Papa Liszt Twist (Der Lieberstraum Als Twist) - Henri Salvador - Chansons Drôles (CD)
Label: Rigolo - 9031-75259-2 • Format: CD Compilation • Country: France • Genre: Pop • Style: Chanson, Ballad
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Franz Liszt: Christus - Oratorium nach lateinischen Texten aus der heiligen Schrift [MDG 3SACD - Komplettes Album, FLAC 16bit kHz Stereo] (MB) 22,90 € Inkl. ges. MWSt.
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Wagner-Liszt Album Alt ernative. Title Composer Liszt, Franz: I-Catalogue Number I-Cat. No. None [force assignment] Movements/Sections Mov'ts/Sec's: 9 pieces Based on Tannhäuser; Einzug der Gäste auf Wartburg Pilgrims' chorus To the evening star Tristan und Isolde, WWV 90 Isolda's love-death Based on Der fliegende Holländer; Spinning song.
Although all of the pieces recorded here come from Liszt’s later period, and whilst most of them use the piano in a very restrained way, there could scarcely be a greater contrast in atmosphere between the Christmas Tree suite and the sombre Stations of the loferkenssteamabtver.ghosvimussopocbiokhapabralogoso.infoinfo course there is the obvious contrast between the birth and the death of Jesus, but Liszt moves to the extremes of musical.
The music itself is a different Liszt, not another side of Liszt, but a Liszt with different eyes. Many's the passage that makes one wish he had written opera - instead of all those transcriptions, although that's an entirely different piece of cake again/5(2).
Info Liebestraum nº 3 Franz Liszt. Liebestraum nº 3 «Liebestraum’» (German for Dreams of Love) is a set of three solo piano works (S/R) by Franz Liszt, published in Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath. In , two versions appeared simultaneously as a set of songs for high voice and piano, and.
Composer: Franz (Ferenc) Liszt ( - ) Listing of art song and choral settings in the database [x] indicates a placeholder for a text that is not yet in the database * indicates that a text cannot (yet?) be displayed on this site because of its copyright status.
It takes some doing to challenge the supremacy of Bernstein (DG) and Rattle (EMI) in Liszt’s orchestral masterpiece. But Fischer and his orchestra, who have already brought us acclaimed accounts of Bartók’s ballet scores, delve as deeply into Liszt’s ‘three character portraits’ as either of these rivals.
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