About this product
Title: Liszt: Complete Piano Music, Vol. 69
Artist: Michael Kaykov
Label: Naxos
Product Type: COMPACT DISCS
UPC: 747313471478
Genre: Classical Artists
Release Date: 2026-06-12
Number of Discs: 1
From the 1830s onward, Liszt's compositions increasingly acknowledged poetic, literary and philosophical impulses, often signaled through titles, epigraphs or extra-musical associations. This stimulus would later crystallise in his codification of the symphonic poem, but it was equally present in his keyboard music, where narrative, rhetoric and symbolism frequently replace abstract formal logic. A central expression of this aesthetic is Liszt's lifelong engagement with transcription and transformation. For him, the piano was not simply a self-contained instrument but a medium capable of absorbing the sonorities, gestures and emotional weight of voices and orchestras alike. His transcriptions were acts of interpretation rather than replication - creative reimaginings that sought the core meaning of a work and translated it into a pianistic language of heightened intensity. Choral music posed a particularly compelling challenge: the task of condensing collective utterance into the hands of a single performer allowed Liszt to explore the boundary between shared musical identity and individual contemplation.The works recorded here trace Liszt's artistic evolution from the assertive rhetoric of his early maturity to the compressed, exploratory language of his final years. Michael Kaykov's selection of repertoire brings together pieces that illuminate Liszt's habit of revisiting and reworking material across decades. Heard in this context, these works emerge not as peripheral by-products of Liszt's workshop, but as self-contained musical statements - compact, vivid, and eloquent - whose significance lies in their interconnections as much as in their distinctive voices.
Tracks:
1.1 Schnitterchor Aus Dem Entfesselten Prometheus, S507A (1850) (First Version of S508)
1.2 Pastorale (Schnitterchor Aus Dem Entfesselten Prometheus), S508/R199 (1861)
1.3 Gaudeamus Igitur, Humoreske, S509/R200 (1869-70)
1.4 Marche Héroïque, S510/R201 (1848)
1.5 Trois Chansons, S510A (1852)
1.6 Heroide FÜR Das Pianoforte Von F. Liszt Nach C.M. Von Webers Leier Und Schwert, S452/R285 (1848)
1.7 Schlummerlied Von C.M. Von Weber Mit Arabesken, S454/R287 (1848)
1.8 Fanfare Zur Enthüllung Des Carl-Augusts Monument, S542B (1875)
1.9 La Charité de Rossini, S552A (1847) (First Version)
1.10 La Carità Di Rossini, S552B (After 1848) (Facilitated Version)
1.11 Album-Leaf in D Flat Major, S167Q 'Schlusschor Des Entfesselten Prometheus' (1883)
1.12 Album-Leaf in B Major, S166T/1-5 'An Die Künstler' (C. 1870)
1.13 Album-Leaf, S167C (1860S)
Artist: Michael Kaykov
Label: Naxos
Product Type: COMPACT DISCS
UPC: 747313471478
Genre: Classical Artists
Release Date: 2026-06-12
Number of Discs: 1
From the 1830s onward, Liszt's compositions increasingly acknowledged poetic, literary and philosophical impulses, often signaled through titles, epigraphs or extra-musical associations. This stimulus would later crystallise in his codification of the symphonic poem, but it was equally present in his keyboard music, where narrative, rhetoric and symbolism frequently replace abstract formal logic. A central expression of this aesthetic is Liszt's lifelong engagement with transcription and transformation. For him, the piano was not simply a self-contained instrument but a medium capable of absorbing the sonorities, gestures and emotional weight of voices and orchestras alike. His transcriptions were acts of interpretation rather than replication - creative reimaginings that sought the core meaning of a work and translated it into a pianistic language of heightened intensity. Choral music posed a particularly compelling challenge: the task of condensing collective utterance into the hands of a single performer allowed Liszt to explore the boundary between shared musical identity and individual contemplation.The works recorded here trace Liszt's artistic evolution from the assertive rhetoric of his early maturity to the compressed, exploratory language of his final years. Michael Kaykov's selection of repertoire brings together pieces that illuminate Liszt's habit of revisiting and reworking material across decades. Heard in this context, these works emerge not as peripheral by-products of Liszt's workshop, but as self-contained musical statements - compact, vivid, and eloquent - whose significance lies in their interconnections as much as in their distinctive voices.
Tracks:
1.1 Schnitterchor Aus Dem Entfesselten Prometheus, S507A (1850) (First Version of S508)
1.2 Pastorale (Schnitterchor Aus Dem Entfesselten Prometheus), S508/R199 (1861)
1.3 Gaudeamus Igitur, Humoreske, S509/R200 (1869-70)
1.4 Marche Héroïque, S510/R201 (1848)
1.5 Trois Chansons, S510A (1852)
1.6 Heroide FÜR Das Pianoforte Von F. Liszt Nach C.M. Von Webers Leier Und Schwert, S452/R285 (1848)
1.7 Schlummerlied Von C.M. Von Weber Mit Arabesken, S454/R287 (1848)
1.8 Fanfare Zur Enthüllung Des Carl-Augusts Monument, S542B (1875)
1.9 La Charité de Rossini, S552A (1847) (First Version)
1.10 La Carità Di Rossini, S552B (After 1848) (Facilitated Version)
1.11 Album-Leaf in D Flat Major, S167Q 'Schlusschor Des Entfesselten Prometheus' (1883)
1.12 Album-Leaf in B Major, S166T/1-5 'An Die Künstler' (C. 1870)
1.13 Album-Leaf, S167C (1860S)
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