Valse oubliée, for piano No. 2, S. 215/2 (LW A311/2)
Gretchen: 2. Satz aus der Faust-Symphony, transcription for piano, S. 513 (LW A190)
Années de pèlerinage, 2nd Year ("Italie"), suite for piano, S. 161 (LW A55): 1. Sposalizio. Andante - Andant equieto - Più lento - Quasi allegretto mosso - Adagio
Années de pèlerinage, 2nd Year ("Italie"), suite for piano, S. 161 (LW A55): 2. Il penseroso. Lento
Années de pèlerinage, 2nd Year ("Italie"), suite for piano, S. 161 (LW A55): 3. Canzonetta del Salvator Rosa. Andante marziale
Valse oubliée, for piano No. 2, S. 215/2 (LW A311/2)
Gretchen: 2. Satz aus der Faust-Symphony, transcription for piano, S. 513 (LW A190)
Années de pèlerinage, 2nd Year ("Italie"), suite for piano, S. 161 (LW A55): 1. Sposalizio. Andante - Andant equieto - Più lento - Quasi allegretto mosso - Adagio
Années de pèlerinage, 2nd Year ("Italie"), suite for piano, S. 161 (LW A55): 2. Il penseroso. Lento
Années de pèlerinage, 2nd Year ("Italie"), suite for piano, S. 161 (LW A55): 3. Canzonetta del Salvator Rosa. Andante marziale
Années de pèlerinage, 2nd Year ("Italie"), suite for piano, S. 161 (LW A55): 5. Sonetto 104 del Petrarca. Agitato assai - Adagio - - Adagio
Nuages gris (Trübe Wolken), for piano, S. 199 (LW A305)
Elegy for piano in A flat major
Tristan und Isolde, opera, WWV 90: Einleitung
La Lugubre gondola I, for piano, S. 200/1 (LW A319a)
Isoldens Liebestod: Schlußszene aus Tristan und Isolde, transcription for piano, S. 447 (LW A239) (after Wagner)
Bagatelle sans tonalité, for piano, S. 216a (LW A338)
Richard Wagner is often cited as the chief innovator of chromatic harmony in late Romantic music, mostly because of his tonally ambiguous Prelude to Tristan und Isolde. Yet the strongest influence on Wagner's harmonic ideas came from Franz Liszt, who ventured further afield than Wagner dared to go. Imogen Cooper's 2017 release on Chandos explores a group of piano works by Liszt, as well as the transcription of Wagner's Prelude to Tristan und Isolde by Zoltán Kocsis, and Liszt's arrangement of the Liebestod, and the program ...
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Richard Wagner is often cited as the chief innovator of chromatic harmony in late Romantic music, mostly because of his tonally ambiguous Prelude to Tristan und Isolde. Yet the strongest influence on Wagner's harmonic ideas came from Franz Liszt, who ventured further afield than Wagner dared to go. Imogen Cooper's 2017 release on Chandos explores a group of piano works by Liszt, as well as the transcription of Wagner's Prelude to Tristan und Isolde by Zoltán Kocsis, and Liszt's arrangement of the Liebestod, and the program demonstrates the use of unresolved dissonances to create atmosphere and heighten tension. Compare Liszt's Nuages gris with Wagner's Elegie to hear the similarity of approach, and sample La lugubre gondola I and the Bagatelle sans tonalité to hear Liszt go to the far edge of tonality. Somewhat subtler in effect are the Valse Oubliée No. 2, Gretchen (transcribed by Liszt from his Faust Symphony), and the Four Pieces from Années de Pélerinage, Deuxième Année: Italie, which still reflect...
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![Lizst/Wagner: Imogen Cooper [Imogen Cooper ] [Chandos: Chan 10938]](https://www3.alibris-static.com/cover/o29715yrzmj_t.jpg)
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