Kirill Karabits conducts like a born Lisztian
. An impressive Mazeppa opens the disc.
Amparado top-scored with 41 points and was adjudged as the JBL best player of the game.
The third chapter discusses Pointed Roofs, Maurice Guest, and Zuleika Dobson to examine fictional representations of "the hand of the performer--as agent of wonder, excess, and deception" to argue that "the player piano became a material repository for nineteenth-century notions of Lisztian
"Strauss secretly, and more and more feverishly, immersed himself in the score of Tristan und Isolde...and soon became a thoroughly convinced Wagnerian." (23) During this time Strauss also met his lifelong friend, Friedrich Rosch, and--together with Anton Seidl--the three would meet "regularly in the evenings to exchange noble ideas and listen to the teachings of the Lisztian
Ritter, who had moved to Munich in September of 1886." (24)
It is scored with subtle and fine lyricism and characteristic Lisztian
octaves which the pianist impressively rendered.
247)--in other words, replacing authentic verbunkos practice with tired Lisztian
Although in appearance and performance Kahanek is more reminiscent of a romantic virtuosos of Lisztian
type, he manages almost surprisingly to exploit his extraordinary skills as a pianist to bring out the distinctive features of the music of individual composers in modern repertoire as well.
Piano literature class: solo piano repertoire by Liszt, and great Lisztian
performers, noon to 1:20 p.m.
While the more Lisztian
sections flailed to delight or convince, quiet shifts to the major-key chorale and minor-key reprisal of the motif nearing the finale again found their mark.
Bach did not live in the time of Lisztian
pyrotechnics and did not write his variations for only elite virtuosos, but rather intended his variations to be played and practiced by all--even by less advanced amateurs who might not be able to play all thirty variations.
He has charm, presence, an almost Lisztian
glamour and intensity, hunched over the keyboard producing magical sounds.
The mors viva embedded at the end of The Pilgrim's Progress, Part I, thus takes form as a 'Lisztian
' paraphrase of Revelation 22.