To celebrate Franz Liszt’s 200th birthday, the Liszt Competition Utrecht organized a unique concert at the Vredenburg Concert Hall.
The organization made a huge effort to bring out the best of 25 years of Liszt Competition history: all nine 1st prize winners were gathered here to play some of their beloved composer’s less familiar works. Some pianists shared the stage with a colleague, some performed their pieces solo.
In historical order of the competition the prize winners were: Martyn van den Hoek (1986), Enrico Pace, Sergey Pashkevich, Igor Roma, Masaru Okada, Jean Dubé, Yingdi Sun, Vitaly Pisarenko, Masataka Goto (2011).
The concert began with two pianists who have performed together regularly in recent years. Martyn van den Hoek and Jean Dubé played Liszt’s arrangement of “Les Preludes” for two pianos. This composition originates from the composer’s Symphonic Poems, and is the third in a series of thirteen.
Some of these Symphonic Poems have also been published for piano solo, such as numbers two (Tasso, Lamento e Trionfo) and six (Mazeppa). This arrangement provided for (possible) intimate interaction between the two pianists. Taking over each other’s melodies, delicate timing in certain passages and simultaneous, instant change of pace are all part of making or breaking this performance. Fortunately, both pianists made it absolutely clear that their ideas were performed as one.
Being quite familiar with Liszt’s repertoire for the piano, hearing this version of “Les Preludes” was an experience of recognition. Many themes and gestures used by the composer are “quoted” from his other pieces such as the Sonata, his Piano Concerto no.1, some of the Hungarian Rhapsodies and the famous “Totentanz”. Funnily, one could say the same about his “Concerto Pathétique” S.258 (which in its turn is an arrangement of Liszt’s “Grosses Concert-Solo S.176/R.18)”.
Concerto Pathétique was performed later that evening by two other musical friends, in fact two pianists who are both regular guests at all the major concert halls in The Netherlands: Enrico Pace and Igor Roma.
Having collaborated since 2002, playing this relatively unknown work together was a joy for both themselves and the audience. Enrico Pace, the “funny man” of the two, walked on stage with an enormous curly wig on his head. Now that he has otherwise lost quite a bit of his wild haircut from the 1980s, the audience instantly got the joke. Pace took on the role as conductor behind the piano, and led the piece with great confidence and virtuoso gestures.
Yingdi Sun talks to Piano Street's Alexander Buskermolen about his experiences of Liszt's music
Other “quotes” that passed by were “Un Sospiro” S.144/3 and the “Reminiscences de Don Juan” S.418.
The fact that a pianist who performs Liszt will “meet the orchestra” sooner or later was also underlined when I asked Mr. Dubé what makes a Liszt pianist good:
Jean Dubé: “Obviously the works of Franz Liszt are technically quite demanding, so the pianist should possess a proper technical level and kind of virtuosity. On the musical side you should always consider the piano as an orchestra and try to find the orchestral colours in the instrument. When studying the works of Liszt I always involve his orchestral music to get a good perspective in terms of sound quality and colouring.”
The last piece played before the intermission was the “Danse Macabre” S.555 as transcribed from Camille Saint-Saëns’ orchestral work. The perfect man for the job was the youngest of the prize winners on stage: Vitaly Pisarenko. His technical capabilities were overwhelming and made his performance one to remember. The most remarkable aspect of his playing is his articulation. Although many of the passages in the Danse Macabre are very fast, all the notes came out crystal clear and highly rhythmic. If you ask me, this is how the composer himself would have played this work: virtuoso with a sense of style and a great eagerness in his relationship to the piano.
For all of our (young) readers who want to become Liszt-like “piano lions” like the prize winners from the Liszt competition, I’ve asked some of them about their first experiences with the composer. Maybe this will help you on your way…
Jean Dubé: “I got to know Franz Liszt through his Petrarca Sonettes, La Campanella and his Transcendental Studies. At first I was a bit hesitant about studying these difficult scores, but after some hard work it turned out that playing his compositions came quite naturally to me. It was, of course, years later that my former teacher encouraged me to participate in this Liszt Competition. “
Yingdi Sun: “I was ten years of age when I first played a composition by Franz Liszt. It was one of his etudes, I believe “Mazeppa” (S.100). It’s a Chinese tradition to start building a perfect technique at a young age, and of course the music of Franz Liszt is perfect study material for doing so.”
Igor Roma: “I discovered Liszt’s music at a relatively late age, I think I was 18 years old when I started studying his music. The main reason for this late start was that my unfamiliarity drew me back from these difficult scores. So I started off with his lyrical and highly romantic works such as “Liebestraüme”, the “Consolations” and the “Années de Pèlegrinage”.
Masataka Goto: “The first piece by Liszt that I played was number eight of his Transcendental Studies, “Wilde Jagd”. I was approximately 14 years old when I learned that piece.”
Mr. Roma had some extra advice for all the pianists who have never played Liszt before, especially if you’re not used to page after page filled with thousands of little black notes:
Igor Roma: “It all depends on the technical abilities of the young pianist. For the really young ones/less experienced pianists, the “Children’s Etudes” are quite rewarding. For the pianists who have a solid basic technique I’d recommend studying the “Consolations”, which are both musically and technically very interesting. In the end technique is everything in the service of Liszt’s musical ideas.”
A personal tip from Maestro Igor Roma for more advanced students:
Igor Roma: “In any major piece by Franz Liszt, the deep understanding and communicating of the work comes from thorough study and mental development. I’d advise anyone to just set aside the composition for a few months or longer and take it back, in order to change perspective. In the end you’ll master the composition technically and you’ll find the time and space to really concentrate on the musical gestures.”
Saint Francis preaching to the birds
This first LĂ©gende tells the story of Saint Francis preaching to the birds. The birds, according to the legend, sat silently listening as the Saint held a sermon. Only after the sermon ended were the birds released from their spell to fly away.
Yingdi Sun has all the tools needed to create a hypnotic atmosphere in the hall. His touch is very delicate with trills as smooth as silk. Athough this piece is much more introverted than his second Légende, it’s not as dark and obviously virtuoso. It turns out this first Légende is actually one of Sun’s favourite Liszt compositions, as he told Piano Street when asked which works by Liszt he considered too infrequently played:
Yingdi Sun: “For me the piece I played tonight, the first LĂ©gende: St François d’ Assise ‘La prĂ©dication aux oiseaux’ (S.175) is such an underrated composition. It has many beautiful characters and introverted but very meaningful gestures. Another composition I like and that isn’t played very often is Liszt’s “BĂĽch der Lieder” (S.531)”
Other pianists answered the same question:
Jean Dubé: “There are actually many pieces I consider underappreciated and which I’d love to hear more, a lot of them were composed later in Liszt’s lifetime. One is his “Berceuse” (S.174). “Schlaflos” (S.203) is another composition I love to play in concert.”.
When asked why these pieces have remained so unexplored, Jean Dubé answered:
“Many of these pieces, especially the later ones, are quite difficult to understand. They were composed in a very dark period of Liszt’s life. This introverted, depressed attitude is always present and difficult for the performer to fully comprehend.”
Igor Roma: “I have the feeling that many of the later pieces by Liszt are highly underrated. To name one in particular: ”Reminiscences de Simon Boccanegro”. Simon Boccanegro is a very special opera by Verdi that Liszt transcribed for the piano.”
Some of the pianists gave us another peek into their world full of Liszt…
What role did the music of Franz Liszt play in the development of your studies and career?
Yingdi Sun: “After becoming acquainted with Liszt at a young age, I kept playing and learning new compositions all the way through my teenage years and my time at the conservatory. I’ve noticed that I “grew from one piece into the next”. After my first couple of pieces I started to learn the b minor sonata, some of the Petrarca Sonettes and of course his Hungarian Rhapsodies. Being a music student at that time, I had to play many different composers as well. Even in recent years, after winning the Liszt Competition in 2005, I have kept on playing many different composers such as Brahms, Ravel and Beethoven. Logically, Franz Liszt has a prominent position in my life.”
Igor Roma: “I began to realize that even though I “met” Liszt at a late age, I really liked the physical and poetic attitude of the composer. In other words, I felt really at ease with the kind of sound and piano technique playing Liszt requires. That doesn’t mean it’s easy to play of course!”
Why did you decide to enter the Liszt Competition specifically?
Jean Dubé: “I entered the competition twice. The first time was in 1999, the second, and more successful, time was in 2002. In the years between the two I gained a lot of experience and matured in my way of playing and understanding Liszt’s music. In these years I played almost only Liszt. Luckily, he is a composer who comes very naturally to me, so the choice to enter this competition was in a way obvious. The reward you get from winning this competition is enormous, the organiz34w really makes’ an effort to let you play on may stages throughout the world, a unique opportunity to boost your career!”
Igor Roma: “I decided to enter the Liszt Competition in particular because of my special and most of all natural connection to the composer. I thought this competition would suit me well, and it did!
Masataka Goto: “Ever since I started to play the piano at the age of four I loved the music of Franz Liszt. Later I realized this music demands a very energetic approach. I thought it would be very useful to learn as many of his pieces as possible at a young age. Entering a competition that’s all about Liszt gave me the perfect push to do just that.”
Which particular aspects of Liszt’s music stand out to you personally and respond to your qualities as a musician?
Yingdi Sun: “I feel there’s a strong connection between the music of Liszt and Beethoven. I find it especially useful to study their late works. I think the main difference in the way both composers used the entire keyboard is in the balance between the different registers. Beethoven, being deaf at that period in his life, was clearly struggling to find the balance in dynamics and use of different areas of the keyboard. Franz Liszt, although more introvered at the later point in his life, found a better balance in these same aspects. I personally feel more connected with Liszt’s approach to the piano than Beethoven’s.”
How has winning the Liszt Competition influenced your choice of repertoire over the years? Are you expected to play Liszt all the time?
Igor Roma: “In a year such as this, THE Liszt year, concert organizers obviously expect me to play a lot of Liszt pieces. Any other year I like to play as many different composers as possible, especially post-romantic and 20th century composers. Also, I don’t feel like an expert on Liszt, or on any other composer for that matter.
Masataka Goto: “When I entered the Liszt Competition this year I played the first Ballade, a piece that’s not often performed. I think it’s a wonderful composition! I’m not a very big fan of his later works, maybe this will come later. For now I love playing his highly energetic compositions.”
The concert’s finale was an arrangement for five pianos and nine pianists of Liszt’s orchestral work, the Rákóczi-Marsch S.652b. Again Mr. Pace took on the role of conductor and led the rest of the pianists towards the final notes of the evening: a great ending of a great birthday concert, not only for Franz Liszt, but for all those that were present that evening. Thank you Liszt Competition Utrecht!
By Alexander Buskermolen, The Netherlands
Competition performances by prize winners:
Jean DubĂ©’s live performance of Hungarian Rhapsody no 2 during the semi-finals of the Liszt Competition in 2002 (with his own cadenza):
Play Video: Enrico Pace in his semi-final in 1989 at the Liszt Competition Utrecht: The Don Juan paraphrase a.k.a. RĂ©minicences de Don Juan
Play Video: Igor Roma in the final stage of the Liszt Competition Utrecht in 1996: Totentanz
Play Video: Vitaly Pisarenko in his final stage of the Liszt Competition in 2008: 1st Piano Concerto
About the International Franz Liszt Piano Competition
The International Franz Liszt Piano Competition is held every three years in Utrecht. This event has a reputation as one of the world´s most prestigious piano competitions, and is also known for the thorough and professional support it offers young musicians.
The Competition is entirely devoted to the piano works of Franz Liszt. This exclusive approach and the Competition’s programme of extensive career support, as well as the many international concert engagements it makes possible for its Prize winners, have given the International Franz Liszt Piano Competition a unique profile.
Website: www.liszt.nl
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The Gina Bachauer International Piano Competition began in 1976 as the Brigham Young University Summer Piano Festival. In 1978 the name of Gina Bachauer was given to the competition in honor of the great Greek pianist who was a celebrated favorite of Utah audiences and often appeared with Maurice Abravanel and the Utah Symphony. In 1980, the Gina Bachauer International Piano Competition relocated to Salt Lake City under the patronage of the Utah Symphony. The competition was held on a biennial schedule, every other year, during the month of June. During this period, the Gold Medalist received a Steinway Grand Piano and a New York recital debut. In 1995, the four-year cycle of various international competitions was set into the Foundation’s schedule. They included the two Junior Competitions, the original Artists Competitions of ages 19-32, and the newly created Amateur Piano Competition for non-professional musicians ages 33-100. 
The 2009 Cliburn winners are:
