I learned somewhere that flies tend to go towards the light, so when they are a problem, darkening the room, but leaving a single light source (door or window) to encourage them to leave seems to work. Of course, so do net curtains and screen doors, except that we have a largeish dog who regards screen doors as a minor impediment if she wants to be on the other side of it. (From The Dog's Dictionary: Door; what you are always on the wrong side of.)

Cripes, Mart!  Looks like they`re trying to shut him up to me. Gulp.

end of august??!!?  bleeding 'eck. that's even worse than A-levels (yes, the dreaded generation diaspora strikes again).

you can also bid farewell to the garage, i trust?


enjoy those , and

Jonathan,
What new edition are you talking about? I like to know what is this edition and what pieces are there.

Do you know Alkan? If yes, do you like him? I am in the middle of discovering him now.

Hi t-p,
Yes, they are the Dances, Marches and Scherzi, volumes 1 and 2 - volume 1 contains:

Waltz ž Walzer R. ž G. 20, Scherzo R. 19 G. 1, Grand Galop chromatique R. 41 G. 2, Heroischer Marsch in ungarischem Stil ž Marche héro´que dans le genre hongrois R. 53 G. 2, Albumblatt ž Feuille d'Album No. 1 R. 64/1 G., Galop de Bal R. 42 G. 2, Gallop (A minor) ž Galopp (a-Moll) R. 40 G. 2, Feuilles d'Album (Asz-dúr ž A-flatmajor ž As-Dur) R. 62 G. 1, Valse R. 63 G. 1, Ländler (Asz-dúr ž A-flat major ž As-Dur) R. 34 G. 2, Marche hongroise (esz-moll ž E-flat minor ž es-Moll) R. ž G. 23, Mazurka brillante R. 43 G. 2, Valse de bravoure R. 32/b G.1, Valse mélancolique (2. változat ž 2nd version ž 2. Fassung) R. 33/b G., 2 Polonaises 1 Polonaise mélancolique (c-moll ž C minor ž c-Moll) R. 44 G. 2, 2 Polonaises 2 Polonaise (E-dúr ž E major ž E-Dur) R. 44 G. 2, Scherzo und Marsch R. 20 G. 1, Valse-Impromptu R. 36 G. 2, Grand Galop chromatique (simplifié par l'auteur) R. 41 G. ž and finally Petite Valse favorite R. 35 G. 2

(it seems to have messed up the G numbers there, don't know why!)

and Volume 2 has:

Goethe-Festmarsch (2. változat ž 2nd version ž 2. Fassung) R. 48/b G., Siegesmarsch ž Marche triomphale R. 56/a G., Magyar gyors induló ž Ungarischer Geschwindmarsch R. 56 G. 2, Csardas macabre R. 46 G. 2, Premiere Valse oubliée R. 37/1 G., Deuxieme Valse oubliée R. 37/2 G., Troiseme Valse oubliée R. 37/3 G., Vierter vergessener Walzer ž Quatrieme Valse oubliée R. 37/4 G., Dritter Mephisto-Walzer R. 38 G. 2, Mephisto-Polka R. 39 G. 2, Bülow-Marsch R. 52 G. 2, 2 Csardas 1 Csardas R. 45 G. 2, 2 Csardas 2 Csardas obstinée ž Hartnäckiger Csardas, Vierter Mephisto-Walzer R. 661 G., Vierter Mephisto-Walzer Bagatelle ohne Tonart ž Bagatelle sans tonalité R. 60/c G., Festmarsch zur Säkularfeier von Goethes Geburtstag (1. változat ž 1st version ž 1. Fassung) R. 48/a G.

Yes, I'm also an Alkan fanatic as well, I'm sure I've joined in on the Alkan thread here somewhere. 

Also, you might be interested to know that I am currently working on Die Zelle on Nannonworth (4th version), 2 pieces from St.Elizabeth (maybe the 3rd as well later on), Die Papysthymnus and I'm going to start on Czardas macabre as well. 

More details at: http://www.emb.hu/index.php?eng, follow the composers link on the left hand side and find Liszt.  I've just found out they are publishing suppliments to this edition with loads of rare and obscure stuff in them - more music for me to buy!

Back to my wine now, back later!

For those that don't already know it, do check out the amazing two Csárdás: Csárdás Obstinée and Csárdás Macabre. Both bring elements of the unhinged virtuosity of the earlier Liszt into the more radical harmonic language and sparse textures of his late idiom. Below are two passages from the first of these pieces; in his early 'Hungarian' pieces (most well-known of which are the Rhapsodies Hongroises, Liszt would generally have the melodic line leading all the time (as the violinist would do in a Roma band, to which Liszt drew attention in his book in the subject); here he has a static melody (like Chopin before him and Ravel after him) and makes the harmony change underneath it.



And here is the even sparser Csárdás Macabre. Gone is the heroic swagger and tongue-in-cheek showmanship of the earlier years, here we have the isolation, estrangement and disillusionment of the ultra-god-fearing elderly Liszt.



Fantastic stuff.

That Liszt edition is generally considered to be the most definitive; however, it often omits earlier versions of works (for example, it does not include the complete Album d'un Voyageur or Magyar Dallok, excluding those pieces for which there are later versions in the Années de Pèlerinage and second version of Rhapsodies Hongroises). Also, the edition is quite expensive, and consists of lots of volumes.

(Some here might be interested to know of Liszt's Arbeiterchor and other works connected to his initially pro-revolutionary sympathies around the 1848 period )