Usually despatched in 2 - 3 working days. (Available now to download.)
Franz Liszt: Saint-Saens - Danse macabre, S555/R240
Saint-Saens - Danse macabre, S555/R240
Franz Liszt: Trube Wolken (Nuages gris), S199/R78
Nuages gris (Trube Wolken), S199/R78
Franz Liszt: Unstern! Sinistre, disastro, S208/R80
Unstern! Sinistre, disastro, S208/R80
Franz Liszt: Grande fantaisie sur des themes de Les Huguenots by Meyerbeer,S412/R211, Reminiscences des Huguenots
Grande fantaisie sur des themes de l’opera Les Huguenots by Meyerbeer, S412/R211, "Reminiscences des Huguenots"
Franz Liszt: La lugubre gondola, S200/R81, "Elegie No. 3" (1st version)
La lugubre gondola, S200/R81 (1st version)
Franz Liszt: La lugubre gondola, S200/R81, "Elegie No. 3" (2nd version)
La lugubre gondola, S200/R81 (2nd version)
Franz Liszt: Impromptu, S191/R59, "Nocturne"
Impromptu, S191/R59, "Nocturne"
Franz Liszt: Totentanz, S525/R188
“It's a phenomenal disc.”
“Arnaldo Cohen is as poetically and imaginatively intrepid as he's technically coruscating, and all these performances offer refinement and ferocity in equal proportion. Few pianists could identify or engage so closely with music that hovers on the edge of silence or extinction (Nuages gris, La lugubre gondola Nos-1 and 2), or that sparks and sports with a truly devilish intent (Danse macabre, Totentanz and so on). In the Danse macabre the music emerges from Cohen's fingers supercharged with malevolence. On the other hand he can send the F sharp Impromptu spiralling into a true sense of its ecstasy, or momentarily inflect Nuages gris in a manner that accentuates rather than detracts from its abstraction and economy. He makes something frighteningly bleak out of Unstern (or 'Evil Star'), with its savagely dissonant climax and its unresolved hymnal solace, yet is no less at home in Réminiscencesdes Huguenots, dismissing ambuscades of treacherous skips, octaves and every other technical terror with a telling mix of verve and nonchalance. These, then, are performances of rare lucidity, virtuoso voltage and trenchancy, and all quite excellently recorded.”