I’d only heard little bits of his Wagner, first time I’ve heard this all the way, amazing!
Do sheets exist?
I’m not at all a G-man fan but when he really loves the mu*ic he plays, the result could sometimes be very inspiring & original. I think I’ve read somewhere that in his recordings of Wagner transcriptions, he sometimes played four-hands with himself by overdubbing, to be able to catch the layers of detail in the orchestral version that two hands couldn’t manage. I doubt if it was ever written down…?
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My memory is that I have it, but… 
Given his 10/2 that doesn’t surprise me 
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d’accord on the first half of that sentence. The second makes sense, however listening to him play Morgen and then explain he doesn’t like it cuntradicts that (in my head at least). It’s stunning!
I just cumpared the 2 side by side. There are actually quite a few exact replicas even down to da fingering. I guess da Pimp’s trannie was first?
This time Liszt came out on top but I don’t think I gave the Mozzy a fighting chance with Moog playing. I honestly can not get into his playing. Find it not particularly warm or expressive and there seemed to be an overriding tendancy to make it as clean as possible when you just want the figurations to wash over you. (imo). Funnily enough, I listened to a live Doc for the pimp which I found had what I thought was missing from Moog. Except the climax funnily enough, I preferred da M but I think that was the writing.
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Tru, Liszt was 1860’s and the Moscowankah was published 1914
Da Moscznkbcnc is a tru salon style, free arrangement… can’t be seriously compared to da Liszt, tho, it is pretty good
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For the Moszkowski I’d recommend Earl Wild. Well, tbh, for just about any salon-ish tranny I’d recommend him. I think he has the style absolutely down. I honestly don’t know who I would recommend for 
I’ve spent so much time on the thing I hate half the recs I hear! Especially people playing the first page opening trems mf (to disguise lack of control?) when they’re godamn pp! I don’t want to recommend my rec, lol. That’s just silly, even if it has a lot of the things I think should be there but often aren’t.
This is a good point actually. I’m not sure who plays this well? If I wanted to listen to it I’d instinctively turn to VH, but I don’t remember thinking he nailed it. Also terribly recorded. Doc & Koc spring to mind too, but neither strike me as likely pianists to convey something as moving as this.
If not recommending it, can you link to your rec?
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Ok. I like it, but I’m biased, and it’s not without its faults.
Da ho is simultaneously beautiful and disastrous imo…
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Btw something else I’ve been thinking about with this… The name of the character in the opera is as far as I know Isolde, which should make the possessive forms Isoldes in German and Isolde’s in English. Yet Liszt’s transcription is usually seen as IsoldeNs Liebestod. I thought it was just a misspelling which had caught on, but I remember even the Henle edition spelled it as Isoldens Liebestod.
Why the n…?
Yes, this has occurred to me too (not least because I was asked about the nomenclature when the above recording went public), and I have no idea. Though I’ll admit German grammar is not a forte.
This was lovely. Rezpec!
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Nope. Meistersinger and Siegfried, but no Götterdämmerung.
Götterdämmit
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Goddamnitslong
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Hahaha!
I don’t speak German, but it might be that the language has evolved since Liszt named it. I know there are some examples in other languages, e.g. chasse neige which means snow plow in French, but apparently referred some kind of a snow storm or wind. Also les jeux d’eaux à la villa d’Este. Another example is la leggierezza.
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Or maybe Liszt’s grammar was sketchy? Apparently the full title of the Dante sonata is grammatically wrong.
It could be something like that, though I’ve only seen it in the title of Liszt’s transcription. What I was unsure of was if she perhaps changed her name during the opera somehow, as part of the narrative. If not my best guess is that it IS a misspelling, only that no one really knows and so keep reprinting it to be on the safe side.