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Leif Ove Andsnes

Franz Liszt - Via Crucis & Solo Piano Works w/TNSC

Sony Classical
Release Date: April 11, 2025

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Leif Ove Andsnes / Classic fm Interview
Pianist Leif Ove Andsnes Performs Bagatelle Op. 1 No. 3 by Silvestrov on WQXR
Dvorák's "Spring Song" from Poetic Tone Pictures Performed by Leif Ove Andsnes on WQXR
1 No. 1 in E Major. Andante con moto  
2 No. 2 in E Major. Un poco piu mosso  
3 No. 3 in D-Flat Major. Lento placido  
4 No. 4 in D-Flat Major. Quasi adagio  
5 No. 5 in E Major. Andantino  
6 No. 6 in E Major. Allegretto sempre cantabile  
7 No. 8. Miserere, dapres Palestrina. Largo  
8 No. 9. Andante lagrimoso  
9 Station I Jesus wird zum Tode verdammt  
10 Station II Jesus tragt sein Kreuz  
11 Station III Jesus fallt zum ersten Mal  
12 Station IV Jesus begegnet seiner heiligen Mutter  
13 Station IX Jesus fallt zum dritten Mal  
14 Station V Simon von Kyrene hilft Jesus das Kreuz tragen  
15 Station VI Sancta Veronica  
16 Station VII Jesus fallt zum zweiten Mal  
17 Station VIII Die Frauen von Jerusalem  
18 Station X Jesus wird entkleidet  
19 Station XI Jesus wird ans Kreuz geschlagen  
20 Station XII Jesus stirbt am Kreuze  
21 Station XIII Jesus wird vom Kreuz genommen  
22 Station XIV Jesus wird ins Grab gelegt  
23 Vexilla regis  
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On his latest album “Liszt: Via Crucis & Solo Piano Works” for Sony Classical, Norwegian pianist Leif Ove Andsnes unveils the often forgotten side of the famed virtuoso Franz Liszt - the sacred music that offers a more intimate picture of the man and his deeply held faith.

With acclaimed vocal ensemble the Norwegian Soloists’ Choir, Andsnes has recorded Liszt’s remarkable late work Via Crucis (The Way of the Cross’) for choir and piano. The pianist completes his all-Liszt album with the solo piano work Consolations and two movements from the composer’s Harmonies poétiques et religieuses.

Franz Liszt is often described as the ‘first virtuoso’ - a superstar pianist and composer who invented the piano recital and whose fame and following in the nineteenth century were unprecedented. Much of Liszt’s reputation hangs on sweeping virtuosic showpieces so technically challenging that only Liszt could play them.

But that is only half the story. In 1847, at the age of just 35, Liszt retired from public performance to focus on writing and teaching. Thirteen years later he took another step back, taking Holy Orders and embarking upon a new life of religious devotion and creative introspection.

In this later period, a new aesthetic took root in Liszt, one characterized by austere, spare and sometimes inscrutable musical utterances that tended to question more than they assert. ‘I find Liszt’s religious music fascinating,’ says Andsnes, who has lived with Liszt’s music since childhood. ‘This is very different music, with so few notes but with a tension and beauty.’

One of the major statements of Liszt’s late period was Via Crucis, a journey
through the Roman Catholic tradition’s Stations of the Cross for choir and piano, written in Rome in 1866 but considered too unusual by Liszt’s publisher and never performed in the composer’s lifetime. It wasn’t until 1929 that the work was given its first airing, on Good Friday, in the capital of the composer’s native Hungary, Budapest.

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