Edinburgh Festival recital (full concert)

[ronde_des_sylphes]

Mostly operatic fantasies etc..

Recital last Saturday, videos as following:

1 Liszt Rienzi Fantasy
2 Intermezzo from Cavalliera Rusticana arr. Anschutz
3 Wagner-Liszt Isolde's Liebestod
4 Jaell Reminiscences de Norma
5 Wagner-Liszt Abendstern
6 Rossini-Thalberg Dal tuo stellato soglio
7 Wright Sonata improvvisata
8 Encore - semi-improvised arrangement of the Barcarolle from the Tales of Hoffmann

[ronde_des_sylphes]

Full recital playlist here:

[ranjit]

Hi, I started going through the playlist. I really like the way you play these works. It sounds so *right* to my ears for the style. I don't feel like putting it into words would do it justice, but suffice to say it somehow feels very authentic. I really like the way you use the three-hand technique and have tried (largely unsuccessfully) to replicate it in my improvs in the past.

[ronde_des_sylphes]

Thanks, see my comments on the improvisation regarding three hand effect: of course there is quite a lot of this technique used in paraphrases from the mid 19th century, here especially items 1, 4 and 6 (Thalberg's hugely notorious arpeggio passage at the end of the former).

[quantum]

It is a beautiful recital that has a wonderful flow to the music selections.  I think you manage very well to balance the sense of pianism with the sense of vocal musicality.  I have been listening these past few days.  Your Sonata fits splendidly in with the program.

[ronde_des_sylphes]

Thank you! I spent a long time selecting the order of the pieces, in particular the placement of the sonata, which I decided was objectively best placed at the end. I've played hour-long recitals comprising solely or paraphrases before, but they've had a break in the middle which I think is needed in that context to avoid the "everything from the dessert trolley" feeling which could easily set it (plus an hour of them is actually quite physically tiring). I didn't have an interval break in this programme, so in some ways I was happy with having the more pensive aspect of the first three movements of the sonata.