Faster, higher and louder

Piano Concertos Nos. 1 and 2; Hungarian Fantasy; Totentanz; Franz Liszt, composer; Orchestre Symphonique de Montreal; Charles Dutoit, conducting; Jean-Yves Thibaudet, piano

It’s touch and go with Franz Liszt. Sometimes he lays out an afghan of profound color with intense lyricism woven within. And at other times, he’s nothing more than a brilliant, bombastic fireworks display. There are instances where he writes difficult passages for difficulty’s sake without a hint of musical consideration. Then the old wizard can create a breathtaking effect with a deft slight-of-hand that makes a sparkling excerpt sound more arduous than the effort demands.

This last dimension of the colorful composition genius that is Mr. Franz Liszt thoroughly embodies the character of his Piano Concerto No. 1 in E-Flat Major. For sure, it’s difficult. Few pieces by Mr. Liszt are not. He wrote this to show himself off to his adoring public, without having to labor too much after a long day’s travel. Besides, if he really wanted to “wow” his admirers, mostly women, he didn’t need an orchestra. His solo compositions had many, many more pounds worth of pyrotechnics than the assistance of any orchestra could provide. An orchestra would just get in the way. But, composers in the Romantic Era wrote piano concertos and – this – was – his.

Make no mistake, though, friend, it’s beautiful; mostly because of its contrasts. When it’s loud, it’s thunderous. When it’s quiet, it’s absolutely discrete. When it’s fast, it’s breakneck. When it’s sad, it’s miserable. When it’s happy, it’s embarrassing. When it’s heroic, well, brave little soldier, you might as well salute.

In the movie “The Competition”, Jerry DiSalvo, as played by Joseph Cali, is a New York Italian who plays up the rags-to-riches perspective of the film. He’s not pursuing the career of a pianist for the sake of the music. He wants money. And this competition is gonna set it up for him so he better put on a show. And who puts on a show better than ol’ Franz “Glitzy Pants” Liszt?

How do I know this piece so well? I learned it in college in 1986 for a competition. Why this piece? Because I was young, energetic and full of pianistic testosterone. I wanted to crash some chords. I wanted to pound some ivory. I wanted to weep, laugh, yell, pine, grouse, cheer, beam, kvetch, soar, swoon, speed, crawl and tear down the house all within twenty minutes. Mr. Liszt had me covered. And poor old piano teacher, Dr. P., probably sat outside the ring, shaking his head, saying, “I’ve never seen a kid so in need of a weekend in Vegas, baby.”

My favorite part of Mr. DiSalvo’s scene comes at the end of the concerto where we rhythmically ratchet up the excitement followed by a couple of breakers. Bum. Bum-ba dump. Dump. Bum-ba dump. Dump. Dump. Dump. Digga digga digga digga digga digga digga digga DUMP. {pause} BUM {pause} BaaaaaaaaaaaaaAAAAAAAA DUMP! The first pause is just short enough for an enthusiastic Italian mother, brother and sister to begin the applause.

Credits: To Franz Liszt, for showing us what being a Romantic composer is all about.