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JMC
The Chronicle, November 2016

…what’s it sound like? Peaceful but also powerful in places is the answer. It’s a calming CD. Despite the composer’s fears, pianist Sergio Monteiro is clearly on top of all the work and his playing is as delicate or as robust as required. The best-known piece is probably Les Préludes, which even we had heard before. It’s accessible music too, for anyone who wants to get some piano music but doesn’t want anything too heavy. © 2016 Review Corner



Jonathan Welsh
MusicWeb International, September 2016

I really like the way that Monteiro plays the first section of this piece [Künstlerfestzug]—subtitled Die Wiege. There is a kind of emptiness and melancholy in the way he plays it which works really well.

…an interesting disc of mostly unknown works by Liszt, on the whole very well played… © 2016 MusicWeb International Read complete review



Ian Lace
MusicWeb International, August 2016

…a mixed blessing—works often uninitiated by Liszt but polished performances. © 2016 MusicWeb International Read complete review



Patrick Rucker
Gramophone, August 2016

Monteiro’s interpretation of Les préludes, heard here in a transcription by Karl Klauser, achieves some of the sweep and atmosphere of the original orchestral version. © 2016 Gramophone Read complete review on Gramophone



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, July 2016

Even the most devoted of Liszt admirers may not be familiar with all these transcriptions. Under the very capable hands of Monteiro it all comes alive for some lyrical and explosive piano fireworks that remind you just how paradigmatic Liszt was and is as the complete pianist.

Bravo! © 2016 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, June 2016

No one in the history of music spent so much time transcribing works so that they could to be played on the piano, though Franz Liszt often called on others to help. That is the case with the three major works in this forty-third volume of his complete piano music, for though he was happy working transcribing the music of others, he found it more difficult with his own scores where the sounds of the orchestra had played such an important part in their composition. Liszt commented that he found the work carried out by the American pianist, Karl Klauser, on the score of Les Preludes as being ‘pretty’, adding that it needed more work before publication. In fact it was far from that name, the score calling for a pianist with substantial technical resources so as to capture the essence of the original. Already in the Liszt idiom was his pupil, Friedrich Spiro, his version of Orpheus so compelling that we can welcome it as a piano work in its own right. Robert Freund came close to Liszt as a person during his student days, and would perform piano duets with his mentor. It would seem that the composer took more than an interest in the work that he was undertaking on Der nächtliche Zug. Maybe the score lent itself to such a transcription, Freund using a rich array of sounds from the keyboard. The remaining, and much shorter works, come directly from the composer. The Brazilian-born pianist, Sérgio Monteiro, introduces judicious rubati, as the composer would have no doubt welcomed, and possessed with a formidable technique, he has that innate feel for the Liszt era. Also acting as the disc’s producer, the sound being of rather homespun quality. © 2016 David’s Review Corner





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