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Thalberg: L'art du chant appliqué au piano, Op. 70

Paul Wee

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L'art du chant appliqué au piano, Op. 70, Series 1  
1.1
No. 1, A te, o cara (After Bellini's "I puritani")
Sigismond Thalberg; Paul Wee
5:10
1.2
No. 2, Tre giorni (After Ciampi / Attrib. Pergolesi's P. 106)
Sigismond Thalberg; Paul Wee
5:23
1.3
No. 3, Adelaide (After Beethoven's Op. 46)
Sigismond Thalberg; Paul Wee
6:26
1.4
No. 4, Pietà, signore (Attrib. Stradella)
Sigismond Thalberg; Paul Wee
9:07
1.5
No. 5a, Lacrimosa (After Mozart's K. 626)
Sigismond Thalberg; Paul Wee
3:44
1.6
No. 5b, Sull'aria (After Mozart's K. 492)
Sigismond Thalberg; Paul Wee
3:16
1.7
No. 6, Perchè mi guardi e piangi (After Rossini's "Zelmira")
Sigismond Thalberg; Paul Wee
5:50
L'art du chant appliqué au piano, Op. 70, Series 2  
1.8
No. 7, Bella adorate incognita (After Mercadante's "Il giuramento")
Sigismond Thalberg; Paul Wee
5:51
1.9
No. 8, Nel silenzio fra l'orror (After Meyerbeer's "Il crociato in Egitto")
Sigismond Thalberg; Paul Wee
4:55
1.10
No. 9, Einsam bin ich nicht alleine (After Weber's J. 279)
Sigismond Thalberg; Paul Wee
3:12
1.11
No. 10, Der Müller und der Bach (After Schubert's D. 795)
Sigismond Thalberg; Paul Wee
4:29
1.12
No. 11, Schelm, halt fest! (After Weber's J. 277)
Sigismond Thalberg; Paul Wee
3:55
1.13
No. 12, Il mio tesoro (After Mozart's K. 527)
Sigismond Thalberg; Paul Wee
4:50
L'art du chant appliqué au piano, Op. 70, Series 3  
2.1
No. 13, Sérénade (After Rossini's "Il barbiere di Siviglia")
Sigismond Thalberg; Paul Wee
3:45
2.2
No. 14, La dove prende (After Mozart's K. 620)
Sigismond Thalberg; Paul Wee
3:56
2.3
No. 15, Barcarolle (After Donizetti's "Gianni di Calais")
Sigismond Thalberg; Paul Wee
6:50
2.4
No. 16a, Protegga il giusto cielo (After Mozart's K. 527)
Sigismond Thalberg; Paul Wee
3:38
2.5
No. 16b, Là ci darem la mano (After Mozart's K. 527)
Sigismond Thalberg; Paul Wee
3:31
2.6
No. 17, Sérénade (After Grétry's "L'amant jaloux")
Sigismond Thalberg; Paul Wee
3:18
2.7
No. 18, Assisa a piè d'un salice (After Rossini's "Otello")
Sigismond Thalberg; Paul Wee
5:08
L'art du chant appliqué au piano, Op. 70, Series 4  
2.8
No. 19, Casta diva (After Bellini's "Norma")
Sigismond Thalberg; Paul Wee
6:18
2.9
No. 20, Voi che sapete (After Mozart's K. 492)
Sigismond Thalberg; Paul Wee
2:48
2.10
No. 21, Fröhliche Klänge, Tänze, Gesänge (After Weber's J. 291)
Sigismond Thalberg; Paul Wee
4:18
2.11
No. 22, Dafydd y garreg wen
Sigismond Thalberg; Paul Wee
3:15
2.12
No. 23, Ein Mädchen, das auf Ehre hielt (After Haydn's Hob. XXI:3)
Sigismond Thalberg; Paul Wee
4:10
2.13
No. 24, Fenesta vascia (After Cottrau)
Sigismond Thalberg; Paul Wee
3:46
3 Mélodies de Franz Schubert, Op. 79  
2.14
No. 1, Täuschung (After Schubert's D. 911)
Sigismond Thalberg; Paul Wee
1:23
2.15
No. 2, Der Neugierige (After Schubert's D. 795)
Sigismond Thalberg; Paul Wee
4:10
2.16
No. 3, Die Post (After Schubert's D. 911)
Sigismond Thalberg; Paul Wee
2:15
2.17
Auf Flügeln des Gesanges (After Mendelssohn's MWV K 86)
Sigismond Thalberg; Paul Wee
2:58
10 Piano Pieces, Op. 36  
2.18
No. 3, Mi manca la voce (After Rossini's "Mosè in Egitto")
Sigismond Thalberg; Paul Wee
3:39
Digital Booklet
Total Playing Time    2:15:14
International lawyer by day and piano virtuoso by night, Paul Wee made his recording début in 2019 with some of the most technically demanding piano music there is: Alkans Symphony and Concerto for solo piano. He now returns with music which presents a different, but not lesser challenge: how make the keyboard sing. The piano is by nature a percussive instrument the sound is created by little hammers falling on strings. To create a true legato or the illusion of it has been the aim of generations of pianists, but few have taken the matter as far as Sigismond Thalberg.

A giant in nineteenth-century pianism, Thalberg was born in 1812, the year after Franz Liszt, his greatest rival on the international concert circuit. In comparison to the latter, Thalberg was often singled out for his ability to make the piano sing, an art which he himself highlighted in a collection of transcriptions aptly named The Art of Singing Applied to the Piano.

Published between 1853 and 1863, the collection included Thalbergs adaptations of popular arias by Bellini, Rossini and Weber and songs by Beethoven and Schubert, but also other vocal works, such as Lacrimosa from Mozarts Requiem. This nowadays little-known but fascinating chapter in the history of pianism is presented by Paul Wee, together with a substantial booklet which includes his own liner notes as well as Thalbergs foreword, with the masters advice to those who want their keyboards to sing.
192 kHz / 24-bit, 96 kHz / 24-bit PCM – BIS Records Studio Masters

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