When Italian pianist Sergio Fiorentino made his recordings of the late Liszt compositions in 1962 and 1967, the public at large and even many expert listeners still did not know much about them. Recorded in England for the Concert Artist label, they were issued on Dover in the United States and remained the only recordings of these works in general circulation for a long, long time. While these recordings offered only limited assistance to Fiorentino himself in advancing his career as a concert performer, they did wonders ...
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When Italian pianist Sergio Fiorentino made his recordings of the late Liszt compositions in 1962 and 1967, the public at large and even many expert listeners still did not know much about them. Recorded in England for the Concert Artist label, they were issued on Dover in the United States and remained the only recordings of these works in general circulation for a long, long time. While these recordings offered only limited assistance to Fiorentino himself in advancing his career as a concert performer, they did wonders for the reputation of Liszt's late piano music, which since the 1960s has been reckoned as one of the most unusual and singular achievements in the nineteenth century piano literature. Fiorentino's late Liszt as much "made" this literature as his compatriot Aldo Cicciolini's recordings of Erik Satie helped establish the "master of Arcueil" as a true visionary, rather than a historically important curiosity.As the first installment in a multidisc edition devoted to the legacy of Sergio...
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