Richard Wagner: Complete Piano Works Dario Bonuccelli piano

Richard Wagner: Complete Piano Works Dario Bonuccelli piano Track list CD1 1- Schluss zum Vorspiel von Tristan und Isolde WWV 90 04:44 2- Albumblatt für Ernst Benedikt Kietz WWV 64 02:16 3- Polka WWV 84 00:42 4- Züricher Vielliebchen-Walzer WWV 88 01:45 5- In das Album der Fürstin M. WWV 94 03:19 6- Ankunft bei den schwarzer Schwänen WWV 95 05:35 7- Albumblatt für Frau Betty Schott WWV 108 05:20 8- Polonaise für Klavier zu vien Händen WWV 23b (with Marco Vincenzi) 04:38 9- Polonaise WWV 23ø 03:01 10- Notenbrief für Mathilde Wesendonck 01:36 11- Elegie WWV 93 01:38 12- Fantasia WWV 22 29:13 CD 2 1- Eine Sonate für das Album von Frau M. W. WWV 85 16:41 2- Sonate in B-Dur WWV 21: Allegro con brio 08:23 3- Sonate in B-Dur WWV 21: Larghetto 08:51 4- Sonate in B-Dur WWV 21: Minuetto (Allegro) 03:57 5- Sonate in B-Dur WWV 21: Allegro vivace 06:01 6- Große Sonate WWV 26: Allegro con moto 08:41 7- Große Sonate WWV 26: Adagio molto e assai espressivo 15:13 8- Große Sonate WWV 26: Maestoso - Allegro molto 09:24 9- Fugue dalla Große Sonate WWV 26 (Tempo moderato e maestoso) 02:02

There exists a strange, somewhat ambiguous, bond between Wagner and the instrument symbolic of the romantic generation: the piano. Strange because Wagner’s fingers were not very much at ease on a piano keyboard - to the point that in his lifetime this gave rise to a number of hilarious anecdotes about his technical ineptitude. That notwithstanding, scholars and performers are left to deal with a rather considerable number of piano works by Richard Wagner, among them, several occasional pieces, often quite short, which is interesting, when we consider the general length, instead, of the composer’s lyrical works. It shouldn’t surprise us that, up to recently, critics and even performers have paid little attention to the works featured here: comparison with Wagner’s operas and the innovation they introduced is, to all appearances, too crushing for them to take an interest in these short pieces conceived for practical purposes and destined for private use. And yet such an approach appears gratuitously defeatist, obscuring an output that can be quite fascinating and which, what is more important, is essential towards understanding the Maestro’s stylistic evolution. Thanks to Wagner’s piano works, indeed, we are now able to retrace ”from the inside” almost his entire professional path.