Per chi non ama Liszt

Anche io non amavo Liszt, trovandolo spesso troppo evanescente e abbastanza noioso. Ho letto che la musica per pf di Liszt ha un effetto diverso da quella, ad esempio, di Mozart e Beethoven, che riuscivano a scrivere partiture quasi immuni, entro certi limiti, dagli esecutori: la musica di Liszt, ho appunto letto, si apprezza solo con certi esecutori in grado di farla rendere.

Dopo averci pensato un mesetto, ho ordinato questo cofanetto da Amazon.co.uk:



Oggi ho ascoltato i CD n. 1 e n. 4. Che dire...

L'interpretazione di Bolet, secondo me, e' favolosa, moderna, trascinante, coinvolgente da lasciare a bocca aperta ed in grado di rivelare un mondo compositivo di prima grandezza assolutamente fuori dagli schemi. L'effetto dell'interpretazione di Bolet e' quello della Sinfonia di Beethoven n. 5 di Karajan del 1962-63 o dell'Inverno vivaldiano suonato dai Musici con Felix Ayo nel 1959 ed inciso dalla Philips.

Secondo me sono interpretazioni che possono competere con i migliori brani rock anche sul terreno del rock.

Il Liszt di Bolet ha pero' in piu' un'incisione davvero superba che certo non guasta; la qualita' artistica si puo' apprezzare anche in incisioni scadenti, ma una riproduzione come si deve, a parita' di interpretazione, ti trasporta ovviamente di piu' nella sala di incisione e non c'e' dubbio che l'appagamento sia infinitamente superiore.

Per dirvi il livello di incisione, fate conto che mio figlio di 8 anni si e' presentato in soggiorno, dove sta anche il mio pf, attratto dalla bellezza del Liszt di Bolet pensando che fossi io a suonarlo... "Amore - gli ho detto - se a suonare fossi io farei un altro mestiere e vivremmo in un a casa molto piu' grande con piscina..."

Consiglio davvero un ascolto di questo cofanetto a chi crede di non amare Liszt.

ottima dritta Luke..quanto costa il kofano?

http://www.amazon.co.uk/Liszt-Piano-Music-Jorge-Bolet/dp/B00005ND3L/ref=sr_1_1?s=music&ie=UTF8&qid=1338820104&sr=1-1

"By Conor J Farrington (London United Kingdom) - See all my reviews
This review is from: Liszt: Piano Music (Audio CD)
Some composers seem to be fairly immune to damage by bad interpretations. If you hear a Mozart sonata played by a mediocre pianist, it is still possible to discern the greatness of the music. Other composers seem to rely much more heavily on the genius of the interpreter, so that a bad performance of a given work makes the work itself sound second-class.
Liszt belongs firmly in the second category - more so, I think, than any other major composer. To hear the great Sonata in B Minor played by Martha Argerich is to hear a different Sonata to the one played by Alfred Brendel; and both of these interpretations seem to me to fall far short of doing justice to Liszt's masterpiece for piano. I have given these two names as examples, but I can think of many more famous pianists whose interpretations of Liszt have done more harm than good. A consequence of this is the stereotype of Liszt as a charlatan, a producer of dazzling effects, a composer with no real substance.

For me, Bolet is the only pianist whose interpretations of Liszt present us with the best possible view of the music - a view of the music in which Liszt literally stands revealed as a composer of the highest possible distinction. In the Sonata, for instance, Bolet steers clear of Brendel's ponderous approach, while at the same time eschewing Argerich's destructive wilfulness. His tempi are always precise and consistent, shaping the work as Liszt must have intended, and Bolet always finds an equilibrium between weighty intellectual concerns and Liszt's affecting lyricism.

In the Annees de Pelerinage, IIme Annee, Bolet gives us a taste of the sun-soaked, ancient Italy imagined and immortalised by Liszt's peerless creations. Liszt's unparalleled creative genius and his matchless rhetorical grandeur are thrust to the fore, while allowing full sway to his tender and romantic poeticism. Petrarca and Dante are never closer in music than they are in this cycle of pieces.

In all the works on these discs, Bolet portrays Liszt in his true light - as a great composer. The tremendous virtuosity required by the music is always in the background on Bolet's recordings, since the difficulties are always subordinated to the musical thought in question. This was Liszt's own practice in interpretation, of course, since he found all pianistic difficulties easy. I can think of no greater tribute to a pianist than this: that he approaches Liszt. But one can truly say this of Bolet. This timely collection of Bolet's recordings presents a great opportunity to comprehend Liszt's significance as a composer. Perhaps it will help to sweep away a few stereotypes along the way."