Wagner-Liszt Evening Star (Tannhauser)

[ronde_des_sylphes]

From a recent recital of transcriptions.

This is one of the Liszt transcriptions which seems to be played only very rarely, perhaps because it is not as flamboyant as most. Neverthesless, I think it makes a fine contrast to the more usual virtuoso fare.

I had two distinct problems - firstly, I was playing it immediately after Cziffra's Il Trovatore paraphrase (a recording from a previous performance of which is posted elsewhere in the audition room), so my hands were somewhat tired; secondly, and more seriously, I was playing on a very old Steinway grand. The serial number suggests it was c. 1886, and, though for the most part I was very happy with the piano, the upper treble was disproportionately weak, which created problems of balance, etc, which I don't think I was completely able to overcome.

Anyway, here it is:

[rachfan]

Hi ronde,

I couldn't resist looking up the era of that Steinway piano.  In 1886 the U.S. President was Grover Cleveland and the British PM was the Marquess of Salisbury.
The piano sounds surprisingly good though, despite that weak upper treble and some audible action noise up in that register.

You played the transcription very well indeed.  Excellent!  Thoughtful, sensitive and effective playing.  Your live audience appreciated it too.  It's nice that you presented a lesser known work, which is always a very welcome respite from the more overplayed repertoire pieces these days.  Thanks for sharing it here!   

[ronde_des_sylphes]

Thanks, rachfan!

It was something to think that when the piano was made, Liszt himself could still have been alive. The church in which I was playing also had rather a nice idea - a "piano visitors" book, which everyone who had given a recital there had signed. There were a fair few names that I recognized; perhaps the most notable of whom was Ronald Stevenson. All in all, quite a memorable experience.

[pianovirus]

A beautiful performance! After the Cziffra paraphrase, this one is a very good choice, both for the performer and the audience to calm down a bit. What else did you play? Btw, I like the idea of the piano guestbook....

[ronde_des_sylphes]

A beautiful performance! After the Cziffra paraphrase, this one is a very good choice, both for the performer and the audience to calm down a bit. What else did you play? Btw, I like the idea of the piano guestbook....

Thanks, yes as a contrast I felt it worked well.

My full program was:

1st half:
Donizetti-Liszt Reminiscences of Lucia di Lammermoor; fantasy on La Somnambula composed by me (recently posted in the audition room from a separate performance, and at

on youtube); Bellini-Thalberg Casta diva; Rossini-Thalberg Fantasy on themes from Rossini's "Moses in Egypt"

2nd half:
Verdi-Cziffra Concert Paraphrase on Il Trovatore; Wagner-Liszt Evening Star; Wagner-Liszt Isolde's Liebestod; my own operatic paraphrase pastiche (a previous performance of which is at

)

Quite tiring, but fun for me, and the audience seemed appreciative, so I won't complain.

[Petter]

Didn´t listen to it all but listened through some of your youtube videos and I´m impressed by your devotion and musically, cheers. 

[pianovirus]

1st half:
Donizetti-Liszt Reminiscences of Lucia di Lammermoor; fantasy on La Somnambula composed by me (recently posted in the audition room from a separate performance, and at

on youtube); Bellini-Thalberg Casta diva; Rossini-Thalberg Fantasy on themes from Rossini's "Moses in Egypt"

2nd half:
Verdi-Cziffra Concert Paraphrase on Il Trovatore; Wagner-Liszt Evening Star; Wagner-Liszt Isolde's Liebestod; my own operatic paraphrase pastiche (a previous performance of which is at

)

Quite tiring, but fun for me, and the audience seemed appreciative, so I won't complain.

Great program, again! (and I can see where the 'tiring but fun' is coming from...). I would have certainly loved to be in the audience. I think the Moses fantasy is already becoming associated with you, since (unfortunately) so few other people are playing it.
I'm curious about your Somnambula fantasy -- will listen and watch it later.

[sarrasani]

From a recent recital of transcriptions.

........secondly, and more seriously, I was playing on a very old Steinway grand. The serial number suggests it was c. 1886, and, though for the most part I was very happy with the piano, the upper treble was disproportionately weak, which created problems of balance, etc, which I don't think I was completely able to overcome.

Anyway, here it is:

High class both piano and pianist. Your taste, technique and rendition of this piece is wonderful. Great timbric modulations and dynamic perspectives. Congratulations by heart.
All the best,
Sandro

[ronde_des_sylphes]

High class both piano and pianist. Your taste, technique and rendition of this piece is wonderful. Great timbric modulations and dynamic perspectives. Congratulations by heart.
All the best,
Sandro

Thank you! It is one of those pieces that I am slightly wary of playing for an audience, because it is quite subtle and there are no big flamboyant gestures typical of this genre, so I am flattered by your comments. There are a few small things wrong with it which I would like to correct one day when I have the chance to record it in a studio setting. I mentioned it was a rare piece to hear - Jean-Yves Thibaudet made a lovely recording of it when he was relatively young - I'm much less convinced by the recordings of Libetta and Howard.

[pianistimo]

It sounds very 'twinkly' - i actually don't think the piano sounded bad at all.  In fact, it might have helped in some way.  You know - the floppy treble.  It's very sparkly.  You have good control no matter what piano you are on.  Quite amazing.

[ronde_des_sylphes]

I think you're right in that the weak treble doesn't compromise the overall sound too much in this piece, probably because the bulk of what's musically "important" is in the middle register. It was quite discomfiting in other pieces though (climax of the Liszt Isolde's Liebestod came out about 3 parts volume bass to 1 treble!).