Franz Liszt: Harmonium Works Vol. 2 Lars David Kellner

• Franz Liszt (1811 - 1886):
• 1 Années de pèlerinage: Angelus!, S. 672c 08:06
• Zwei Kirchenhymnen, S. 669:
• 2 Zwei Kirchenhymnen, S. 669: Salve Regina 07:08
• 3 Zwei Kirchenhymnen, S. 669: Ave maris stella 05:32
• Rosario, S. 670:
• 4 Rosario, S. 670: Mysteria gaudiosa 01:15
• 5 Rosario, S. 670: Mysteria dolorosa 01:21
• 6 Rosario, S. 670: Mysteria gloriosa 01:39
• Franz Liszt:
• 7 Ora pro nobis, S. 262 06:45
• Choräle, S. 504b:
• 8 Choräle, S. 504b: Vexilla Regis 02:18
• 9 Choräle, S. 504b: Crux ave benedicta 02:25
• 10 Choräle, S. 504b: Jesu Christe 02:48
• 11 Choräle, S. 504b: Wer nur den lieben Gott läßt walten 01:38
• 12 Choräle, S. 504b: Was Gott thut, das ist wohlgethan 01:38
• 13 Choräle, S. 504b: Meine Seel erhebt den Herrn 01:23
• 14 Choräle, S. 504b: Nun ruhen alle Wälder 02:00
• 15 Choräle, S. 504b: O Haupt voll Blut und Wunden 01:54
• 16 Choräle, S. 504b: O Traurigkeit 02:12
• Franz Liszt:
• 17 O Roma nobilis, S. 669c 01:56
• Total Runtime 51:58

Info for Franz Liszt: Harmonium Works Vol. 2

That the harmonium was not just an instrumental fringe phenomenon or an exotic stylistic device for Franz Liszt is proven by his numerous works expressly (exclusively or alternatively) scored with harmonium. As is well known, he owned several such instruments himself and certainly contributed to their tonal and technical development, as is also and especially true for the piano and the orchestra.

If one has the (rare) opportunity to hear Liszt's works performed on a suitable harmonium, it quickly becomes clear why the composer intended them for exactly this instrument. There is not only the internalized sound as an expression of religious contemplation and devotion, especially in the case of suction wind instruments, not only a strong ability of the registers to blend together with simultaneous dynamic flexibility, the ability of the player to breathe on the instrument in a deliberate and audible manner, but also - assuming skilful registration - an almost orchestral range of voices and the plenum, without the often intimidatingly overwhelming sound mass of an organ. With skilful use of the instrumental means of the harmonium, details thus shine forth that are likely to provide new insights even for those familiar with the compositions.

The second album presented here by pianist and harmonium specialist Lars David Kellner aims to bring Liszt's unjustly sidelined harmonium works back to light and remind us of their special place in the composer's oeuvre. This album includes several solo works by Franz Liszt, recorded for the first time with a suction wind harmonium.

Lars David Kellner, harmonium

No biography found.

Booklet for Franz Liszt: Harmonium Works Vol. 2