NOTE: THE WELL-TEMPERED EAR IS TWO YEARS OLD TODAY. THANKS TO ALL YOU READERS FOR MAKING IT A SUCCESS.
By Jacob Stockinger
I came away from the mammoth piano recital given by Valentina Lisitsa – the so-called “Mystery Pianist” — on Wednesday night at Farley’s House of Pianos with two convictions:
1. Pianist Valentina Lisitsa (below) deserves a much bigger solo career than she currently enjoys.
2. It is possible to hear much too much of piano virtuoso and composer Franz Liszt, whose birth bicentennial is being celebrated this year. (Oct. 22 is the official date.) But because of the bicentennial, that is exactly what we are going to hear in live concerts and in recordings.
Lisitsa, who had just returned from dates in Brazil and who was on her way to perform the same “Liszt to Lisitsa” program at Chicago’s summer Ravinia Festival the following night, played for almost three hours without breaking a sweating.
The woman has chops to spare along with incredible strength and stamina. I doubt there is any configuration of notes that she can’t play, and play convincingly and very hard for a very long time.
Blessed with astounding technique, she tends toward the bangy repertoire and show-off stuff as well as towards a bangy or pounding approach that puts her squarely in the same Romantic tradition as Liszt himself and even Vladimir Horowitz in his wilder moments. Not for nothing did she throw in Leopold Godowsky’s totally trashy “Symphonic Metamorphoses on ‘Die Fledermaus,” which has no musical value I can discern.
In short, Valentina Lisitsa can twirl a concert grand on her pinkie, so we should be hearing much more of her as a soloist.
That said, I found this particular concert of hers more impressive than satisfying on several levels.
It boils down to wanting more subtlety in both the music and the performance.
When Lisitsa performed Mozart’s “Fantasy in C Minor,” K. 475, she used silence and pauses to create an operatic drama very effectively. Part of the seven Chopin Nocturnes were also beautifully phrased and sung; but every once in a while, when the notes got thicker, she got more Liszt-like in her Chopin, more loud and flashy, more erratic in tempi.
The same was true of an overall lovely reading of Schubert’s theme-and-variations Impromptu in B-flat, Op. 142, No. 3. One wants to hear more softness and subtlety, of which is clearly capable and which Liszt did indeed write into some of his best music.
With the concluding solo piano version of Liszt’s “Todentanz” (The Dance of Death) we were back to the wow’em kind of Liszt – and Lisista really did wow the sold-out audience into a standing ovation.
But for me, the most revealing moments – positive and negative — came in Liszt’s transcriptions of songs by Schubert (below).
I know others disagree, but I don’t consider Liszt such a great composer. He is a very good one, to be sure. But too much of what he writes is glitz and schmaltz to camouflage up a relative poverty of content.
Those songs represent the best of Liszt – the deeper Liszt who championed contemporary composers including Beethoven, Schubert, Chopin, Schumann and Wagner. (His later work and harmonies also represent Liszt as a pre-modernistic pioneer.)
But the song transcriptions also highlight the worst of Liszt, his tendency to overscore works for the piano, on which he was such a devilish acrobat and transcendental technical magician. Each repeat of a song stanza seem to bring forth another trick from his bag full of tricks: This time double octaves, another time double-thirds, another time sweeping glissandi and arpeggios. It was like highbrow Liberace. After a while, you see all the tricks in the bag and repeating them gets just plain predictable, boring and off-putting.
It was enough to give you a headache. I’ll take Chopin’s B Minor Sonata over Liszt’s B Minor Sonata 100 times out of 100 times.
Lisitsa was also rude to the audience by adding four unprogrammed and unfamiliar pieces of Liszt – “I love Liszt … I’m going to torture you with Liszt,” she tellingly said – and then not announcing their titles. (Best I can tell, they included the Hungarian Rhapsody No. 12, the Ballade No. 2 in B Minor and an arrangement of “Ave Maria.”)
But in a way, not announcing the titles was just the right touch.
Because a lot of Liszt does indeed sound the same, especially when played as she did, and you really don’t need to know more except that you about to be dazzled by finger-twisting virtuosity and an occasional catchy tune.
True, Liszt (below) composed many much more subtle pieces that Lisitsa might have programmed for variety — his lovely Petrarch sonnets, the Consolations, other works from the “Years of Pilgrimage.” I also like his Piano Concerto No. 2, some of his late piano works and some of his orchestral tone poems.
But overall, Liszt wrote too many notes and too little music.
How I would like to hear Lisitsa play a more meaningful, more nuanced solo repertoire! I have heard her live and in a new recording accompanying Hilary Hahn in Charles Ives’ violin sonatas. She was and is stupendous, even deeply musical. But I think she needs more of that same kind of music to play – and a better and wiser booking agent to set up the right dates and the right programs. Wednesday night saw some beautiful moments of fine playing by her. I just wanted to hear more of that from Lisitsa.
Of course, other will disagree and have. See, for example, this review from her Chicago appearance with the same program:
In the mean time I will confess: I wish I could play Liszt like Lisitsa does.
Except that then I wouldn’t play Liszt, but instead the harder works of better composers.
I don’t want to play Liszt. I just want be able to play like Liszt.