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You might expect that such music as Bruckner wrote for the piano was composed early in his career, which only took off in his forties after prolonged periods of study and personal setbacks. This is true to an extent: dating from 1850 - when Bruckner was already 26 years old - the earliest piece here is a Steiermärker, an Austrian dance of homely charm, and a quartet of lively quadrilles. But the bulk of his piano output dates from 1862, when Bruckner was on the verge of composing his first (unnumbered) symphony, but with a substantial catalogue of sacred music behind him. Incense clouds and mountain vistas have no place here. There are several catchy polkas, minuets and waltzes: contrary to popular understanding, Bruckner was a keen and accomplished dancer, whose awkward manner in conversation was belied by his fine sense of rhythm. Some pieces here are more substantial: a seven-minute Sonata, for example, and poetic gems, full of intense feeling and personal reflections, such as Erinnerung and Stille Betrachtung an einem Herbstabend. A D minor March even seems to herald various passages in his later symphonies, where the brass was to play such an important role. It's a winning collection that should surprise and delight anyone who thought exclusively of Bruckner as a composer of symphonic boa constrictors. The album is thoroughly annotated by it's performer, Francesco Pasqualotto, who has dedicated himself to this under-rated corner of romantic piano repertoire with both enthusiasm and a technique refined by extensive performances of the more renowned piano music of Beethoven and György Ligeti.
You might expect that such music as Bruckner wrote for the piano was composed early in his career, which only took off in his forties after prolonged periods of study and personal setbacks. This is true to an extent: dating from 1850 - when Bruckner was already 26 years old - the earliest piece here is a Steiermärker, an Austrian dance of homely charm, and a quartet of lively quadrilles. But the bulk of his piano output dates from 1862, when Bruckner was on the verge of composing his first (unnumbered) symphony, but with a substantial catalogue of sacred music behind him. Incense clouds and mountain vistas have no place here. There are several catchy polkas, minuets and waltzes: contrary to popular understanding, Bruckner was a keen and accomplished dancer, whose awkward manner in conversation was belied by his fine sense of rhythm. Some pieces here are more substantial: a seven-minute Sonata, for example, and poetic gems, full of intense feeling and personal reflections, such as Erinnerung and Stille Betrachtung an einem Herbstabend. A D minor March even seems to herald various passages in his later symphonies, where the brass was to play such an important role. It's a winning collection that should surprise and delight anyone who thought exclusively of Bruckner as a composer of symphonic boa constrictors. The album is thoroughly annotated by it's performer, Francesco Pasqualotto, who has dedicated himself to this under-rated corner of romantic piano repertoire with both enthusiasm and a technique refined by extensive performances of the more renowned piano music of Beethoven and György Ligeti.
5028421956190

Details

Format: CD
Label: BRLT
Rel. Date: 09/20/2019
UPC: 5028421956190

Complete Piano Music
Artist: Francesco Pasqualotto
Format: CD
New: In Stock $12.99
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DISC: 1
MP3
1. 4 Lancier - Quadrilles, Wab 120: I. Quadrille
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2. 4 Lancier - Quadrilles, Wab 120: II. Quadrille. Allegro
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3. 4 Lancier - Quadrilles, Wab 120: III. Quadrille. Allegro
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4. 4 Lancier - Quadrilles, Wab 120: IV. Quadrille. Allegro
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5. Steiermärker In G Major, Wab 122
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6. Klavierstück In E-Flat Major, Wab 119
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7. Sonata In G Minor, Wab 245
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8. Tema E Variazioni In G Major
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9. Andante In D Minor
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10. Andante In E-Flat Major
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11. Marcia In D Minor
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12. Studio I In G Major
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13. Studio II Cromatico In F Major
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14. Fantasia No. 1 In D Minor
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15. Fantasia No. 2 In C Minor. Langsam
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16. Fantasia No. 3 In E-Flat Major
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17. Fantasia No. 4 In F Major. Langsam
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18. Mazurka In A Minor
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19. Stille Betrachtung An Einem Herbstabend In F-Sharp Minor, Wab 123
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20. Fantasia In G Major, Wab 118: I. Langsam Un Mit Gefühl. II. Allegro
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21. Erinnerung In E-Flat Major, Wab 117: I. Langsam, Innig
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22. Valzer In C Major
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23. Valzer In E-Flat Major
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24. Polka In C Major
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25. Minuetto In G Major
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26. Minuetto In C Major
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27. Esercizio In C Major
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28. Duo In A Minor
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29. Tema In F Major
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30. Due Periodi Musicali In C Major
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31. Marcia In C Major
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More Info:

You might expect that such music as Bruckner wrote for the piano was composed early in his career, which only took off in his forties after prolonged periods of study and personal setbacks. This is true to an extent: dating from 1850 - when Bruckner was already 26 years old - the earliest piece here is a Steiermärker, an Austrian dance of homely charm, and a quartet of lively quadrilles. But the bulk of his piano output dates from 1862, when Bruckner was on the verge of composing his first (unnumbered) symphony, but with a substantial catalogue of sacred music behind him. Incense clouds and mountain vistas have no place here. There are several catchy polkas, minuets and waltzes: contrary to popular understanding, Bruckner was a keen and accomplished dancer, whose awkward manner in conversation was belied by his fine sense of rhythm. Some pieces here are more substantial: a seven-minute Sonata, for example, and poetic gems, full of intense feeling and personal reflections, such as Erinnerung and Stille Betrachtung an einem Herbstabend. A D minor March even seems to herald various passages in his later symphonies, where the brass was to play such an important role. It's a winning collection that should surprise and delight anyone who thought exclusively of Bruckner as a composer of symphonic boa constrictors. The album is thoroughly annotated by it's performer, Francesco Pasqualotto, who has dedicated himself to this under-rated corner of romantic piano repertoire with both enthusiasm and a technique refined by extensive performances of the more renowned piano music of Beethoven and György Ligeti.
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