Mother of god…
Friedman was a beast…
I think you’re missing the point. I’m talking about a particular emotion expressed by the piece, not its genre or encasing. Fantasy is not an emotion. Are you really going to tell me that the emotion of Schumann’s op. 17 and Schubert’s Wanderer are in any way alike?
Perhaps the word sentiment was unclear.
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I’m not sure it’s easy to pin down which single emotion is represented by big pieces like that… the pieces go through long journeys, and anyways typically composers don’t really think like that…
But are you saying you think that pieces that only share similar emotions should be grouped as a program? Isn’t a diverse range just more fun to listen to for an hour or two?
The thematic material is not very exciting there, certainly one of the few Liszt pieces which I’m not fond of. But the way it’s put together is masterful… apparently it’s a reworking of some sketches that young Liszt did in the 1830’s.
The Cziffra live recording is really a good case for it. Horowitz and Rachmaninoff saw something in it too, I know that Horowitz even made his own version of it (maybe nothing like he ghastly Volodos reworking) in 1944.
I also liked the Poon prax vid because I’m one sick puppy 
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November 22, 1944 - War Memorial Theater, Trenton, New Jersey
- 32 Variations - Beethoven
- Arabesque - Schumann
- Variations on the Aria “La Ricordanza” - Charles Czerny
- Fantaisie quasi Sonata - Liszt (edited by Horowitz)
Intermission
- Excursions, Op. 20 - Samuel Barber *First Performance
- Dumka (Rustic Scene in Russia) - Tschaikowsky
- Two Etudes - Chopin
- Hungarian Rhapsody No. 6 - Liszt
Man is only da Yale recs started 6 months earlier
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Da DOC proggd it wiz da PIMPZON becuz tiz a to-n-fro ov dedicationz
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da ZOCK Op17 
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Nah, he never programmed it in Carnegie that year tho.
If only the Yale recs started in 1930 
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i would kill to hear those excursions actually lol
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They exist, mofo. Published (approved by Wanda) in the 90’s
He only played and programmed Nos 1, 2 and 4, as far as I know.
@Saties-Umbrella
Daim. By 1945, Horowitz’s playing got so “retro” already.
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Tru I grossly reduced this like a 
wid a mukbang
Yeah I agree. I wrote that - ‘op. 17 could be contrasted w/ one of Liszt’s serious death / death-minded pieces (not Totentanz). You could also find a work which is more sinister or malevolent or evil to balance op. 17.’
I just feel that a random grouping of fantasies is pointless and somewhat boring w/o a deeper connection between them.
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I can’t stand da modern trend of mofos programming pieces by “genre”, like a CD release that goes on a shelf or used like a coaster for drinks, without ever being heard.
Lmao.
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The Totentanz is pretty damn serious, if you ask me, and an absolute marvel of composition, full of originality. It’s just as perfect as his first piano concerto imho.
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@vladspeedster yeah I feel you. I kinda take the opposite approach - it could be absolutely boring and dumb unless one decides to embrace a SUPER wide swath of music as the whole ‘point’ of the program, like
“check out how many insanely diverse ‘fantastic’ types of music have come out under this single genre/title over the past 400 yrs”
if it were me, I’d play something like a Froberger fantasy, a Bach transcription, the Shoe, the Scrib Nocturne-Fantasy, and something like the fantasia from the Chris Dench sonata (if time enough to learn it lol)
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ok that is too ambitious, if the Dench, no Scriabin. Or scratch the Bach, lol
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You mean the Scriabin Poem-Nocturne?
It’s pretty cool…
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Damn, I do like the Pimp Dante a lot… that I guess further confirms my questionable tastes. Once one gets past the chromatic boredom of pages 3-4, there is some good stuff, particularly the moist parts.
Randomly, and back to the original topic, I have been pondering that Scrib 5th sonata might go well with the Zhoe fantasie.
Nah bro, you like what you like. Embrace that shit
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