It shouldn't take more than a few seconds into the first track, the Liebesträum No. 3, for this disc to hook you. It exhibits masterly playing of the sort we rarely hear these days or even from Bolet's later recording... more »s for Decca/London, when his playing was stolid and inhibited. But this Liebesträum is awash in poetic lyricism of the first order, with marvelous legato playing. Bolet links every note seamlessly to the next, like a string of beads, an effect reinforced by a pearly, limpid tone. Bolet always refused to subordinate his lyric gifts to mere technical facility, so even pieces other virtuosos turn into barn-burners, like Funérailes and Rhapsodie espagnole, are more measured here, with each note given its full value and the flashier aspects present but secondary to the total picture. The final track, Liszt's dazzling piano arrangement of Wagner's Tannhäuser Overture, is breathtaking, not only because of Bolet's supreme mastery of this devilishly difficult piece, but also because it was recorded in one impromptu take after a formal recording session was over. The entire contents of this disc, recorded in 1972 and 1973, were buried in RCA's vaults and never released until now. Their discovery and release are something to be grateful for, since they burnish Bolet's posthumous reputation and give enormous pleasure. --Dan Davis« less
It shouldn't take more than a few seconds into the first track, the Liebesträum No. 3, for this disc to hook you. It exhibits masterly playing of the sort we rarely hear these days or even from Bolet's later recordings for Decca/London, when his playing was stolid and inhibited. But this Liebesträum is awash in poetic lyricism of the first order, with marvelous legato playing. Bolet links every note seamlessly to the next, like a string of beads, an effect reinforced by a pearly, limpid tone. Bolet always refused to subordinate his lyric gifts to mere technical facility, so even pieces other virtuosos turn into barn-burners, like Funérailes and Rhapsodie espagnole, are more measured here, with each note given its full value and the flashier aspects present but secondary to the total picture. The final track, Liszt's dazzling piano arrangement of Wagner's Tannhäuser Overture, is breathtaking, not only because of Bolet's supreme mastery of this devilishly difficult piece, but also because it was recorded in one impromptu take after a formal recording session was over. The entire contents of this disc, recorded in 1972 and 1973, were buried in RCA's vaults and never released until now. Their discovery and release are something to be grateful for, since they burnish Bolet's posthumous reputation and give enormous pleasure. --Dan Davis
CD Reviews
Bolet and Liszt
Ken Moriyasu | Portland, OR United States | 04/02/2003
(5 out of 5 stars)
"First of all, it is impossible to describe in words what you hear in music. The more profound the interpretation, the less likely you can explain it in words, but this is my attempt. Although Bolet released several CDs of Liszt music; most prominently the double CD on Decca in the mid 1980's, I believe this one to be his finest. I am currently an undergraduate piano student, and I have become inspired to play the music of Liszt through hearing great pianists such as Bolet. I am currently playing and learning the Spanish Rhapsody, Tannhauser Overture, Liebestraum No. 3, and Un Sospiro; all of which are featured on this album.The recordings on this CD are approximately ten years earlier than the one released on the Decca label, the mid 1970's. I believe that Bolet was technically as well as musically in his prime during this period of his life. This assessment is based on a comparison of his recordings from the 1970's vs. the 1980's, as well as the testimony of my longtime piano teacher, who while completing his graduate studies at Juilliard had an opportunity to see Bolet perform at Carnegie Hall in the mid 1970's, although this performance does not correspond with the one released on the "Great Pianists of the 20th Century".The Un Sospiro recording on this album is one of the best. With Bolet as well as other great pianists, technical proficiency is not an issue in his playing. Looking at strictly the musical aspects, his interpretation of this piece is great. It has an overall mood of melancholy, more than anything, which I think is particularly evident in the closing measures of the piece.The Spanish Rhapsody and Tannhauser Overture are two unfortunately neglected pieces among the piano literature. Any admirer of the Romantic composers in general and Liszt in particular will agree. I will say with confidence that Bolet's performance of both of these pieces are unparalleled in the modern era of piano playing. If anyone knows of a better performance of either of these pieces (in my opinion not Claudio Arrau or Leslie Howard) then let me know. Bolet's performance of the Tannhauser on this CD as well as on his live recording at Carnegie Hall are both superb, and should be heard by every Liszt enthusiast.Well, there is my attempt at describing in words what Bolet does on the keyboard. An injustice, for sure, but listen for yourself and I don't think you will prove me wrong."
This man is a lion!
Craig T. Niedzielski | Jacksonville, Florida United States | 02/28/2002
(5 out of 5 stars)
"One must wonder what the lone 3-star reviewer would give Richter's Sofia recital. I mention this particular performance because listening to Bolet here in the Tannhauser Overture gave me a good case of goose bumps, like as I had not experienced since I first heard Richter in his famous Pictures over short wave radio while crossing the Atlantic on a freight ship. The two also merit comparison because of the superlative sound quality now given each (by Philips and RCA, respectively) using the new 24/96 mastering. We truly are living in a golden age of recorded music, with so many great performances now being reissued in stellar sound. This has to be my favorite piano cd of the past year. Bolet was at his peak when this was recorded, and you're not likely to find Liszt of this quality elsewhere. This is a huge performance, and the fact of the Tannhauser being recorded in one take (all 16 ½ minutes!) at the end of a regular session just blows my mind. (According to the notes, Liszt himself once had to rest in the middle of performing it.)Just when you think you've got enough records, enough great performances, enough emotional and monetary investment, along comes a cd like this and makes this hobby of collecting all worthwhile. Fabulous!"
One of the Best Liszt CDs out there
Allan | 04/25/2003
(5 out of 5 stars)
"I was not a big Liszt fan, to me, Liszt always seemed too bombastic, and sometimes it seemed too void of any artistic quality in its music. Often, I find my peers working on vitrousic pieces of Liszt while I typically go for Chopin, Schubert or the other Romnatics.
Well this CD has proven me wrong! Wow! I remember first listening to this CD in a library while studying for some stupid AP exam (chemistry ) and 5 seconds into the first piece (Liebestraum Nr. 3) I was hooked and could NOT pay attendtion to the stupid book anymore. I sat there and listened all the way to the 5th track motionlessly before returning to read about acids and bases, and even so I was routinely interrupted by the beautiful music. In fact now days I listen to the CD EVERYDAY, especially the Tannhauser Overature at the very end.
Bolet plays beautifully. From the first Liebestraum Nr. 3, he gives us true meaning of the word "Libebestraum" (or "Dreams of Love" translated) with a very gentle touch but is nevertheless full of "passionato" and "expressivo". The second track (Gnomenreigen), the 7th (Grand Galop chromtaique) and especially the 5th (La campanella) are all "cute" pieces that are great for encores. Un sospiro (track 3) is probably my favourite: it has the qualities of a cantabile but is infused with a passion that is rarely expressed by other pianists. Bolet's techique is flawless and the meleody sings with a rare beauty.
Now onto the centerpiece of the CD, the Tannhauser. Legend has it that this was such a diffcult piece that even Liszt himself when performing had to stop in the middle to rest. It is littered with octives, double octives, diffcult chords and plenty of fast and trill like passages. For Mr. Bolet, he decided to record this in an impromptu after a day of recording. When listened to, it is definitely hair-raising (and he definitely did not stop in the middle either!). The sheer power archieved by Mr. Bolet is overwhelming, but he is never too rash and uncareful. The piece ends magnificantly, leaving with you with a definite "wow".
Overall, this is probably one of the best Liszt CDs and piano CDs out there. Bolet is genius, and here pianoism and Liszt is at its finest."
Just fantastic
hjonkers | The Netherlands | 07/10/2004
(5 out of 5 stars)
"The producer of this recording tells in the booklet notes that Jorge Bolet was at his absolute peak during these sessions - more than in his later London recordings which he calls stolid. I personally wouldn't be so negative about Bolet's later efforts, but on this disc from 1972-3 he certainly is in absolute top form. Here is one Liszt disc you'll want to listen to over and over because of its amazing richness in piano playing and the full exposure of Liszt's sound world. Bolet is a master of Romanticism and has an amazing feel for playing this type of music, Liszt in particular, `right'. He possesses a pearl-like tone that makes his legatos sound otherworldly, and has a thunderous strength as well - sometimes he can even be rough. But generally his playing shows a certain decent restraint that makes sure it doesn't become vulgar. Bolet's technique too was stellar, but at moments his fingers can be somewhat stiff and uncomfortable. His pros and cons and temperament do not completely suit a few included pieces, making them somewhat unsatisfactory. Other tracks however, are revelatory. I can only wonder how RCA managed to keep this disc abandoned for so long. Bolet performs a Liebestraum that borders to the miraculous; I've seldom heard anyone play the piano with such an enchanting eloquence. Un Sospiro is also wonderful, although it doesn't touch the same extreme heights; it sounds as if he does not feel the same Dionysian inspiration as in the Liebestraum. La Campanella, another Liszt favorite, sparkles beautifully with a roaring climax - but it is obvious that Bolet's fingers are not really well-suited to this featherweight playing. The Gnomenreigen etude is too stiff and lacks contrast - but then, I don't give a damn about this piece (we could also have done without that nonsensical chromatic Galop and the Spanish rhapsody; where is Vallée d'Obermann anyway?). Then we come to the two really great compositions on the disc (and, together with the Liebestraum, the main reason to get it immediately) namely Funérailles and the Tannhäuser Ouverture. Both are dazzling performances; without one hint of self-consciousness or sentimentality Bolet casts a thrilling spell over Funérailles. He handles the gripping sphere of the piece perfectly without sacrificing musicality to showmanship: the octave sections are certainly overwhelming (listen to this with speakers full on; you don't know what you're hearing!), but Bolet always applies that aforementioned restraint to keep things in proportion. Finally, there's the Tannhäuser Ouverture which is fantastic all the way through - as the booklet notes rightly remark, he starts decently and slowly but builds the intensity to a hair-rising pace in the last minutes. It gives me nothing but great joy to listen to such splendid piano playing, and I can forgive Bolet for his regularly overcharged fortissimos. Altogether, great cd and fantastic piano playing even though some tracks are less good (and certainly some pieces of choice). It settles Jorge Bolet among the greatest pianists of the 20th century."
!
C. McGovern | Beacon Falls, CT USA | 02/06/2003
(5 out of 5 stars)
"I'm simply astounded!!
All I need to say is this is brilliant!
Buy this disc for the Tannhauser Overture transcription if nothing else, because I'm just stunned by it!
Overall, this is just a great single CD of Liszt piano music, but I'm taken aback the most by the Wagner transcription, for a few reasons: Liszt and Wagner were very close, practically like brothers (even though Wagner married Liszt's daughter), and they loved and respected each other's music, so it's no surprise one can match the other for musical style; Secondly, Liszt did a lot of transcribing of other composers works (He actually transcribed all 9 of Beethoven's symphonies) so this was something rather typical of his genius bringing music that was meant for a symphony orchestra to a piano keyboard and making it seem even bigger. Bolet did it in one take at the end of a recording session that was actually done for the day, and the engineers practically weren't ready for it (a miracle that they managed to get it all on 2 tapes and present it here edited together), and it's the perfect conclusion to this CD.
A must-have."
Track Listings (9) - Disc #1