LISZT Piano Concertos. Daniel Barenboim, Staatskapelle Berlin / Pierre Boulez. Deutsche Grammophon

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Liszt Piano Concertos Daniel Barenboim Berlin Pierre Boulez Deutsche Grammophon

LISZT

Piano Concertos

Daniel Barenboim

Staatskapelle Berlin / Pierre Boulez

Barenboim and Boulez celebrate Liszt’s 200th birthday with gripping readings of the Concertos no. 1 in E flat major and no. 2 in A major.

These artists performed these concertos earlier this year at the Royal Festival Hall in London

Concert reviews

“The spirit of each work was caught precisely, whether it was the brazen vulgarity of the march in the second concerto, or the interweaving of delicate piano tracery with the orchestra in the first, with the triangle player who launches the finale given a position of honour right next to the piano.” – The Guardian

“...the performances were masterly and original... revealing in orchestral textures and pianistic versatility” – theartsdesk.com

“(Barenboim’s) performances of the two Liszt concertos were truly miraculous. They revealed the shallowness of so many performances of these pieces, which make virtuosity merely a matter of speed and dexterity. Liszt once said that though younger pianists may have had a better technique than him, he was the better pianist because he had more personality. And here it was precisely the immense personality of Barenboim’s performances which was so captivating. “ – The Telegraph

“No one does keyboard theatre quite like Barenboim and the elaborate arpeggios which traverse the keyboard at the start of the second concerto were demonstrably aristocratic. There followed a compelling exhibition of grand and thoroughly idiomatic piano playing where the schmaltz and soul of his playing seemed quite literally to grow out of the orchestra, his thunderous fanfares at the close like an entirely other brass contingent.

But the best was yet to come. His acceptance of the orchestra’s opening unison in the First Concerto was flung back like a gauntlet and come the suspended phrasings of the second subject it was as if the piano had suddenly transformed into a cimbalom so authentic were the colourations. The slow movement was rapt with nostalgia, back phrasings and rubato between the hands giving it a golden era extravagance.” – The Independent

Deutsche Grammophon 4779521

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