Liszt the piano virtuoso, the inventor of the orchestral symphonic poem, the apostle of 'the music of the future', is a familiar figure. Liszt the organ enthusiast is not so well known. His fondness for the instrument is shown by frequent references in his correspondence, by his transcriptions for it, and, most of all, by a handful of original masterpieces. Liszt's first and largest work for the organ was the Fantasy and Fugue on Ad nos, ad salutarem undam, based on the chorale sung in the first act of Meyerbeer's opera Le Prophete. 'A kind of curiosity', he wrote to his publisher, but then later to a friend accounted for it as 'one of my least bad productions'. As well he might, for it is highly dramatic, full of fire and energy: the fugue is almost a symphonic poem in it's own right, whose cumulative impact is succeeded only in his organ writing by the Prelude and Fugue on B-A-C-H. Liszt's veneration for Bach also expressed itself in his other major original masterpiece for the instrument, the set of variations on the lamenting 'Weinen, Klagen, Sorgen, Zagen' cantata melody. His profound faith and fascination with the tonal rainbow afforded by the organ also inspired a great deal of lesser-known music, however, both original and transcribed. Allegri's Miserere receives a dramatic transcription, while the pellucid simplicity of Mozart's Ave verum is treated respectfully, like the Agnus dei from Verdi's Requiem. Indeed nearly all of Liszt's output for the organ shares a devotional quality quite foreign to it's common use among 19th-century composers as a vehicle for volume and virtuosity. Adriano Falcioni's recordings for Brilliant encompass many of the Romantic era's most celebrated organ composers.
Liszt the piano virtuoso, the inventor of the orchestral symphonic poem, the apostle of 'the music of the future', is a familiar figure. Liszt the organ enthusiast is not so well known. His fondness for the instrument is shown by frequent references in his correspondence, by his transcriptions for it, and, most of all, by a handful of original masterpieces. Liszt's first and largest work for the organ was the Fantasy and Fugue on Ad nos, ad salutarem undam, based on the chorale sung in the first act of Meyerbeer's opera Le Prophete. 'A kind of curiosity', he wrote to his publisher, but then later to a friend accounted for it as 'one of my least bad productions'. As well he might, for it is highly dramatic, full of fire and energy: the fugue is almost a symphonic poem in it's own right, whose cumulative impact is succeeded only in his organ writing by the Prelude and Fugue on B-A-C-H. Liszt's veneration for Bach also expressed itself in his other major original masterpiece for the instrument, the set of variations on the lamenting 'Weinen, Klagen, Sorgen, Zagen' cantata melody. His profound faith and fascination with the tonal rainbow afforded by the organ also inspired a great deal of lesser-known music, however, both original and transcribed. Allegri's Miserere receives a dramatic transcription, while the pellucid simplicity of Mozart's Ave verum is treated respectfully, like the Agnus dei from Verdi's Requiem. Indeed nearly all of Liszt's output for the organ shares a devotional quality quite foreign to it's common use among 19th-century composers as a vehicle for volume and virtuosity. Adriano Falcioni's recordings for Brilliant encompass many of the Romantic era's most celebrated organ composers.
5028421950358

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Format: CD
Label: BRLT
Rel. Date: 12/11/2020
UPC: 5028421950358

Complete Organ Music
Artist: Adriano Falcioni
Format: CD
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1. Fantasie Und Fuge Über Den Choral Ad Nos, Ad Salutarem Undam, S.259: I. Moderato
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2. Fantasie Und Fuge Über Den Choral Ad Nos, Ad Salutarem Undam, S.259: II. Adagio
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3. Fantasie Und Fuge Über Den Choral Ad Nos, Ad Salutarem Undam, S.259: III. Allegro Deciso - Fuge
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4. Präludium Und Fuge Über B-A-C-H, S.260: I. Präludium
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5. Präludium Und Fuge Über B-A-C-H, S.260: II. Fuge
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6. Weinen, Klagen, Sorgen, Zagen, S.179: I. Variationen
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7. Évocation À La Chapelle Sixtine, S.658
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8. Der Papst-Hymnus, S.766
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9. Weimars Volkslied, S.672
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10. Einleitung Zur Legende Der Heiligen Elisabeth, S.663a
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11. Hosannah, S.677
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12. Ave Maria, S.667b
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13. Nun Danket Alle Gott, S.674b
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14. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: I. Kyrie - Andante Moderato
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15. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: II. Gloria - Allegro
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16. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: III. Graduale (Ad Libitum) - Andante Pietoso
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17. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: IV. Credo - Andante Maestoso
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18. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: V. Offertorium - Ave Maria(Ad Libitum) - Andante
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19. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: VI. Sanctus - Maestoso
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20. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: VII. Benedictus - Molto Lento
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21. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: VIII. Agnus Dei - Lento Assai
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22. Missa Pro Organo Lectarum Celebrationi Missarum Adjumento Inserviens, S.264: IX. Preludium Zum Haus Des Hernn
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23. Offertorium Aus Der Ungarischen Krönungemesse, S.667
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24. Orpheus, S.672a - Symphonic Poem No. 4
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25. Einleitung, Fuge Und Magnificat Aus Der Symphonie Zu Dantes Divina Commedia, S.672b: I. Einleitung - Adagio, Andante, Un Poco Me
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26. Einleitung, Fuge Und Magnificat Aus Der Symphonie Zu Dantes Divina Commedia, S.672b: II. Fuga - Lamentoso
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27. Einleitung, Fuge Und Magnificat Aus Der Symphonie Zu Dantes Divina Commedia, S.672b: III. Magnificat - Più Mosso Ma Non T
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28. Tu Es Petrus Aus Dem Oratorium Christus, S.664ii
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29. Zur Trauung - Sposalizio, S.671
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30. Ave Maris Stella, S.34i
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31. Salve Regina, S.669/1
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32. Rosario, S.670: I Mysteria Gaudiosa- Andante, Un Poco Mosso, II Mysteria Dolorosa - Andante, Un Poco Lento, III Mysteria Glorios
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33. Weihnachtsbaum, S.186: I. Psallite - Allegro Non Troppo
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34. Weihnachtsbaum, S.186: II. O Heilige Nacht - Lento
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35. Weihnachtsbaum, S.186: III. Die Hirten An Der Krippe - Allegretto Pastorale
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36. Weihnachtsbaum, S.186: IV. Adeste Fideles - Tempo Di Marcia Moderato
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37. Introitus, S.268/1
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38. Les Morts - Oraison, S.268/2
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39. Kreuzandachten: I. Einleitung - O Crux Ave, Spes Unica - Andante Maestoso
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40. Kreuzandachten: II. Jesus Meets His Holy Mother -Lento
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41. Kreuzandachten: III. Simon Of Cyrene Helps Jesus Bear The Cross - Andante
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42. Kreuzandachten: IV. Jesus Is Stripped Of His Garments - Lento
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43. Kreuzandachten: V. Jesus Is Taken Down From The Cross - Andante Moderato
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44. Consolation D-Flat Major
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45. Consolation E Major
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46. Resignazione, S187a/I
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47. Requiem Für Die Orgel, S.266: I. Requiem - Adagio Sostenuto
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48. Requiem Für Die Orgel, S.266: II. Dies Irae - Alla Breve, Molto Mosso
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49. Requiem Für Die Orgel, S.266: III. Recordare Pie Jesu - Lento Assai
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50. Requiem Für Die Orgel, S.266: IV. Sanctus - Maestoso Assai
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51. Requiem Für Die Orgel, S.266: V. Benedictus - Lento
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52. Requiem Für Die Orgel, S.266: VI. Agnus Dei - Lento
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53. Requiem Für Die Orgel, S.266: VII. Postludium - Lento
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54. Gebet, S.667b/II
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55. Am Grabe Richard Wagners, S.267
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56. San Francesco. S.665
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57. Ora Pro Nobis - Litanei, S.262
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58. Ungarns Gott, S.674
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59. Andante Religioso, S.261a
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60. Excelsior! - Preludio, S.666
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61. Kirchliche Fest-Ouvertüre Arr. Of "Ein Feste Burg Ist Unser Gott" By O. Nicolai
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62. Adagio Vom Bach Arr. Of Violin Sonata No. 4, Bwv1017
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63. Einleitung Und Fuge From The Cantata "Ich Hatte Viel Bekümmernis", Bwv21 By J.S. Bach
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64. Andante From "Aus Tiefer Not Schrei Ich Zu Dir", Bwv38 By J.S. Bach
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65. Ave Maria Based On Pierre-Louis Dietsch's Adaptation Of A Madrigal By J. Arcadelt
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66. 2 Preludes By F. Chopin: I. Prélude, Op. 28 No. 4
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67. 2 Preludes By F. Chopin: II. Prélude, Op. 28 No. 9
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68. Regina Coeli Laetare Arr. Of The Motet By O. De Lassus
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69. Ave Verum Corpus De Mozart Arr. Of "Ave Verum Corpus", K618 By W.A. Mozart
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70. Agnus Dei Della Messa Da Requiem Di Giuseppe Verdi Based On No. 5 Of The Requiem By G. Verdi
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71. Chor Der Jüngeren Pilger Based On The Chorus "Heil! Heil! Der Gnade Wunder Heil!" From Act III Of "Tannh&aum
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More Info:

Liszt the piano virtuoso, the inventor of the orchestral symphonic poem, the apostle of 'the music of the future', is a familiar figure. Liszt the organ enthusiast is not so well known. His fondness for the instrument is shown by frequent references in his correspondence, by his transcriptions for it, and, most of all, by a handful of original masterpieces. Liszt's first and largest work for the organ was the Fantasy and Fugue on Ad nos, ad salutarem undam, based on the chorale sung in the first act of Meyerbeer's opera Le Prophete. 'A kind of curiosity', he wrote to his publisher, but then later to a friend accounted for it as 'one of my least bad productions'. As well he might, for it is highly dramatic, full of fire and energy: the fugue is almost a symphonic poem in it's own right, whose cumulative impact is succeeded only in his organ writing by the Prelude and Fugue on B-A-C-H. Liszt's veneration for Bach also expressed itself in his other major original masterpiece for the instrument, the set of variations on the lamenting 'Weinen, Klagen, Sorgen, Zagen' cantata melody. His profound faith and fascination with the tonal rainbow afforded by the organ also inspired a great deal of lesser-known music, however, both original and transcribed. Allegri's Miserere receives a dramatic transcription, while the pellucid simplicity of Mozart's Ave verum is treated respectfully, like the Agnus dei from Verdi's Requiem. Indeed nearly all of Liszt's output for the organ shares a devotional quality quite foreign to it's common use among 19th-century composers as a vehicle for volume and virtuosity. Adriano Falcioni's recordings for Brilliant encompass many of the Romantic era's most celebrated organ composers.