\"\"
Piano Forum logo

Mysterious resonance (Read 3309 times)

Offline scott

  • PS Silver Member
  • Newbie
  • ***
  • Posts: 2
Mysterious resonance
« on: April 18, 2003, 06:28:23 PM »
I am learning Liszt's Concert Etude No. 3 in D flat (Un Sospiro).  I have a number of recordings of this work, but prefer Misha Dichter's interpretation of his1977 recoding on the Philips label, "The Best of Liszt," 1995.  On this recording he does the most unusual effect in measure 49 between beats 3 and 4.  Someway tones are generated in the lower strings (like overtones), I have not a clue how it is produced.  Are there any Liszt enthusiasts, students of Misha Dichter or the artist himself that can share some insight on how this effect of chordal resonance is produced?  I'm sure it has something to do with the tone sustain pedal, but how that tone is engage in the context of the piece is a mystery to me.

Offline tosca1

  • PS Silver Member
  • Sr. Member
  • ***
  • Posts: 328
Re: Mysterious resonance
«Reply #1 on: April 19, 2003, 11:29:15 PM »
I am certainly no expert on Liszt and although I know the concert Etude that you mention I have not studied it.  
I believe that you could experiment with some half pedalling techniques.  This is a fast action on the sustain pedal so that the damper touches the vibrating string lightly and  momentarily and  is  quickly repeated several times.  This is sometimes referred to as vibrato pedalling and requires a rapid and flexible foot movement.
This would allow the lower strings to resonate with the chords without the associated risk of over-pedalling.
Much depends on the kind of instrument you are playing and the ambient acoustics. Only your ear can be the best judge in achieving this particular effect.
Kind regards,
Robert.

Offline willster

  • PS Silver Member
  • Jr. Member
  • ***
  • Posts: 26
Re: Mysterious resonance
«Reply #2 on: April 24, 2003, 03:33:46 PM »
learn it then worry about the details! The pianists you are talking about would have been playing it for years and incorporate every detail they learn in their own experience of the piece into their performance. Once you feel comfortable with the piece and your mind is freed from the constraints of remembering notes then you can look at the piece from a broader perspective it is then that you can learn "effects" and maybe even add your own touches of colour. Theres so much room in this piece for interpretation but the hardest thing is to make everything even, if your technique isn't up to it this piece will sound awful, also work on your sound production, this piece really doesn't suite a percussive touch (although i'm not implying that you do as i've never heard you play!)

regards,

Will