Berman: October, in Budapest. Aura Classics. Queen Elisabeth Music Competition Vol. Cypres Records. Liszt: Piano Concerto No. Arts Music. Beethoven: Appassionata; Liszt: Sonata. Berman Plays Liszt. Schumann: Sonata in F sharp minor, Op. Ital Disc. Liszt Bicentenary Edition, Vol.
Piano Classics. Entertainment Group. Beethoven, Chopin, Tchaikovsky, Vol. Franz Schubert, Berman, Liszt, Vol.
Haydn, Mozart, Liszt, Handel, Vol. Prokofiev, Berman, Vol. Liszt, Vol. It's not that he's bad. He's just so unremarkable, both as a Liszt pianist and as a pianist in general. Then again, I haven't heard too many of his recordings, so perhaps you should get a second opinion on this.
Feb, 5. Genuine ersatz classical listener since Feb, 6. Well, he's one of the twenty or thirty most famous living pianists, so of course you should go and see him if he's coming to town. My point is only that, as famous living pianists go, he's not one of the best. I don't think he compares to the great Liszt pianists of the past, and the critics seem to agree with me there.
Feb, 7. Originally Posted by Andre. Pyotr Tchaikovsky Piano Sonata in C sharp minor. CD 28 Recorded live in — CD 29 Recorded live in Leningrad on February 15, Joseph Haydn Sonata in C minor.
CD 31 Recorded live on October 12—13, CD 32 Recorded live on October 12 13 , Franz Liszt Piano Concerto No. CD 33 Recorded live on March 21, Ludwig van Beethoven Piano Sonata No. CD 34 Recorded live in Kiev on April 6, CD 35 Recorded live on April 22, Ludwig van Beethoven Piano Concertos Nos. CD 36 Recorded live on March 13, Franz Schubert Piano Sonata No. CD 37 Recorded live on December 21 and 23, Ludwig van Beethoven Piano Sonatas Nos. CD 38 Recorded live on January 26, CD 39 Recorded live on October 18, Wranitzky 32 Variations in C minor.
CD 40 Recorded live on January 5, He also wrote more church music, including the delicate Missa choralis with organ and the intriguingly nationalistic Missa coronationalis with orchestra , more songs, organ works, shorter piano pieces and transcriptions, and prepared the definitive edition of his piano solo versions of all nine Beethoven symphonies.
Attempts to marry Carolyne came to nothing, even after the death of her husband removed all obstacles, real and imagined. The works of his late years are of very special interest: having been an avant-garde pioneer of the new Romantic vision—shared with Wagner and Bruckner, among others—he now became an extraordinary visionary of the end of the musical world he had helped so much to create, and wrote works which prefigured quite a lot of the music of the first half of the twentieth century.
Many of his late works were known only to the few, and some were denied publication, so daring were they deemed—amongst which, his unique musical treatment of the Stations of the Cross: Via Crucis. Liszt died quite unexpectedly in Bayreuth on 31 July , partly due to the disgraceful way he was treated there by his daughter Cosima, from whom he had been virtually estranged for the last twenty years of his life, and whom he had gone to help with the festival inaugurated by his son-in-law Wagner.
I so wish that Mr Sullivan had written such a book about Liszt. A key difference between these composers, though, is that Beethoven never lived to old age. But old Liszt, he keeps on breaking the mould.
I suppose the summit of what he was trying to say musically, as far as the piano goes, has still got to be the Sonata, and he arrived at that point quite early in life. For orchestra, it is the Faust Symphony. And overall it must be the oratorio Christus , and that was finished by the end of , so he had eighteen or so years to live during which he was never going to complete another really large-scale composition.
He did produce suites of pieces which adumbrate larger conceptions, but nothing like the scale of those three masterworks. It appears that Liszt had somehow resolved the questions he had set himself. Learning Liszt has been a lifelong experience. Searching for repertoire that was musically and pianistically challenging was the way of my first acquaintance with him. I should have instinctively arrived at the same conclusion earlier with the Sonata, but somehow the physical playing of it had got in the way of understanding.
However, my first recordings were of Grainger and of Glazunov, and were followed by Stravinsky. My first recording for Ted was with the mandolinist Keith Harris A , and whilst it included no Liszt, it did contain a piece of my own: Ramble on a Russian Theme. It was clear that this label was going to take the odd risk!
That first Liszt disc was made in October and must have been one of the longest LPs ever issued. It was recorded digitally so that when the CD became the order of the day it was issued in that format. Any original plans to restrict the scope of the project—by not including transcriptions, or alternative versions, for instance—were shelved.
But neither I nor anyone at Hyperion had really calculated how vast the labour would become as more and more unpublished material came to light. An early projection of the series postulated 48 CDs. Somewhat later this was revised to 70, then 80, and finally there were 94 plus a bonus CD single. Since the completion of the series in , enough material has come to light for four further CDs: Liszt: New Discoveries.
So, 98 CDs plus the bonus disc, and the total would have reached if some of the still-missing manuscripts had come to light. It is simply amazing how many of the works which Liszt so modestly called transcriptions are no less original compositions than any great sets of formal variations on external themes, and it is good finally to be able to see the end of the old ignorant prejudice against such pieces. A recording project such as this was bound to generate an enthusiastic correspondence.
But several kind people sent copies of rare editions lest I had not seen them.
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