Intégrale œuvre orchestrale

Description

Paradoxically, Franz Liszt made his true revolution in the orchestra for the history of music. The invention of the symphonic poem determined the evolution of romantic and post-romantic language. It was in Weimar that he envisioned this new world, first in his fourteen symphonic poems, but also in his two great program symphonies (Dante and Faust). In the strict realm of Symphonic Poems, Martin Haselböck and his Viennese musicians struggle a bit to recapture the suggestive power of a Golovanov, the epic and inventive tone of Bernard Haitink and his Londoners, the incisive modernity of Kurt Masur with the Gewandhaus of Leipzig; yes, but here, he brings forth what Liszt heard, using an orchestra made up of instruments from the romantic era, and a whole new poetry emanates from Mazeppa or the Preludes, alas, not always with the necessary character or fervor. The two Symphonies are less convincing, the line falters despite the beauty of the colors, but the considerable additions of this vast anthology make it useful for any Liszt collection: the Hungarian Rhapsodies orchestrated by the composer or by Döppler, everything Liszt reworked from Schubert, the two great orchestral Odes, unknown masterpieces, a few sacred pages (the Evocation at the Sistine Chapel, and for the first time on record Vexilla Regis Prodeunt), the dazzling transcriptions based on Lenau's Faust, the shimmering Legends, a whole facet of Liszt's imagination reappears in its original colors, an emotional fresco that testifies to the unique breadth of this genius (Discophilia - Artalinna.com). (Jean-Charles Hoffelé)