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Henry Litolff (1818-1891)


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Author Topic: Henry Litolff (1818-1891)  (Read 71 times)
Albion
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Henry Hugo Pierson (1815-1873)


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« on: February 08, 2019, 08:19:22 pm »

I have enjoyed everything that I have heard by Litolff: the exquisite Scherzo from his fourth Concerto Symphonique for piano and orchestra has unfortunately overshadowed the high quality of the rest of his output (all four extant piano Concertos are available on Hyperion).

It is high time that we had commercial recordings of his four "Symphonic Dramas" (c.1850-52) based on the French Revolution: we have three of these in the broadcast archive...

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A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it. (SG, 1922)

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« Reply #1 on: February 08, 2019, 11:26:58 pm »

As one who has studied his scores, I can honestly say there is much to enjoy. All of it is tuneful and well crafted. I would like to see recordings of all 3 piano trios, the string quartet, the "Eroica" concerto symphonique for violin and orchestra, all the opera overtures and as much of the operas as survive, the Scenes from Faust, and a good selection of the solo piano music (almost all of which is salon fare, but very good of its kind)...
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Albion
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Henry Hugo Pierson (1815-1873)


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« Reply #2 on: February 09, 2019, 02:31:48 pm »

the "Eroica" concerto symphonique for violin and orchestra

I would dearly love to hear this. Hyperion RVC?

To clarify my initial post, here are the details of the four French Revolution pieces (as I posted them on Wikipedia):

Le Dernier Jour de la Terreur (later retitled Maximilien Robespierre), drame symphonique No.1 (later styled Ouverture zum Trauerspiel), Op. 55 (c.1850-52)

Les Girondins (Die Girondisten), drame symphonique No.2 (later styled Ouverture zum Trauerspiel), Op. 80 (c.1850-52)

Les Guelfes (later retitled Das Welfenlied von Gustav von Meyern), drame symphonique No.3 (later styled Ouverture heroique), Op. 99 (c.1850-52)

Chant des Belges, drame symphonique No.4 (later styled Ouverture dramatique), Op. 101 (c.1850-52)

Thankfully all were published contemporaneously in full score by Richault, Paris.

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A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it. (SG, 1922)

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