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Jonathan
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« on: 21:17:46, 07-10-2007 » |
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Ok, we have a currently creating thread so what about one on what you are playing at the moment (this has probably been mentioned before but what the heck!) I'm learning: Liszt - Wild Jagd (Transcendental etude no.  , Die Zelle on Nannonwerth and Orpheus (transcribed by Liszt himself (thanks to IMSLP)) That's all...  |
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Best regards,
Jonathan
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"as the housefly of destiny collides with the windscreen of fate..."
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eruanto
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« Reply #1 on: 21:23:19, 07-10-2007 » |
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Brahms: Drei Intermezzi Op. 117
Ferguson: Concerto for Piano and Strings
Beethoven: Klaviersonate Op. 110
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increpatio
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« Reply #2 on: 04:31:38, 09-10-2007 » |
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Ok, we have a currently creating thread so what about one on what you are playing at the moment (this has probably been mentioned before but what the heck!) I'm learning: Liszt - Wild Jagd (Transcendental etude no. , Die Zelle on Nannonwerth and Orpheus (transcribed by Liszt himself (thanks to IMSLP)) That's all... How does the piano Zelle compare to the cello/piano one? |
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Jonathan
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« Reply #3 on: 13:02:07, 09-10-2007 » |
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(Ok, I'm at work so this is from memory)
Hi Increpatio, the 'cello and violin / piano versions are based on the second or (possibly) third (piano) version of the piece - the final version (which I think dates from 1881) is subtitled "Elegie" and is clearly a late piece as the style is completely different to the earlier versions. There's a very interesting discussion about it in The Cambridge Companion to Liszt which compares all of the versions (there are 7 in all, 4 for piano, 1 for violin, 1 for cello and the original song!) More later when I'm back at home...
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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Eruanto
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« Reply #4 on: 15:38:30, 16-04-2008 » |
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Following the panel's fondness for a Liszt concerto, and so that I get to play some in public (it is his centenary after all), I've decided to start on the Ferguson Piano Sonata. I listened to it yesterday, and the second movement is quite simply one of the most melting things I have ever heard.
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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increpatio
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« Reply #5 on: 19:06:11, 17-04-2008 » |
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Following the panel's fondness for a Liszt concerto, and so that I get to play some in public (it is his centenary after all), I've decided to start on the Ferguson Piano Sonata. I listened to it yesterday, and the second movement is quite simply one of the most melting things I have ever heard.
Who is this Ferguson fellow, and why have I not heard of this sonata? |
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Eruanto
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« Reply #7 on: 20:23:24, 14-10-2008 » |
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For my Postgraduate RCM audition, my programme has to include "an advanced etude". I have chosen to do Rach Etude-Tableau Op. 39 no. 5 (in E flat minor). It's big, and should keep hunger locked up till lunch.
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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martle
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« Reply #8 on: 21:47:57, 14-10-2008 » |
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Gulp!
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Green. Always green.
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brassbandmaestro
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« Reply #9 on: 08:10:50, 15-10-2008 » |
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When I write scores, I have to do it the old fashioned way, pre software programme days!. I really would like to start again, Martle or PW, do you kn ow a good shop that would get me some scoring paper, and maybe what writing implements I should use?
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Mrs. Kerfoops
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« Reply #10 on: 08:58:33, 27-10-2008 » |
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Who is this Ferguson fellow, and why have I not heard of this sonata? . . . A very decent and craftsmanlike mid-C20th composer and musicologist. According to the admirable Mr. Lebrecht, Howard Ferguson was born in Belfast in 1908. One of his most notable works is " Discovery" (1951), a song-cycle to five poems of the renowned homosexualist Denton Welch. At the age of fifty he gave up composing - we do not know why - and took to editing old keyboard music instead. Mr. Lebrecht is silent on the 1940 Sonata but calls the 1951 Piano Concerto "splashy" and "reminiscent of John Ireland's." Mr. Ferguson expired in 1999. |
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Ron Dough
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« Reply #11 on: 10:18:37, 27-10-2008 » |
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Most commentators make it plain that Ferguson felt that he had said all he had to say as a composer once he had completed his Op.19 - a setting of the great Anglo-Saxon mystic poem The Dream of the Rood. Quite how the word 'splashy' may be applied to his piano concerto is beyond me: a neo-classical piece for piano and strings, its tendency towards a British pastoral ambience is counterbalanced by muscular counterpoint, and not infrequently subverted in its first two movements by a tinge of elegiac, Celtic melancholy. Rather than relying on Lebrecht's inapposite epithet, members might care to discover the piece for themselves by splashing out considerably less than a fiver and thus obtaining not only the Ferguson but also concerti by Darnton, Gerhard and Rowley, the first two of which have previously been briefly discussed here (the Gerhard indeed with Ms. K before her gender reassignment, though that was probably at the other place). http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2821# |
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martle
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« Reply #12 on: 10:34:45, 27-10-2008 » |
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Thanks Ron. I hope our Ferguson enthusiast Eru might pop in at some point...
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Green. Always green.
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Ron Dough
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« Reply #13 on: 13:57:30, 27-10-2008 » |
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Eruanto
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« Reply #14 on: 17:27:34, 27-10-2008 » |
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Pop. I must hear The Dream of the Rood again. This is the first I've heard of Discovery though. Quite how the word 'splashy' may be applied to his piano concerto is beyond me Indeed. I find it a very atmospheric piece, very easy to follow structurally throughout; particularly the first movement, in which I see a close parallel to Mozart's K466, and at times very dramatic (for all its modest orchestration). The solo part may seem to start rather unassumingly, but it soon develops into a thrilling performing experience. Rather than relying on Lebrecht's inapposite epithet, members might care to discover the piece for themselves[...] Although I find that recording to have very little character or feeling from the soloist... Mr. Lebrecht is silent on the 1940 Sonata I wonder what he would have come up with for that. Blurry, perhaps  |
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« Last Edit: 17:35:47, 27-10-2008 by Eruanto »
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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