Liszt: Hungarian Phapsody no.1

[storyseller]

Never understood why no one seems to play this 1st Hungarian Phapsody although it is maybe the most well-thought and "complete" composition of the set (thematic transformations, clear structure, a constant build up/ drivere till the end, a last re-appearance of the main theme in major mode ala 2nd Ballade etc.)...

So even with a few wrong notes here and there I decided to post it. Hope you enjoy.

As always, comments and critique are welcome.  

[j_menz]

A very creditable performance, which I enjoyed greatly.

I agree with your assessment of this pieces merits, too.

[ronde_des_sylphes]

The lassu is very good - lots of attention to phrase-shaping and question/answer structures, expressive and generally poetic - shame about the audio quality though. I was less convinced by the friss, which was exciting and rhythmic but lacked some of the polish of earlier. I wouldn't complain about it, but for the fact that the first half was so good! Wish the camera angle was different, I wanted to see if you were doing the descending white note thirds 42 all the way down.

[storyseller]

Thank you j_menz

Have you tried it?

Ronde... Thank you too. In the "friss" (how is that really spelled - I now it as frissa, and wiki calls it friska) I just let my self go with the music to make it sound more improvisatory and spontaneous... That had some cost note-wise.. 

42 is Liszt's fingering if I'm correct but noooot for me! Even if it is possible on today's pianos it is definately not worth the muscle strain to do it imho... I think the spirit of 42 all the way down (as non-legato, clear, and leggiero as possible) is better served if you ignore the letter and use 42-31... Acctually Liszt writes 31 for the 3rds that stumble on a black key when he modulates in d minor at that passage... You play 42? 

[ronde_des_sylphes]

Yes, it's 42 in my edition also (for the C maj one). I think you're right regarding the point of 42 being to induce the non-legato etc aspects. I've not looked at the piece in a long time now but went to my piano and found 21 all the way down more comfortable/secure if I'm being honest - I never tried that way before. I'm playing it with the wrist somewhat raised and somewhat as if my hand is shaking salt! I find it quite easy but take the point about modern pianos; my piano is an upright and the action is much lighter than many grands.

[j_menz]

Have you tried it?

I've read through it a few times, but not really spent much time on it. Definitely on my to do list, though.

[nick]

Never understood why no one seems to play this 1st Hungarian Phapsody although it is maybe the most well-thought and "complete" composition of the set (thematic transformations, clear structure, a constant build up/ drivere till the end, a last re-appearance of the main theme in major mode ala 2nd Ballade etc.)...

My opinion is most people don't enjoy the sound of it, no offense. Maybe we are just not smart enough, don't know. I just don't enjoy the piece even though you played it wonderfully. That everyone doesn't enjoy the same pieces is clear. I personally have a smaller window of pieces that I enjoy, but that is just me.

Nick

[storyseller]

My opinion is most people don't enjoy the sound of it, no offense.

None taken! De gustibus non disputandum...

But this doesn't explain why people that DO enjoy, and more than often do PLAY some of the other HRs (namely no. 2 or 6) avoid this one, that has just the same qualitites as the more famus ones of the set (if not even more substantial ones)...

[nick]

None taken! De gustibus non disputandum...

But this doesn't explain why people that DO enjoy, and more than often do PLAY some of the other HRs (namely no. 2 or 6) avoid this one, that has just the same qualitites as the more famus ones of the set (if not even more substantial ones)...

Are you sure they enjoy this one? 2 and 12 have such memorable melodies, they are catchy. This one not so much for me and many others. Go figure.

Nick

[ronde_des_sylphes]

I don't know - I think this one has memorable tunes also, certainly I was humming some of them afterwards! My opinion (for what it's worth) is that 2 and 6 get played a lot more largely through tradition than anything else. 2 is probably the most famous thing Liszt ever wrote, and with 6 it seems there's a ritual of pianists queuing up everywhere to prove their octaves.. aren't the equal of Horowitz, Argerich or Cziffra..

[storyseller]

2 and 12 have such memorable melodies, they are catchy.

and with 6 it seems there's a ritual of pianists queuing up everywhere to prove their octaves

My point exactly... People consider Liszt's HRs as simple show-pieces, folklore mush-ups of catchy tunes, and pieces to add "something that the audience already knows", or just some spice to their recitals... But this is not the case with the 1st rhapsody, as with the 12th (I'm glad you mentioned it)... And that's why I think they both deserve more attention (luckily the 12th is not as obscure as the 1st I think)...