Howard Shelley - Mendelssohn: The Complete Solo Piano Music, Vol. 2 (2014) [Hi-Res]

  • 04 May, 09:59
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Artist:
Title: Mendelssohn: The Complete Solo Piano Music, Vol. 2
Year Of Release: 2014
Label: Hyperion
Genre: Classical
Quality: FLAC (tracks, booklet) [96kHz/24bit]
Total Time: 1:13:39
Total Size: 1.18 GB
WebSite:

Tracklist:

01. Rondo capriccioso in E major (6:35)
02. Fantasia on 'The last rose of summer' in E major (7:41)
03. No 1 in A minor: Andante con moto – Allegro vivace (4:28)
04. No 2 in E minor: Scherzo: Presto (2:31)
05. No 3 in E major: Andante (3:56)
06. Movement 1: Con moto agitato – Andante (5:12)
07. Movement 2: Allegro con moto (2:07)
08. Movement 3: Presto (6:08)
09. Lied in E flat major (1:54)
10. Lied in A major (1:21)
11. No 1 in E flat major: Andante espressivo (4:21)
12. No 2 in B flat minor: Allegro di molto (2:10)
13. No 3 in E major: Adagio non troppo (2:23)
14. No 4 in B minor: Agitato e con fuoco (2:44)
15. No 5 in D major: Andante grazioso (2:21)
16. No 6 in F sharp minor 'Venetianisches Gondellied': Allegretto tranquillo (2:59)
17. No 1 in E flat major: Con moto (2:28)
18. No 2 in C minor: Allegro non troppo (2:38)
19. No 3 in E major: Presto e molto vivace (1:56)
20. No 4 in A major: Andante (2:25)
21. No 5 in A minor: Agitato (2:14)
22. No 6 in A flat major 'Duetto': Andante (3:06)


Howard Shelley is acclaimed as the living master of early Romantic piano music. So much of this music was ignored throughout the twentieth century that there is still a sense of discovery at each new recording. Shelley here presents the second instalment of a six-volume set of Mendelssohn’s complete solo piano music—perhaps the least well-known part of the composer’s repertoire. The first volume was praised for Shelley’s ‘immaculate, lightly-pedalled brilliance, unfailing stylistic assurance, warmth and flexibility’ (Gramophone).

This second volume includes the Rondo capriccioso, a favourite virtuoso concert piece of the nineteenth century; the three-movement Fantasia in F sharp minor, which was originally described as a ‘Sonate écossaise’, with its characteristic Scottish folk-song elements in the first movement, and two books of the Songs without Words.