Liszt 200 - how was it for you?

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RE: Liszt 200 - how was it for you?

Funny you should mention Beet's 5th Magnus - I heard that the first recording of it took place in Berlin in 1910. I'd love to hear this recording but I don't have an acoustic gramophone...yet.

RE: Liszt 200 - how was it for you?

kev wrote:

I will...actually, this is just the sort of development I was hoping for when signing up for the listening group - the ability for hear familiar music from a different perspective.

Kev,

The relationship between Beethoven and Liszt is interesting. Beethoven met Liszt once, when Liszt was only 11 years old. Beethoven had a very low opinion of child prodigies and at that time Liszt was just becoming a star, while also being a pupil of Czerny, who was in turn a pupil of Beethoven himself. It seems Liszt only really won Beethoven over when he played part of the C minor (3rd) piano concerto. Liszt went on to be the leading Beethoven interpreter of his time, playing works like the Hammerklavier Sonata when audiences probably would have been just as happy to hear Hummel, Moscheles or one of the operatic fantasies that Liszt created.

What is surprising is the older Liszt own attitude to prodigies, which was dismissive. He concluded they were, 'artists who are to be.'

Naupilus

RE: Liszt 200 - how was it for you?

...are to be or not are to be, that is the question.

RE: Liszt 200 - how was it for you?

Magnus Opus wrote:

...are to be or not are to be, that is the question.

As you accuse me elsewhere of getting a bit petty in my old age, I'll  venture to suggest that 

... are to be or are not to be, that is the question

might be a bit neater and more grammatical.

Vic.

RE: Liszt 200 - how was it for you?

naupilus wrote:

Tontentanz (Valentina Lisitsa/YouTube)

Yes, astonishing - I found this on a Naxos CD too with some Beethoven, Schumann and Thalberg.  Thanks for the Beethoven anecdote naupilus.  Are you a Liszt scholar or just a fan?  Do you have a favourite book about him?

RE: Liszt 200 - how was it for you?

naupilus wrote:

Grey Clouds (Djordjevic/private label) - This won... .I have to admit that I sometimes don't understand them fully,...

Intriguing - is that from a technical or philosophical viewpoint? Both maybe?

RE: Liszt 200 - how was it for you?

kev wrote:

Yes, astonishing - I found this on a Naxos CD too with some Beethoven, Schumann and Thalberg.  Thanks for the Beethoven anecdote naupilus.  Are you a Liszt scholar or just a fan?  Do you have a favourite book about him?

 

Kev

No I cannot claim to be a Liszt scholar - I just happened to read about this meting two days ago as I currently navigating my way through Alan Walker's Liszt biography (three volumes of it!). Would this be my favourite? I will let you know, thoug to be honest there are not that many books about Liszt out there - walker sems to have killed off all oppoosition for the time being, a little like David Cairns and Berlioz.

Naupilus

RE: Liszt 200 - how was it for you?

kev wrote:

naupilus wrote:

Grey Clouds (Djordjevic/private label) - This won... .I have to admit that I sometimes don't understand them fully,...

Intriguing - is that from a technical or philosophical viewpoint? Both maybe?

Kev - I am a lesser mortal who just listens, but hopefully with keen ears. When I said I didn't understand them fully it is just that I need more time to work out in my own mind what it is that is being communicated by the composer (and consequently the musician).

Naupilus

RE: Liszt 200 - how was it for you?

naupilus wrote:

...I currently navigating my way through Alan Walker's Liszt biography (three volumes of it!).

I admire your dedication naupilus - 3 volumes may be a little ambitious for me at the moment but my group leader had 'Liszt' by Derek Watson so I'll start with that probably.  In the appendix there's a chronology of events - I like dates.  Does your 3 volumes have plenty of colour pictures or is it all text?

RE: Liszt 200 - how was it for you?

naupilus wrote:

 ...I need more time to work out in my own mind what it is that is being communicated by the composer (and consequently the musician).

This week we had the Piano Sonata in B minor (30 minutes of music cultivated from 4 notes - played by LLyr Williams [aspergers syndrome]) - some people seem to think it's about Faust but Liszt didn't say according to my group leader.  The listener seems to have a dilemma when the composer doesn't say.  What's your plan in that scenario naupilus?

We also had the Piano Concerto #2 (not played much today perhaps because of lack of catchy melody).  Also 'The way of the cross'.  Apparently, Liszt had plans for the new organ installed during cathedral refurbishment but I don't have details of that yet.

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