Liszt: Sonata, Ballades and Polonaises

Editorial Reviews
Amazon.com
Stephen Hough has already proven his virtuoso credentials elsewhere, so he doesn't need to worry about his reputation for technique with this Franz Liszt collection. And his playing of the Ballade No. 2--deeply serious Liszt, and bristling with technical challenges--is enough to dazzle any listener. So when Hough doesn't dazzle as much in other challenging music, like the Polonaise No. 2 and, above all, the Sonata, we can presume that he is making interpretive decisions instead of ducking hazards he can't overcome. Hough's interpretation of the Sonata does pay some musical dividends. He takes the music very seriously and aims for expression at every moment. Still, there are climaxes in the Sonata, and in the Polonaise No. 2, that simply don't come off with sufficient force. Hough's choices, while they may be honorable, diminish the contrast between fury and philosophy that can be heard more fully in Liszt performances by Martha Argerich and Sviatoslav Richter. --Leslie Gerber

Tracks:

Two Polonaises, S223: No.1 Polonaise Melancolique in c
Two Polonaises, S223: No.2 Polonaise in E
Ballade No.1 in D flat, S170 ('Le Chant Du Croise')
Ballade No.2 in b
Berceuse, S174 (First Version)
Pno Son in b, S178: Lento Assai - Allegro Energico - Grandioso - Recitativo
Pno Son in b, S178: Andante Sostenuto - Quasi Adagio
Pno Son in b, S178: Allegro Energico
Pno Son in b, S178: (Allegro Energico) - Piu Mosso - Stretta, Quasi Presto - Presto - Prestissimo
Pno Son in b, S178: Andante Sostenuto - Allegro Moderato - Lento Assai

Amazon.com

Stephen Hough has already proven his virtuoso credentials elsewhere, so he doesn't need to worry about his reputation for technique with this Franz Liszt collection. And his playing of the Ballade No. 2--deeply serious Liszt, and bristling with technical challenges--is enough to dazzle any listener. So when Hough doesn't dazzle as much in other challenging music, like the Polonaise No. 2 and, above all, the Sonata, we can presume that he is making interpretive decisions instead of ducking hazards he can't overcome. Hough's interpretation of the Sonata does pay some musical dividends. He takes the music very seriously and aims for expression at every moment. Still, there are climaxes in the Sonata, and in the Polonaise No. 2, that simply don't come off with sufficient force. Hough's choices, while they may be honorable, diminish the contrast between fury and philosophy that can be heard more fully in Liszt performances by Martha Argerich and Sviatoslav Richter. --Leslie Gerber

Customer Reviews:

People.......2007-03-16

People expecting unbridled emotional outpouring from Stephen Hough's approach to Liszt's music will undoubtedly be disappointed. The primary and most valuable advice for those who are about to buy or play this cd on their stereos is simply to get Argerich off their minds. Don't get me wrong, Stephen is never analytic or self-conscious. There's no way one could blame him for being inadequately restrained in his playing - he turns in beautiful, haunting and moving performances while affording to preserve and emphasize the structural features of these remarkable pieces. Liszt's Sonata in B minor is played as a coherent and impressive historical account of one's struggle to survive and maintain his sanity in a world ravaged by fear, pain and lack of redemption - it's an essay on vulnerability. Stephen's clearness of articulation and sophisticated lyricism is matched by very few Liszt interpreters out there today. Such remarkable qualities become especially evident in his rendition of the second Polonaise, which is even more convincing and fluent than Hamelin's. This cd is a must-have.

The Way Lizst Should Be Played.......2004-05-03

With the exception of the Sonata, I was unfamiliar with the works on this CD but the pieces are striking in their selection so my interest was peaked. Another recommendation for this CD is Stephen Hough. Anyone who has encountered his playing knows the meticulous and restrained approach he has when performing. Anyone purchasing this CD will be amply rewarded.

The Polonaises were written following the death of Chopin but there is not much in common with the Polish composer in Liszt's two examples. The first Polonaise carries the title "melancolique" and is an introspective work while the second such work is more a dance, containing the brilliant keyboard techniques one associates with Liszt. The Berceuse is an interesting work (played here in the first version) since it is very closely modeled on Chopin's own work down to the key of D flat. The piece unfolds in a contemplative and quiet mood, containing none of the embellishments later added by Liszt. The two Ballades are also reminiscent of Chopin and were composed by Liszt before his friend's death. The neglected First Ballade is based on a Crusader song and the Second, and much longer, piece is a narrative drama with the scale and octave passages usually associated with Liszt.

Stephen Hough plays the Sonata with great restraint and balance. He does not play with the bombast of many pianists but is finely shaded and well balanced. The clarity and respect for the score that Mr. Hough seeks in his performance may not register well with everyone but this performance is a refreshing contrast to more passionate accounts. The booklet is very informative, as is usually the case with Hyperion recordings.

As you like it.......2002-02-12

This is a great CD. As usual, Mr. Hough is magnificent: beatiful when the music is expressive, and brilliant in the cadanzas and other filagree

In my opinion, the musical stars of the show are the second Polonaise and the second Ballade. Immersed in Chopin's music in my younger days, I always considered his Ballades as narratives telling wondrous and fabulous stories (like something out the "Arabian Nights" perhaps).

The second Ballade evokes the same feeling: wondrous, fabulous, glorious. The opening is awesome. There are moments when I am reminded of his Benediction.

Fifty-some years ago. I heard Horowitz play this Sonata; it was terrific. I haven't hear any records or CDs that can reproduce the effects of its live performance. In my opinion, this CD is no exception. The pianist is being the very best he can be, but is dealing with too many slam-bangs in the score. So I leave this sonata to more knowledeable reviewers,

Stephen Hough New King of the Piano Hill.......2001-05-31

This was the first recording of Hough I've heard and it knocked me off my chair! Gerber's objections to insufficient power and wildness miss the mark. I will reserve my confirmation of King of List until I hear the Agerich recording. I don't know if the Richter version is clean of the usual scratches but I'm open to other performances. The Horowitz version is wild to excess. In just one recording Stephen replaced my hero Murray Perahia as King. Never before have I heard such thoughtful and imaginative playing. The technique is flawless and the dynamics, coloration and great beauty are evident. The English Language cannot convey the musical beauty, you have to hear it! I am playing the "New Album" now and am hearing more of the same. It's great to discover a new gem of a pianist! Keep it up Stephen!

Dave Richards

Among the best recordings of the Sonata.......2001-01-16

I have always enjoyed the recordings of Stephen Hough and was very excited about this new release. I must admit that on the first listen, I skipped the Polonaises and Ballades and went straight for the Sonata. My first impression of the Sonata was not favorable; it seemed slow and too careful. However, repeated listenings have made me think that this is among the best recordings of the Sonata. Hough pedals through the descending line of the opening, creating a wonderfully ominous atmosphere. The passage at 7:12 on track 6 is most often played with a wild accelerando (which Liszt did not write). Hough avoids this tradition and plays it as written (a practice for which he is well-known). The result is amazingly beautiful. I too enjoy the drive of Horowitz and Argerich, they are phenomena in a class of their own. However, this new recording is much more satisfying emotionally. The Polonaise in C Minor sounds very much like Chopin, and Hough plays it very convincingly. The other gem on the recording is the 2nd Ballade. Never have I heard it played more lovingly, with greater attention to detail. A highly recommended disk.

Track Listings:

Track Listings

track listings

Track Listings

Bartender [Import]

Early Recordings Cor De Groot

Gate Swings

A Proper Introduction to Serge Chaloff: The Baritone Sax Master

Hiperespacio

Father and Son

Frankie & Billy

Das Rheingold (Bayreuther Festspiele 1953)

From a to B [Import]

Chopin: Four Scherzos & Ballades

El Hombre

Els Mes Gran Dels Pecadors [Import]

Corridos Pesados, Vol. 4

The Best of Syl Johnson: The Hi Records Years

On the Air 1937-1938