I’ve been dabbling with Ignis Fatuus and the Winterwind; the end of the 1st half is also the only place I could come up with placing them, but would just seem strange after the Schumann, perhaps? I dunno.
I am not familliar with Brahms-Dohnanyi-Attwood…Piano Quartet in G minor, Op. 25, Rondo alla Zingarese.
But these Godowsky etudes would make a good ending to the program. Unless the Brahms piano quartet is an all fury piece it self. To much fury might be too muc, even for dasdc
The two Chop-Gods you mentioned might be the most difficult of the set. Rezpec if you can pull them off Even da sais dat the winter-wind is almost impossible.
I don’t know much about programming but I do think it seems strange to follow the schumann with chop-gods, not to mention the fact that you might be knackered if you blaze white-hot in the schumann. BUT I would love to hear a recording of those etudes, so I’m torn.
even though it might be a bad idea, i would have the Schumann to open, and then play the Liszt, since i think from the ending of the Schumann op.26 to the Liszt legend no.1 is a pretty smooth transition.
Then open the 2nd half with Bort to warmup the audience’s ears for some more adventurous programme. Follow with Faure/Attwood, brahms/dohannyi/attwood (can i say ‘DAIMMMMM’?), end with Chopin godowsky.
problem i see with programming the chopgods after the schumann is that both are pretty dense styles. i know here we like to hear maximum unleashing, but that doesn’t always make for the most balanced program.
The usual–s*ngle notes to octaves and double notes; and for some strange reason he disregards the original Brahms cadenza-like passage and goes straight to the coda, which I don’t care for, so that would have to be re-written.