# xmcd CD database file
# Copyright (C) 1993-1996 Ti Kan
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# Disc length: 3626 seconds
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# Revision: 4
# Processed by: cddbd v1.4b14PL0 Copyright (c) 1996-1997 Steve Scherf
# Submitted via: xmcd 2.1
#
DISCID=630e2809
DTITLE=Liszt / Piano Concerto No. 2 / Hungarian Fantasy
TTITLE0=Piano Concerto No. 2 - Adagio sostenuto assai
TTITLE1=Piano Concerto No. 2 - Allegro agitato assai
TTITLE2=Piano Concerto No. 2 - Allegro moderato
TTITLE3=Piano Concerto No. 2 - Allegro deciso
TTITLE4=Piano Concerto No. 2 - Marziale, un poco meno allegro
TTITLE5=Piano Concerto No. 2 - Allegro animato
TTITLE6=Fantasy on Hungarian folk-tunes
TTITLE7=Polonaise brillante (after Weber)
TTITLE8=Fantasy on Weber's "Freischutz"
EXTD=Les Fleurs, 1990 Delta Music\nJeno Jando on Piano\nBudapest Sympho
EXTD=ny Orchestra\nAndras Ligeti, conductor\n\nIn his shooting-star care
EXTD=er, Franz Liszt had already won over audiences all over Europe a
EXTD=s\na young man before taking the technique of piano playing to un
EXTD=surpassable heights in the\nspace of a mere two decades. Weary of
EXTD= his profession as travelling ``clown'' (Liszt) and\nsick of the 
EXTD=``incessant repetition of the same things being a revolting nece
EXTD=ssity of the life as a\nvirtuoso'' led him in 1848 to choose to s
EXTD=eek refuge for his art in the quiet town of Weimar.\nAs a court m
EXTD=usic director, he was in charge of 39 musicians, and put on perf
EXTD=ormances in the\ntown of operas by Wagner and Berlioz, while devo
EXTD=ting much of his time to composing.\nNot only his twelve great sy
EXTD=mphonic poems benefitted from his orchestral experience. His\nPia
EXTD=no Concerto in A major with a single movment, which took twenty 
EXTD=six years between\nthe first sketch and the final revision, also 
EXTD=contains a remarkably rich range of tonal\ncolour, and above all 
EXTD=those elements of his tonal language which show that he was one 
EXTD=of\nthe most astute apologists of the concept of variation. In hi
EXTD=s art, he advocated the theory\nthat the form of a work had to be
EXTD= constantly recreated. Accordingly, in his Concerto in A\nmajor, 
EXTD=he also developed the individual movements by constantly transfo
EXTD=rming the\noriginal motif. In a remarkable synthesis of concerto,
EXTD= fantasy, rhapsody and impovisation\nand without any recourse to 
EXTD=popular effects, he transformed the main elegiac theme\nof the st
EXTD=art to such an extent that it covers a wide range of expressive 
EXTD=areas between the\npoles of lyrical sentimentality and the pompou
EXTD=s gestures of a march. - Born on the\nAustro-Hungarian border of 
EXTD=German descent, Liszt did not speak any Hungarian.\nNonetheless, 
EXTD=he expressed his enthusiasm for the roaming life of the Hungaria
EXTD=n gypsies in\nhis ``Fantasy on Hungarian Folk Tunes'', in which h
EXTD=e readapted themes which he had\nmade use of in his 4th Hungarian
EXTD= Rhapsody. The strict form of the polonaise is\ndetermined by its
EXTD= basic heroic tenor, and in the ``Freeshooter'' fantasy, the gre
EXTD=at musician\ncan be seen in his taking individual striking motifs
EXTD= from the opera and symbolising with\nthem the story of good over
EXTD= evil in a fascinating panorama.                      U.K.
EXTT0=Tracks 1 - 6\nPiano Concerto No. 2 in A Major
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=Jeno Jando, piano\nBudapest Symphony Orchestra, Andras Ligeti, co
EXTT7=nductor
EXTT8=Andras Pistorius,  piano
PLAYORDER=
