 'Variation 5' from Totentanz. Paraphrase on the 'Dies Irae', S. 126 was pitched for different Curated Classical Playlists

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