Beethoven-Liszt & Mozart-Alkan: Piano Transcriptions Paul Wee

• Franz Liszt (1811 - 1886): Symphony No. 3 in E-Flat Major, S. 464 No. 3 (After Beethoven's Op. 55):
• 1 Liszt: Symphony No. 3 in E-Flat Major, S. 464 No. 3 (After Beethoven's Op. 55): I. Allegro con brio 16:27
• 2 Liszt: Symphony No. 3 in E-Flat Major, S. 464 No. 3 (After Beethoven's Op. 55): II. Marcia funebre. Adagio assai 16:25
• 3 Liszt: Symphony No. 3 in E-Flat Major, S. 464 No. 3 (After Beethoven's Op. 55): III. Scherzo. Allegro vivace 05:29
• 4 Liszt: Symphony No. 3 in E-Flat Major, S. 464 No. 3 (After Beethoven's Op. 55): IV. Finale. Allegro molto 12:22
• Wolfgang Amadeus Mozart (1756 - 1791): Piano Concerto No. 20 in D Minor, K. 466 (Arr. C.V. Alkan for Piano):
• 5 Mozart: Piano Concerto No. 20 in D Minor, K. 466 (Arr. C.V. Alkan for Piano): I. Allegro 14:57
• 6 Mozart: Piano Concerto No. 20 in D Minor, K. 466 (Arr. C.V. Alkan for Piano): II. Romance 08:18
• 7 Mozart: Piano Concerto No. 20 in D Minor, K. 466 (Arr. C.V. Alkan for Piano): III. Rondo. Allegro assai 09:07
• Total Runtime 01:23:05

Info for Beethoven-Liszt & Mozart-Alkan: Piano Transcriptions

This recording brings together two of the greatest works of the Classical era in transcriptions for solo piano by two of the greatest pianist-composers of the Romantic era, resulting in two of the most thrilling experiences that nineteenth-century pianism has to offer.

Successfully marrying the unique charac­teristics of the piano to the defining features of Beethoven’s orchestral writing, Franz Liszt is showed here at his most colouristic. He vividly captures the rapid scene shifts and mood changes of Beethoven’s Eroica and exploits not only the piano’s ability both to whisper and to roar, but also the power and intensity of silence. In Mozart’s 20th piano concerto, Charles-Valentin Alkan takes on a different challenge as he masterfully weaves the orchestral and solo piano parts into a single tapestry that brims from start to finish with piano writing of startling inventiveness and originality.

These two pianistic tours de force are presented here by Paul Wee – also a barrister specialising in commercial law at Essex Court Chambers in London – whose astonishing technique and passion for nineteenth-century pianism have been highlighted on acclaimed recordings dedicated to music by Alkan and transcriptions by Thalberg.

Paul Wee, piano

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