Earl Wild: Midsummer Nights

[naturlaut]

[rachfan]

Hi naturlaut,

"Midsummer Nights", of course, is a wonderful piano transcription by Earl Wild of Rachmaninoff's original song of the same title, Op. 14, No. 5, published in 1894 for soprano or tenor voice with piano accompaniment and inspired by the poet Daniel Rathaus.  Rachmaninoff himself had transcribed only three of his songs to the best of my knowledge, "Daisies", "Lilacs", and "Vocalise".  (He probably wanted to do more, but never found the time due to his commitments to composing and performing.)  We're very fortunate that Earl Wild has since transcribed so many more of these beautiful songs, as has Arcadi Volodos more recently.  It very surprising that so many pianists have never even heard any of Rachmaninoffs songs, 71 in total I believe, probably the most lyrical part of his ouvre.  I've played the piano accompaniment for "Midsummer Nights", but not the piano transcription yet.

You play this late romantic music very well with much expression--it's very thoughtful and beautiful indeed.  I thoroughly enjoyed listening.  It's wonderful that you've selected this little-known but gorgeous work to share with us here.  Thanks for posting it!

[naturlaut]

Earl Wild transcribed 14 songs in total (13 previously published, 1 just came out, score on its way!).  He also transcribed some Gershwin stuff, which I also love.  I have played 4 of the Rachmaninoff transcriptions so far, will post the others later.  The vocalise was my first, also the longest.  The others work wonderfully well as piano miniatures, and they are so well written!  If it is a pity that the Rachmaninoff songs have faded into obscurity, it is another pity that pianists do not familiarize themselves with the pianism of Earl Wild. 

[rachfan]

Yes, I think that the great thing about Wild's transcriptions is that he's able to capture the idiom of Rachmaninoff so well.  That's what makes these transcriptions work so well.  And I agree with you about Wild's artistry.  He is one of the last of the passing generation (Rubinstein, Serkin, Arrau, Bolet, etc.) who had ties to the pedagues and performance practices of the late 19th and early 20th centuries.  Wild, for example, studied with Egon Petri.  Wild has a huge technique, an emense repertoire, and wonderful fire, lyricism and poetry in his playing.  He can play anything superbly.  He's one of the last of the old school.