Hexaméron (Grande variations sur le march des I Puritains), collaborative work for piano, S. 392 (LW A41) (after Bellini): Introduction: Extrèmement lent
Hexaméron (Grande variations sur le march des I Puritains), collaborative work for piano, S. 392 (LW A41) (after Bellini): Tema: Allegro marziale
Hexaméron, variation 1 on a march from Bellini's I Puritani, for piano (part of collab. work)
Hexaméron (Grande variations sur le march des I Puritains), collaborative work for piano, S. 392 (LW A41) (after Bellini): Variation 2: Moderato
Hexaméron, variation 3 on a march from Bellini's I Puritani, for piano (part of collab. work)
Hexaméron (Grande variations sur le march des I Puritains), collaborative work for piano, S. 392 (LW A41) (after Bellini): Introduction: Extrèmement lent
Hexaméron (Grande variations sur le march des I Puritains), collaborative work for piano, S. 392 (LW A41) (after Bellini): Tema: Allegro marziale
Hexaméron, variation 1 on a march from Bellini's I Puritani, for piano (part of collab. work)
Hexaméron (Grande variations sur le march des I Puritains), collaborative work for piano, S. 392 (LW A41) (after Bellini): Variation 2: Moderato
Hexaméron, variation 3 on a march from Bellini's I Puritani, for piano (part of collab. work)
Hexaméron, variation 4 on a march from Bellini's I Puritani, for piano (part of collab. work)
Hexaméron, variation 5 on a march from Bellini's I Puritani, for piano (part of collab. work)
Variation on the March from Bellini's I Puritani, for piano in E major, KK IIb/2, CT. 230 (B. 113) (No. 6 of collaborative work "Hexa
Hexaméron (Grande variations sur le march des I Puritains), collaborative work for piano, S. 392 (LW A41) (after Bellini): Finale: Molto vivace quasi prestissimo
Fantasia on Donizetti's "Don Pasquale" for piano, Op 67
Ernani: paraphrase de concert (I & II), for piano, S. 432 (LW A203) (after Verdi)
Fantasia on themes from "Moïse," Op 33 (Rossini)
Réminiscences de Norma, for piano, S. 394 (LW A77) (after Bellini)
Having dispatched with ease many of the works of virtuoso extremity in the standard repertory, pianist Marc-André Hamelin here turns to music that is by a familiar composer, to be sure, but that is less often played. The works are opera transcriptions and fantasies, a genre that would have been familiar to any fan of Liszt in his time: audiences wanted to hear their favorite tunes, elaborated by top touring pianists of the day. In the more buttoned-down 20th century, less tolerant of popular taste, this music fell out of ...
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Having dispatched with ease many of the works of virtuoso extremity in the standard repertory, pianist Marc-André Hamelin here turns to music that is by a familiar composer, to be sure, but that is less often played. The works are opera transcriptions and fantasies, a genre that would have been familiar to any fan of Liszt in his time: audiences wanted to hear their favorite tunes, elaborated by top touring pianists of the day. In the more buttoned-down 20th century, less tolerant of popular taste, this music fell out of favor. Hamelin does a major service in contributing to its revival, for this music, in addition to giving excellent examples of the technical wizardry of Liszt and the other pianist-composers involved, is just a tremendous amount of fun. Hamelin includes music by Liszt's chief rival, Sigismund Thalberg, and he leads off with the entirely delightful and not-often-played Hexaméron, S. 392, a collection of variations on a march by Bellini by various composers including Liszt and Thalberg,...
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