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Jan Lisiecki

Mendelssohn w/Orpheus Chamber Orchestra

Deutsche Grammophon

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Venetian Gondola Song
KlassikAkzente
Jan Lisiecki - Moving Classics Interview
TEATRO E/O MUSICA, CHIUDE RASSEGNA
1 Concerto for Piano & Orchestra #1 in G minor op. 25 - Molto allegro con fuoco  
2 Andante  
3 Presto-Molto allegro e vivace  
4 17 Variations serieuses in D minor op. 54 - Tema. Andante sostenuto  
5 Variation 1  
6 Variation 2. Un poco piu animato  
7 Variation 3. Piu animato  
8 Variation 4. Sempre staccato e leggiero  
9 Variation 5. Agitato. Legato ed espressivo  
10 Variation 6. A tempo  
11 Variation 7. Con fuoco  
12 Variation 8. Allegro vivace  
13 Variation 9  
14 Variation 10. Moderato  
15 Variation 11. Cantabile  
16 Variation 12. Tempo del tema  
17 Variation 13. Sempre assai leggiero. Sempre assai marcato  
18 Variation 14. Adagio  
19 Variation 15. Poco a poco piu agitato  
20 Variation 16. Allegro vivace  
21 Variation 17  
22 Concerto for Piano & Orchestra #2 in D minor op. 40 - Allegro appassionato  
23 Adagio. Molto sostenuto-attacca  
24 Finale. Presto scherzando  
25 Rondo capriccioso in E major op. 14 - Andante  
26 Presto leggiero  
27 Song Without Words in G minor 'Venetian Gondola Song' op. 19b/6 - Andante sostenuto  
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Acclaimed 23-year-old Canadian pianist Jan Lisiecki joins forces with the conductorless Orpheus Chamber Orchestra to release Mendelssohn on Deutsche Grammophon on February 1. The album explores a pair of early Romantic masterpieces: Mendelssohn's Piano Concertos in G minor and D minor, complemented with a selection of Mendelssohn's most brilliant pieces for solo piano: the Variations sérieuses, the Rondo capriccioso and the "Venetian Boat Song" from the Songs without Words.

Felix Mendelssohn was a year younger than Lisiecki is now when he wrote his First Piano Concerto in G minor; the work was dedicated to the seventeen-year-old pianist Delphine von Schauroth. Cast in three movements, it is a lively, spirited work, at times requiring lightning-quick playing. Lisiecki finds it remarkable that the concerto begins as if "in the middle of a piece," and particularly appreciates the buoyancy of this early work – he thinks of it as like "a nature trip" and notes that its "lightness of touch ... reminds [him] very much of playing Mozart." 

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