I started to play this piece at a very early age around 10 years old and it really helped me to build confidence at the keyboard. I think it is extremely important for young artists to learn these skills, particularly when performing Liszt. It taught me a key and invaluable lesson — how to make a difficult piece feel and sound easy.
This work has stayed with me for years and even after all this time, I never ever tire of it. The work holds together so well that giving it a title would perhaps have limited it. Anybody can press the keys of the piano and make it sound, but this piece is difficult because you need to keep the tension of the architecture. I can only compare it to a great novel or play, in which everything is a surprise but when you look back at the end, everything seems to fit.
I would say the Mephisto Waltz No. Mephisto plays the violin — a waltz — while Mein Brief An Julie - Martin Mann - Die Grossen Erfolge starts to dance with Gretchen.
But you have to play Liszt without fear, and with total freedom. In general, the image people have of Lawman - Motörhead - Bomber is loud, fast, bombastic, virtuosic and pyrotechnical.
When you play them in concert, you find that there is something completely magical that happens every time. It also shows the orchestral side of Liszt on the piano — he had a mastery of transcribing the orchestra to the piano and you really find that here. Some pianists, unfortunately, seem to treat it as a virtuoso vehicle Franz Liszt - Famous Piano Works Franz Liszt and foremost.
Some listeners, too, I think. But to me thinking of it like that is like tearing a page off a Gutenberg Bible and using it to wrap carrot peelings.
Recently, I played it at my own festival, and felt it was one of my best performances. It was great to know that, at 58, I can still play that piece! It is tonal, but even Franz Liszt - Famous Piano Works Franz Liszt relationships between dominant and tonic are blurred. Liszt loves to add so many tones — an added sixth, a seventh, a ninth — to the chords so they always sound suspended, which is one of the tricks of Impressionism.
I get inspired as a musician, and then play the piano. When Liszt does piano versions of orchestral pieces, like his Beethoven Symphony arrangements, he manages to get the spirit and sound absolutely right. BBC Music Magazine digital editions.
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