Alice Sara Ott, piano. DG 000289 477 8362 6
Franz Liszt (1811-1886) wrote his Etudes d'execution transcendante in 1826, revising them in 1838 and again in 1851. They are a set of short solo works daunting for even the most-experienced pianist, so why Alice Sara Ott at age nineteen chose to record such demanding music is anybody's guess. She says "I am, after all, a lion born in the year of the dragon!" She is certainly an accomplished virtuoso; maybe she wanted the challenge. Or maybe it was youthful exuberance, and she was just showing off. In any case, she succeeds beyond her years.
Liszt's Etudes are pretty much the antithesis of his popular Hungarian Rhapsodies for piano. The Rhapsodies are easily accessible, hummable, vibrant, down-to-earth in their gypsy flair. The Etudes are more like concert studies written for other seasoned pianists to appreciate. The fact that very few other pianists have recorded all twelve of them is testament to record companies being leery of their selling. But Ms. Ott persuaded DG to let her try.
Etude No. 1 is brief and noisy, together with the equally loud No. 2 forming a kind of overture or curtain raiser for the set. These first two pieces are hardly subtle, but they demonstrate Ms. Ott's technical fluency.
A slow movement follows with the descriptive title "Landscapes," in which Ms. Ott takes her time to caress each note one by one. Here, in some of the most poetic passages in the set, she is at her best.
After the relative calm of the "Landscapes" comes "Mazzepa," a barnstorming section that must vex even the most-talented pianists, yet Ms. Ott copes with it handily.
No. 5, "Will-of-the-Wisp," is light and airy, with a hint of slightly sinister nighttime goings on. Liszt knew he needed these soothing, sometimes playful, interludes to offset the more hell-raising movements. Again, Ms. Ott seems to be enjoying herself.
"Vision" is the set's grandest segment, although it displays some degree of pomposity, too. Following that is "Eroica," a combination of the elegant, the sublime, and the simply tedious. Take your pick. It's no wonder that many pianists who have recorded the Etudes have chosen to do only a select few of them, their own favorite choices, rather than attempt all twelve at once.
No. 8, the "Wild Hunt," is the most overtly programmatic of the Etudes. I'm not sure just what they're huntin--wild boar, perhaps. The piece becomes almost jaunty toward the middle.
"Remembrances" is dreamily sentimental, but, fortunately, Ms. Ott keeps it from getting downright maudlin, maintaining a lovely, graceful pace. This and the "Landscapes" are among the highlights of the set.
The tenth movement is a sort of transitional passage, which exhibits Ms. Ott's pianistic dexterity to the utmost. It's followed by the two final sections, "Evening Harmonies," very homey, getting progressively more ambitious, and then "Snow Whirls," appropriately named and possibly influencing Debussy down the line.
Recorded by DG in June, 2008, the reproduction captures the piano quite close up, producing a detailed yet never bright, hard, or edgy sound. Indeed, there is a warm, natural glow to the notes, and while the piano looms fairly large, it does not stretch across the entire front of one's listening room.
My guess is that Liszt's Etudes appeal largely to piano enthusiasts rather than to the general classical-minded public. Some of the selections are highly pleasing, others more than a bit tiring. I suppose by offering all twelve of them, Ms. Ott gives the listener a chance to pick and choice which ones to enjoy.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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