Wut WE would prefer to c n wut would get ticketz zold are different matterz
A prog at leazt 75% mainztream rep iz probably required to zell ticketz and I think dat da otha 25% iz da room to expoze otha workz
Yeah, but I donât really give a fuck how many tickets I sell, on the rare occasions I actually get round to doing rectalz 
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Hahah go ballz deep all inzane rep den 
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Da clickbait rectal prog tech:
Listed as a 
prog:
Playz LEZBODREAM, MAD BEEYACH on da zeazhoah, DRAINEDWOP prelude..
and workz by da thal, liapumofo, henslut, and sum othah unknown sheeyatz.
The PC is such a grand spectacle. I think that has both drawn imagination from composers and alleviated intimidation from the genre. Itâs perfectly okay to write for effect, have fun etc in a PC, whereas with sonatas the inevitable model is the ur-musik from Beethoven - and the as substantial works from Chop, Liszt, Schumann, Brahms and all the Russians which followed.
Haydn of course, but those are irreplicable jewels of their own, and written in an outdated musical language at that.
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The combo
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It helpz dat da 
zonz are far mo highly revered den da concertoz in termz ov profundity
Da concertoz are zeen az mo fun, u iz zpot on
How many âfunâ ztring quartetz lyk Haydnz were compozed afta fuckd it all up n went deep 
Da biggest compromise programme Iâve ever done was:
Martucci la forza del destino fantasy
Chopfant
Kan 39/5, feztin
Pimp harmonies du soir
Thal moses
Liszt Liebestod
Me Thalberg tribute fantasy
and I wasnât happy with it, artistically or technically, some of the âconformistâ stuff didnât suit me (da chopfant in particular turned into an ultra-Lisztian rapethru). Also it has to be said I wasnât ready for it at the time, but the experience cuts deep and Iâm reluctant to repeat anything similar.
Much preferred, psychologically at least, doing all paraphrase programmes.
Haha. Yeah.
I canât remember who but I heard that exact argument from a contemporary composer 15 years ago or so. That with the competition from Chopin, Schubert etc you simply can not write music in that language anymore. Which is kinda dumb, but I do see why it would push composers to make their music more harmonically indecipherable where you avoid obvious comparisons and comments like âIâd rather hear Schumannâ. Thing is itâs become a brick wall they just keep banging their heads against, and itâs not delivering anymore. Itâs like the mannerism period in the visual arts or the continual push towards more and more extravagant effects in movies, which was super cool and mass rezpek in the 80s when putting things on screen still really was a problem, whereas theyâre now meeting an audience who is harder and harder to impress - and certainly in my case more and more tired of it.
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What you should do is first half all LvB, second half all Thalberg, encores all Wright. That would make a great program, and also play to your strengths as pianist I think.
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I really have no idea whether I play well, and the only recs I have are 14/1 first mvt, aged about 13, and 10/2 first mvt, almost 20 years ago!
Actually (ssshhhhâŠ) Iâm not all that keen on the first half of my Moses rec: da thalburglah may have been an aristocrat, but my playing is too genteel!
Haha wut do u think ov da THAL original compoz?
found da conc a lot mo memorable den da zon
Zon iznât very good imo. Conc iz bettah, not all that convincing however. Of course he wasnât very old when he wrote it, but his parasheeyatz are much stronger.
Da firzt zheeyat by him dat I fell in love wiz wuz da zouvenirz ov
I think it ztill might be ma fav zheeyat by him
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Yeah, itâs pretty decent.
A better piece den da zhoe varz on dat theme IMO
Anotha top pick iz diz
da KAT playz da FUKK out ov it on hiz Mozartiania dizc
Sumwut unpredicktably, I haff dat KAT CD.
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I donât think rare repertoire has a big difference on the number of tickets sold in a recital by a famous pianist
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Wud be nice to believe but az da RUBY once zaid -
az zoon az da audience hear zum CHOP on da prog u hear an audible zigh ov relief
Here in Norway the audience is so «ignorant» of classical music that at least 95 % of the audience wouldnât know what Chopin sounds like. I am talking about the audience attending classical music concerts
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