Piu smorz. e rit5/19/2023 ![]() On the other hand, he also added the subtitle “Notturnos†to his Liebesträume, thereby situating them in the tradition of the romantic piano piece par excellence, the nocturne.†(Ernst-Günter Heinemann, summer 1998)Ī second listening to this performance, prompts a couple of other comments. Liszt preceded each arrangement with the poem of its respective song, thereby underscoring the central significance of his literary models even in the piano transcriptions. It is interesting to note the close temporal proximity of the originals and the arrangements, a proximity fully in keeping with their commensurably high quality. His first original essays in this genre appeared in 1843 under the title Buch der Lieder (“Book of Songsâ€), followed one year later by a likenamed volume consisting of the same pieces arranged for piano. Before setting out to compose songs of his own, Liszt had already made piano arrangements of a great many songs by other composers, including Franz Schubert. €œLiszt’s Liebesträume appeared in 1850 in two versions simultaneously: as a set of songs for high voice and piano, and as transcriptions for piano two-hands. Allow me to quote from the Henle edition of these works: It was also quite clean, without overuse of the damper.Īll three of the “Liebesträume†are solo transcriptions of songs originally for voice and piano by Liszt. Otherwise, this was a musically sensitive performance. I'm not suggesting your performance was in any way rushed, but I wouldn't have been disappointed to hear a little bit more flexibility of tempo, particularly in the initial statement of the melody and in its final statement. When I played this, and I haven't played it in years, I think I was a little more flexible with tempo rubato, particularly at the ends of phrases. I began hearing too many of the individual notes of the accompaniment rather than the overall harmony those notes should produce. Particularly at the tempo primo at measure 61, I would like to be more aware of the "dolce armonioso" and the balance that getting that effect should require. That might in part have been the dry acoustic of the piano/room, but I think that you could try softening the accompaniment to see if that helps the melody sing more. ![]() Or, if not drowning the melody line, taking the focus away from it. In a few spots (starting at measure 26 and again starting at measure 61) I felt that sometimes (but not always) the accompaniment got a little "busy"-sounding, just slightly risking drowning the melody line. How much attention have you paid to the lyrics that are invariably published on the first page of this work? How have those lyrics influenced your concept of this piece? I think you succeeded in conveying that lyricism. Not every pianist is aware that this is a piano transcription of one of Liszt's songs for voice and piano, so it is imperative that the lyricism of the work be the primary goal and outcome. The piano sound was a little hard and brittle, but that's not your fault. On the whole, I thought this was quite a lovely performance.
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