Inspired by his travels to Switzerland and Italy in the company of his lover Marie d’Agoult, Franz Liszt composed many of the pieces that make up in his Années de pèlerinage (“Years of Pilgrimage”) suites for piano between the 1830s and early 1850s—the exception being the third installment which followed much later. After the publication of the first two suites in 1855 and 1858, respectively, Liszt expanded the second suite, Dieuxème année (“Second Year”), by means of a supplement published in 1861 titled Venezia e Napoli containing an additional three pieces depicting his time on the Italian peninsula.
Like many of Liszt’s compositions, the three pieces of Venezia e Napoli borrow melodic material from the works of other composers. Last in the set, and the longest, Tarantella is based on a melody by Guillaume-Louis Cottrau. However, Liszt treats this melody in a wholly Romantic fashion, expanding its proportions far beyond that of the dance to those of a fantasia. Taking off at a breathtaking speed, Tarantella begins ominously in G minor with ferocious rumblings in the low register of the piano and ombined with phrases that freely alternate between duple and triple divisions of the beat, a nervous energy is created from the outset. However, the threatening mood of the opening is thwarted with the arrival of a good-humored melody concluding in the relative major. The fantasia continues in the middle section as Cottrau’s tune is transformed into a “Canzona napoletana.” Over a rippling, arpeggiated accompaniment, the cantando melody is heard with brilliant and florid ornamentations. Returning to the vigor of the opening but maintaining the major mode, a spirited Prestissimo restatement of the tarantella closes the piece.Joseph DuBose
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Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.
Classical Music | Piano Music
Franz Liszt
Tarantella, from Venezia e Napoli Play
Recorded on 01/01/1985, uploaded on 02/10/2009
Musician's or Publisher's Notes
Inspired by his travels to Switzerland and Italy in the company of his lover Marie d’Agoult, Franz Liszt composed many of the pieces that make up in his Années de pèlerinage (“Years of Pilgrimage”) suites for piano between the 1830s and early 1850s—the exception being the third installment which followed much later. After the publication of the first two suites in 1855 and 1858, respectively, Liszt expanded the second suite, Dieuxème année (“Second Year”), by means of a supplement published in 1861 titled Venezia e Napoli containing an additional three pieces depicting his time on the Italian peninsula.
Like many of Liszt’s compositions, the three pieces of Venezia e Napoli borrow melodic material from the works of other composers. Last in the set, and the longest, Tarantella is based on a melody by Guillaume-Louis Cottrau. However, Liszt treats this melody in a wholly Romantic fashion, expanding its proportions far beyond that of the dance to those of a fantasia. Taking off at a breathtaking speed, Tarantella begins ominously in G minor with ferocious rumblings in the low register of the piano and ombined with phrases that freely alternate between duple and triple divisions of the beat, a nervous energy is created from the outset. However, the threatening mood of the opening is thwarted with the arrival of a good-humored melody concluding in the relative major. The fantasia continues in the middle section as Cottrau’s tune is transformed into a “Canzona napoletana.” Over a rippling, arpeggiated accompaniment, the cantando melody is heard with brilliant and florid ornamentations. Returning to the vigor of the opening but maintaining the major mode, a spirited Prestissimo restatement of the tarantella closes the piece. Joseph DuBose
More music by Franz Liszt
Tarantelle di bravura, S 386
Consolation no. 4, S.172
Orage (Storm) from Book I Années de Pèlerinage: Suisse
Vallée d'Obermann from Book I Années de Pèlerinage: Suisse
Paraphrase on Quartet from Verdi’s “Rigoletto”
Orage (Storm) from Book I Années de Pèlerinage: Suisse
Years of Pilgrimage, First Year: Switzerland
Romance oubliée
Les cloches de Genève: Nocturne, from from Années de Pélerinage: Suisse
Phantasiestück on themes from Rienzi, S.439
Performances by same musician(s)
Prelude Op. 32, No. 5, in G Major
Rhapsody in G minor, Op. 79, No. 2
Ballade No. 4 in f minor, Op. 52
Mélodie d'Orfée (tr. Sgambati)
Canzona serenata, from Forgotten Motives Op. 38
Cordoba, Op. 232, No. 4
Gretchen am Spinnrade (tr. Liszt)
Mazurka in A-flat Major, Op. 41, No. 4
Hommage à Rameau, from Images, Book 1
Le rappel des oiseaux (Bird Calls)
Classical Music for the Internet Era™
To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.