I find there are composers and works I can put on anytime, and something things I just have to be in the right frame of mind.
Like the Ghost variations came at the end of a long day yesterday and just took me to the right place. But it’s not a work I would put on just to listen to something. Hammerklavier and op.111 same (although still wrapping my head around hk).
Whereas some tchaik, or strauss or pork I can usually listen to anytime.
Tru, I definitely would not be able to dive into late Scrib any random time.
Randomly, I tend to jus chill down to sum Tatum.
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Shostakovich… Preludes and fugues esp.
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Pimpzon.
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That’s interesting, how come?
For me it’s any work which is intimate or deeply moving, and the larger the scope the more important it becomes. You can’t just schedule me to go through something like D.960 at 5 o clock on October the 21st, I can’t do it. Similarly I reserve works like Op.111 for special occasions, although in that case I don’t mind them being at a concert since it’s more of an inner journey and not that heavy emotional impact.
I agree with festin about S.178 too, but that’s simply from over exposure. It’s the most constructed of all of Liszt’s works and I’ve simply grown tired of it. As with the Schumann Carnaval in the other thread the performances I’ve enjoyed the most in recent times have been the more spaced out ones like Leschenko and Rana, which make me think and see the work anew. And if I want a “proper” characterisation I have Richter/NYC anyway, I’m not single & looking in that piece.
Over-exposure in part for me, but also I feel it’s a work which commands full attention, and tbh that’s not something I’m always willing to give. That may well be my loss, but often I’d rather listen to something less immersive.
Basically, if it’s good music, there’s no way I can listen to a certain piece anytime, because that requires a certain attention. There’s easy listening baroque and classical or opera of course, but even that I want to hear only when I’m da mood for it.
The strength and weakness of classical music is that it requires a certain kind of investment not only from the performer, but also from the listener. This offers great rewards but also makes it more difficult to listen to. For me, large scale works require the most effort
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I think length is a determining point for me. I need to be in the mood (and know that I won’t be disturbed) to settle down for a Mahler or Bruckner symphony.
I can go a Pimpzon pretty easy.
The Shosty P&F’s I agree - I don’t know them intimately but when I put them on, a lot went over my head. They did not want to give up their secrets easily.
For me, it’s not a pure length issue (oo-er). I’d find it much easier to sit down to a Hammahcleavage or Buzconc than the pimpzon.
:brahmz: 
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Hahaha
This forever raging Chop/Liszt vs Schumann/Brahms battle. I’m closer to the first two, but I mean I love all four.
You don’t even like the Paganini variations?
I do. My emoticon clearly didn’t lend itself to interpretation in the intended manner. I was referring to his first exposure to da pimpzon 
Oh. Haha.
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And 
> 
, Brahms > Schumann in my world.
My favourite thing about this entire era is
1809 Mendy
1810
1811
1812 Thalburglah
1813 
1814 Henselt
Gods seldom come alone…
It’s certainly been a while since they last graced us with a visit though
I could not get into tiz
Tru!!!
Randomly I luv Brahms too.
Da ‘s music is perhaps unique in the sense that it always works with what that piano can do naturally and each texture is already balanced fo you azz
Top 5 conc for me, but pozz an acquired taste. Fourth movement probably the most immediately accessible?
I struggled for 20 years with that monster. For me the door was actually in the 3rd mvt. The 4th is maybe the best thumbnail of the concerto, but it’s also the most kaleidoscopic and contributed to making me see it as a big spectacle for so long.
Top-5 sounds about right, but it’s far more difficult musically than any other concerto in the standard repertoire. My advice would simply be to give it time and to try to listen to different recordings every time, preferably with years rather than days or weeks in between. Also to avoid Hamelin and Ogdon who might be the most accessible, but who don’t make a particularly good case for the work. That it took so long for me was in fact probably since I put my faith in their expertise and underestimated the impact lesser known pianists could make.
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