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Jed Distler
ClassicsToday.com, November 2015

Meyerbeer’s operas are the basis for some of Liszt’s most musically ingenious and technically formidable transcriptions and paraphrases.

…you’ll find long stretches of elegantly spun, rapid right-hand filigree… © 2015 ClassicsToday.com Read complete review



Rob Haskins
American Record Guide, November 2015

Gallo’s playing is thrilling and musical, and Naxos’s sound is excellent. © 2015 American Record Guide Read complete review on American Record Guide




Michael Church
BBC Music Magazine, September 2015

Gallo makes a good case for Liszt’s honouring of the operatic originals: the nuns rise spookily from their graves, Les patineurs execute dizzying glissandos. © 2015 BBC Music Magazine



Stephen Barber
MusicWeb International, August 2015

…if you want most of Liszt’s Meyerbeer, to sit next to his versions of Verdi and Wagner, this is one to get. © 2015 MusicWeb International Read complete review



David Denton
David's Review Corner, July 2015

No one in the history of music has spent so much of their life transcribing the music of others as that contained in the catalogue of piano music by Franz Liszt. There was no doubting that he made them for his frequent tours around Europe, their technical difficulty was such that others could not perform them, thus elevating his status way above that of his contemporaries. He was to amaze French audiences with his brilliance, and, as Giacomo Meyerbeer’s operatic spectaculars were also taking Paris by storm, they became a natural source of material for transcriptions made using the newfangled illusion that three hands were involved. None of Meyerbeer’s works at the time achieved the acclaim of Le Prophète, and from it Liszt created a work in the shape of a symphony for piano, its three movements not far short of forty-five minutes. The opening makes much use of the Marche du sacre; the following scherzo is the skating scene, Les patineurs, while the finale concludes with a massive statement of sheer brilliance in the Call to Arms taken from the opening act. His two excerpts from Robert le diable contrast a love song with the third act Valse infernal, the final printed pages becoming black with notes. The disc ends with a two-movement score on themes from the third and fourth acts of L’Africaine which sets the technical hurdles one rung higher. Sergio Gallo, the much travelled Brazilian-born pianist now resident in United States, manages to put to one side the demands made by Liszt, though his clarity of articulation only makes you even more aware of the challenges the disc has made upon him. This excellent release marks the fortieth disc in the complete solo piano music of Liszt. © 2015 David’s Review Corner





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