Antonio Pompa-Baldi After a reading of … Liszt!

After a
reading of …
Liszt!
Antonio
Pompa-Baldi
F
rom 1822 to 1848, Franz Liszt’s career as
on musical life of an even more permanent
a virtuoso pianist made him one of the
nature. As a composer, Liszt foreshadowed
most famous musicians in Europe. His
many trends that would come to dominate the
name was mentioned in the same breath as
first half of the 20th century, particularly with
the legendary violinist Niccolò Paganini, a man
regard to the erosion of unambiguous tonal
often credited with redefining the role of the
identity. While many of his works aspired to
instrumentalist in Western art music. As with
high compositional and artistic ideals and no
Paganini, Liszt’s influence as a virtuoso has
more, Liszt also produced dozens of works that
reached into the present. With a reputation for
successfully married art and virtuosity. Many
nigh-unbelievable feats at the keyboard, Liszt
such pieces have become cornerstones of the
was responsible for raising public expectations
piano repertoire.
of technical brilliance, expectations that are
The influence of Liszt was felt across
today commonly associated with career pianists.
Europe and stretched toward the East, where
He was the first pianist to systematically play
many Russian composers and performers
entire chamber concerts from memory; these
found themselves seeking inspiration in the
concerts he called ‘recitals’, a term that is still
Hungarian-born master. A fine example is Sergey
used for solo chamber performances today. Like
Mikhaylovich Lyapunov (1859-1924), one of the
Paganini, Liszt cultivated the public image of a
late products of Russian musical nationalism.
musician with otherworldly skills, somewhat
Lyapunov—whose brother Aleksandr was the
detached from reality and devoted to a life lived
well-known mathematician—grew up in a
for the sake of art. Liszt even foreshadowed
musically- and scientifically-minded household.
many modern musicians in being endorsed by an
At Nizhny Novgorod, Lyapunov attended lessons
instrumental manufacturer, singing the praises
at the local Musical Society. His precocious
of Erard’s instruments and using them in public
talents developed to such an extent that Nikolai
concerts whenever possible.
Rubinstein invited him to make a successful
Liszt’s name would have been cemented into
application to the Moscow Conservatory.
music history had he remained a virtuoso and
There, he was taught by Tchaikovsky’s pupil
no more. However, Liszt was to leave an imprint
Sergey Taneyev, and even attended classes
L
given by Tchaikovsky himself shortly before his
Lyapunov himself. In his own capacity, Lyapunov
tour of Western Europe, conveniently omitting
retirement. Particularly relevant to the present
would later publish further arrangements of 30
the truth of his self-imposed exile.
program were the extensive piano lessons given
folk songs for voice and piano. But most telling
Lyapunov left to posterity two piano
to Lyapunov by Karl Klindworth, who had been a
of Lyapunov’s musical nationalism was that folk
concertos, two symphonies, and numerous
pupil of Liszt. Lyapunov was destined to develop
material was to subsequently find its way into
smaller works, of which his piano pieces
who, prior to an early withdrawal from intensive
into a pianist of formidable talents.
many of his own compositions.
are the most valued today. His best-known
public performance, had embarked on a career
work is that from which the etude on this
as a professional pianist. Like Liszt, Chopin
In terms of compositional practice, Lyapunov
Lyapunov’s esteemed position in Russian high
iszt was one of the central figures in the
19th century phenomenon of virtuoso
performance. Another figure of importance
in this regard was Frédéric Chopin (1810-1849),
did not follow in the musical footsteps of
society was to prove his downfall, however. After
recording is selected: Douze études d’exécution
composed etudes for personal use as well as
Tchaikovsky. Instead, he was more attracted to the
the 1917 Russian Revolution, he found himself
transcendante, Op. 11. The title alludes to
publication. And, again like Liszt, these etudes
distinctly Russian-nationalist style of composers
out of favour with dominant social ideology
Liszt’s similarly named Études d’exécution
were not simply technical exercises, but instead
exemplified by the ‘Mighty Handful’: Cui, Borodin,
encouraged by the Soviets. Despite securing a
transcendante (1851). Lyapunov’s intention was
surpassed their pedagogical origins by being
Mussorgsky, Rimsky-Korsakov and Balakirev. It
post at the new Soviet-sanctioned State Institute
to ‘complete’ Liszt’s etudes, by writing pieces in
presentable as concert pieces.
was in seeking out Mily Balakirev that Lyapunov
of Art, Lyapunov realised that the new regime
the major and minor keys that Liszt never visited.
found his way to St. Petersburg after graduation.
would not be kind to him for long. In 1923,
One can discern two prominent Liszt-related
Op. 10 and 25 were issued as sets, and another
Balakirev was to prove formative with regard
Lyapunov immigrated to Paris, where both his
influences here. On the one hand, Lyapunov’s
three etudes are often grouped together without
to the remainder of Lyapunov’s creative career.
piano playing and compositional output had been
career as a pianist would have brought him
opus number. The Op. 10 etudes, recorded
Primary success came as a pianist, but his esteem
well-received in the past. (A parallel could be
into constant contact with the work of Liszt,
here, are the earliest, having been written
as a composer was ever-growing, and Lyapunov
drawn here with the land-owning Rachmaninoff,
and particularly the infamously difficult Études
around 1829-1832 (published 1833). The young
secured himself a formidable reputation as a
who together with his family effectively fled
d’exécution transcendante which represent a
Chopin dedicated the Op. 10 set to Franz Liszt,
teacher in St. Petersburg. He was the successor to
Russia after the Revolution, seeking his fortune in
high-water mark in piano technique. On the
whom he had befriended in Paris. These etudes
Rimsky-Korsakov’s position at the Imperial Chapel,
the West.) Fate was cruel to Lyapunov: the mild-
other hand, Lyapunov himself had a connection
are testament to the remarkable mastery of
and held prominent posts at the Free Music School
mannered composer succumbed to a heart-
to Liszt via his Moscow Conservatory teacher,
technique that Chopin already possessed at this
(as director) and the St. Petersburg Conservatory.
attack only a year after arriving in Paris. Despite
Karl Klindworth, who had been a pupil of Liszt.
early stage of his career. Although Chopin had a
In 1893, together with Balakirev and Anatoly
his apparent ideological and social shortcomings,
The final piece of Lyapunov’s set—the etude
number of teachers in his youth, their ultimate
Lyadov, Lyapunov was commissioned by the
Lyapunov’s contribution to Russian musical
recorded here—carries the title ‘Élégie en
contribution appears to have been negligible.
Imperial Geographical Society to collect Russian
culture was still of value to the new Soviet
memoire de Franz Liszt’.
Chopin, so far as the advanced aspects of his
folk music. This resulted in the eventual publication
regime. In an early example of cultural control,
keyboard execution were concerned, was a
of 300 notated folk songs, many arranged by
the Soviets claimed that he had died on a concert
self-taught virtuoso of somewhat unorthodox
In total, Chopin wrote three sets of etudes:
thematic trajectory. Virtuosity persists, serving
technique. And despite producing dozens of
The final etude of the Op. 10 set, in C minor,
masterworks for the piano, his music-theoretical
is often taken to be a musical expression of
Sonata in B minor, published in 1853. However,
tuition was similarly minimal.
Chopin’s impassioned disappointment regarding
this mighty work was not the composer’s only
the failed revolution. As a result, this final etude
musing in the key of B minor that year: also
attached to the second Ballade, much in the same
were composed at an early stage in Chopin’s
is often nicknamed the ‘Revolutionary Etude’.
published was the Ballade No. 2. These works
way that Chopin’s Ballades are essays in musical
career. By 1831, Chopin’s work was already
There is, in fact, little evidence to support
were both written during Liszt’s post-virtuoso
narrative structure and not literal stories. Despite
that of musical genius. Barely in his twenties,
the idea that this etude was written in direct
sojourn as Kappelmeister at Weimar, around the
this, Liszt’s Ballade has drawn comparisons with
he had already explored the limits of the salon
response to happenings in Poland, or that it is a
time that he was experimenting with the concept
epic mythology. The German ballade Lenore,
genres of the waltz, mazurka and nocturne,
musical embodiment of extra-musical political
of the programmatic tone poem. Liszt’s titling of
penned by Gottfried Bürger, is taken by some to be
all of which he would come to redefine. In the
aspirations. Nonetheless, the nickname has
the work as a ‘ballade’ no doubt brings to mind
the inspiration for the work. However, the myth
autumn of 1831 he found himself in Paris after
persisted. To add to this, allusions to the final
the four Ballades of Chopin, amongst the latter’s
of Hero and Leander, which is of Byzantine origin,
a long and bureaucratically frustrating stay in
piano sonata of Beethoven have been made
finest masterworks. The history of the ‘ballade’
has by far been the most common association.
Vienna, compounded by a few unhappy weeks
repeatedly, as both works trace a trajectory
can trace its roots to both French and German
Hero, who was in the service of Aphrodite, lived
in Stuttgart. Chopin was still dependant on
from C minor to C major (the classic ‘despair
poetic forms from the Renaissance. The French
in a coastal tower. Across the bay lived Leander,
financial aid from his parents in Warsaw, but was
to heroic joy’ archetype of Beethoven’s formal
epic ballades are of particular relevance because
who was madly in love with Hero. Every evening,
determined to make a name for himself as either
structure). This commentary no doubt leans on
they were often set to music, with the chanson
Leander swam across the bay to visit Hero, who
a composer or a performer in the cultural capitals
revolutionary sentiments also often associated
being a direct relation. The composer Guillaume
lit a beacon to guide him. However, one night a
of Europe. Work on the Op. 10 set was spread
with Beethoven.
de Machaut in particular made the musical
squall drove Leander off course, and the strong
version of the ballade famous. In any case, in
winds extinguished Hero’s beacon. Leander
iszt’s interest in the other arts, typical of
both French and German literary traditions the
drowned, and Hero, in despair, threw herself from
the pan-artistic sentiments of the New
term ‘ballade’ implied epic narrative. This sense
the top of the tower.
German School, is on display in the next
of narrative drama is intended to be conveyed
As mentioned above, the Op. 10 etudes
between Warsaw, Vienna and Paris. The complete
set of etudes eventually saw publication in the
French capital in 1833 so as to provide Chopin
with some sorely-needed income.
L
One of Liszt’s most significant works was the
to add to the musical drama.
Liszt never admitted of any program being
Antonio Pompa-Baldi believes that there is
two works included in this program. Liszt’s
in musical terms in the ballades of the Romantic
an affinity between Liszt’s second Ballade and
happenings in wider Europe at this time, and in
second Ballade, in B minor, embodies the
composers: those of the ballade-pioneer Chopin,
yet another myth, that of Orpheus and Eurydice.
Paris he found himself active in Polish intellectual
Romantic idea of musical material being able to
as well as Liszt, Brahms and Grieg. Liszt realised
Around the time of the composition of the
circles. Like many Polish émigrés, Chopin had
constitute narrative structure of its own accord,
the idea of narrative trajectory by making use of
Ballade, Liszt was working on the symphonic
taken a personal interest in the failed 1831
while the Ernani-paraphrase is based on one of
the motivic development of a thematic kernel,
tone poem Orpheus. He used this tone poem
revolutionary uprising in Poland against Russia.
the great operatic dramas of the 19th century.
to imbue the piece with a sense of unity and a
as an overture for an 1854 Weimar production
Chopin was not oblivious to political
of Gluck’s famous opera on the same subject,
of tragedy. Based on a play by Victor Hugo,
than make a musical statement (much like the
1859-1860 presented by Hans von Bülow. These
which he personally conducted. Thus, as both
this was the librettist Francesco Maria Piave’s
superficial competition pieces produced by many
three were not the only Verdi operas to get
composer and conductor, Liszt was intimately
first contribution to a collaboration with Verdi
late 19th and early 20th century Conservatoire-
the Liszt treatment: themes from Lombardi,
acquainted with the tale of Orpheus around the
that also produced Rigoletto and La Traviata
linked composers). Amongst Liszt’s adaptations
Simon Boccanegra, Aida and Don Carlos were
time that he composed this Ballade. Liszt’s music
amongst others. In Ernani, the titular character
are around 200 transcriptions, rearrangements,
also adapted for concert use by Liszt. Liszt even
certainly fits aptly the story of Orpheus’s ill-fated
is a wronged nobleman who must now resort
variations, paraphrases and virtuoso expositions
used melodic material from the ‘Agnus Dei’ of
journey in mirroring the descent of Orpheus into
to being a bandit. He is in love with Elvira, who
of themes and pieces by other composers. These
Verdi’s mighty Requiem to create a piano piece.
the Underworld with a descending B to B flat
is to be married to the aging Gomez da Silva
composers run the gamut from Arne and Bach
In his post-virtuoso career, Liszt would himself
minor modulation (and a reversed ascent prior
against her wishes. King Carlos also has designs
to Liszt’s contemporary Richard Wagner, and
conduct Ernani (in 1854), as well as numerous
to the desolate ending, corresponding with the
on Elvira. It soon transpires that Ernani offends
include a myriad of selections from composers
other operas by Verdi during his Weimar years.
return of Orpheus and Eurydice to the world
both the King and da Silva. However, the latter
that are today all but forgotten.
of the living), the taming of agitated beasts by
decides to protect Ernani by hiding him from
Orpheus’s melodious lyre, and an impassioned
King Carlos. Together they conspire to rescue the
de Concert took advantage of the immense
behind the tomb of Charlemagne, features
musical plea as if to Pluto and Persephone for
kidnapped Elvira, but Ernani remains in da Silva’s
popularity of opera during the nineteenth
the aria ‘O supreme Carlo’. It was from this
the return of his love. One can even imagine
debt. When Carlos is appeased and Elvira and
century. While the Paraphrase is indeed a
wonderfully melodious aria that Liszt chose his
Orpheus’s crossing of Styx depicted by turbulent
Ernani united in love, da Silva arrives to make
virtuoso piece, it was written around 1859-
theme for the Paraphrase. This wasn’t Liszt’s
left-hand chromaticism early in the work. At the
good the life-debt owed to him by Ernani. Ernani,
1860, after Liszt’s retirement from the serious
first use of this material: about a decade before
end of the Ballade, the music induces a profound
out of honour, stabs himself and dies in Elvira’s
concert stage. The work represents a marriage
the Berlin concerts featuring the three Verdi
sense of loss in the listener. This corresponds
arms. Ernani was first performed in 1844 and was
between showmanship and compositional craft,
adaptations, Liszt had already given the Ernani-
with Orpheus’s breaking of the agreement
met with great public enthusiasm; since then,
and as a result stands head and shoulders above
theme a pianistic treatment. In 1847, touring had
with Pluto and Persphone, that he should not
however, it has been somewhat forgotten.
the ‘Carnival of Venice’-style showpieces of
brought Liszt to Constantinople, where between
the time. The Ernani paraphrase, together with
concerts he penned a concert paraphrase on
cast his gaze upon Eurydice while departing
As a concert pianist, Liszt was constantly in
As with many such works, Ernani: Paraphrase
The third act of Ernani, where King Carlos
overhears a conspiracy against him while hiding
the Underworld. The result of Orpheus’s
need of music to play at concerts that would
the Rigoletto paraphrase and the adaptation
the same theme. Although today the work has a
transgression was the loss of his lover Eurydice
show off his phenomenal skills. As with many
of thematic material from Il Trovatore, was
catalogue number (S431a), Liszt left this earlier
to the Underworld forever.
virtuosos of his day, Liszt himself generated
prepared for a series of Berlin concerts around
paraphrase unpublished.
Similarly, the Giuseppe Verdi’s opera Ernani—
music for this purpose. And, admittedly, many of
from which Liszt selected melodic material for
these pieces are little more than virtuoso ‘cannon
Ernani: Paraphrase de concert (S532)—is a work
fodder’, serving to display technique rather
T
he final piece on this program is one that
Paraphrase de concert, the selected themes
will be a delight to the seasoned admirer
and quotations have been woven together to
of Liszt’s music: Après une Lecture de
form a piece that is itself a lecture on Liszt’s
Liszt, by the Sardinian-born composer Roberto
music. These quotations are from Après une
Piana (b. 1971). Piana, a graduate of the Music
Lecture de Dante, the colossal Sonata in B minor,
Conservatory of Sassari under the tutelage of
the Piano Concerto No. 1, the Dies Irae theme
pianist Isabella Lo Porto, has won numerous
that Liszt scattered throughout many of his
European awards as both a composer and a
compositions, the second Ballade (featured on
performer. His recording catalogue includes
this recording), the well-known “La leggierezza”
albums featuring the music of Liszt, Giulio
concert etude, the ninth Hungarian Rhapsody,
Ricordi, Chopin, and Piazzolla. Piana has also
and the late works Puszta-Wehmut (‘Longing
shown particular interest in the music of lesser-
for the Steppes’) and Csárdás macabre. Also to
known composers, especially the Sardinian
be heard is material from the Consolations, the
composer Lao Silesu (1883-1953). Piana was the
demanding Études d’exécution transcendante,
first performer to record Silesu’s music.
the funeral march for Count László Teleki from
In Après une Lecture de Liszt, Piana pays
Historische ungarische Bildnisse, Six Chants
tribute to the immense influence of Franz Liszt
polonaise, further material from the second book
on the modern pianist, by means of extensive
of Années de pèlerinage (Liszt’s collection of
quotation from some of the composer’s most
pieces inspired by his cultural pilgrimage through
important piano works. The title translates
Europe, and in this particular case, France), and
literally into ‘After a Lecture [or Reading] of
from the Supplément to that volume of Années
Liszt’. The title itself is an allusion to Liszt’s
de pèlerinage, the Tarantella. Piana’s Après une
Après une Lecture de Dante: Fantasia quasi
Lecture de Liszt was completed in early 2013,
Sonata, composed in 1849 and published in 1856
and was dedicated to Antonio Pompa-Baldi. It
as part of Volume II of Années de pèlerinage
receives here its recording debut.
(‘Years of Pilgrimage’). In the spirit of Ernani:
Antonio Pompa-Baldi
biography
B
Benjamin Zander, the National Symphony of
Ecuador, and the Johannesburg and Cape Town
orn and raised in Foggia, Italy, Antonio
Philharmonic Orchestras in South Africa. Last
Pompa-Baldi won the Cleveland
season’s recitals included Nancy (France),
International Piano Competition in 1999
Cleveland (OH), San Francisco (Liszt Society
and embarked on a career that continues to
extend across five continents. A top prize winner
Festival), Hong Kong, and Macao.
Upcoming engagements include a recital
at the 1998 Marguerite Long-Jacques Thibaud
in Fort Worth, TX, in memory of Van Cliburn,
Competition of Paris, France, Antonio Pompa-
performances with the Eugene Symphony, OR,
Baldi also won a silver medal at the 2001 Van
the Nova Scotia Symphony (Canada), and the
Cliburn International Piano Competition. Mr.
Cheyenne Symphony, a tour of South Africa,
Pompa-Baldi appears regularly at the world’s
including appearances with the Johannesburg and
major concert venues including New York’s
Cape Town Philharmonic Orchestras, and recitals in
Carnegie Hall, Cleveland’s Severance Hall, Milan’s
Jerusalem, San Jose, Cleveland, Poland, and China.
Sala Verdi, Boston’s Symphony Hall, and Paris’
Salle Pleyel, to name a few.
He has collaborated with leading conductors
including Hans Graf, James Conlon, Miguel HarthBedoya, and Keith Lockhart, performing with the
Mr. Pompa-Baldi’s recording catalogue
features an all-Brahms disc (Azica), and a recital
from his Cliburn Competition performances
(Harmonia Mundi).
He has recorded 17 CDs for Centaur Records:
Houston Symphony, Colorado Symphony, Berliner
the Josef Rheinberger Piano Sonatas; the entire
Symphoniker, Orchestre National de Paris-Radio
piano output of Edward Grieg, in 12 volumes; an
France, National Orchestra of Ukraine, Fort Worth
all-Rachmaninoff CD; an all-Schumann album; a
Symphony, among many others.
live recital in Cleveland; and the first volume of
Notable recital engagements took place
in Beijing, Seoul, Paris, London, Chicago, and
Houston. Among recent orchestral appearances,
Mr. Pompa-Baldi performed with the Santo
Domingo Festival Orchestra under Maestro
the Hummel Piano Sonatas.
Soon-to-be-released by Centaur is the
second volume of the Hummel Sonatas.
For the Steinway label, Pompa-Baldi recorded
a disc of songs by Francis Poulenc and Edith
Piaf, arranged for solo piano, to commemorate
anniversary of Prokofiev’s death, as well as
the 50th year of the passing of both French
throughout Europe.
musical icons. The album, titled “The Rascal and
Antonio Pompa-Baldi is a Steinway Artist. He
the Sparrow: Poulenc meets Piaf”, released in
serves as Distinguished Professor of Piano at the
September 2013, received unanimous praise in
Cleveland Institute of Music, and gives master-
Classical Music’s most esteemed review sites.
classes around the world, both in conjunction
Mr. Pompa-Baldi has been seen and heard
with his performing engagements, and at
many times on French National Television, Radio-
summer festivals including Piano Fest in the
France, Ukrainian National Television, Cleveland’s
Hamptons, TCU-Cliburn Institute, Southeastern
WCLV, Boston’s WGBH, and National Public
Piano Festival (University of South Carolina
Radio’s “Performance Today”. He was featured
School of Music), Paisiello Academy (Lucera,
in the PBS documentary on the Eleventh Van
Italy), Amalfi Coast Festival, and Napolinova
Cliburn International Piano Competition “Playing
Academy (Naples, Italy). He helped found the
Recorded live at: Endler Hall, Stellenbosch
on the Edge”, which premiered in October 2001
Academia Manuel Rueda in Santo Domingo,
University, South Africa, 30 June 2013
in USA and Canada.
where he also gives regular masterclasses.
Artist: Antonio Pompa-Baldi (piano)
Mr. Pompa-Baldi appeared again on PBS in
He is often invited to judge international
Produced by: Luis Magalhães
the documentary “Concerto: A sense of Self”,
piano competitions, and has served as president
Balance engineer: Gerhard Roux
featuring his performance of Prokofiev’s Third
of the jury for the San Jose International Piano
Mixed by: Gerhard Roux
Piano Concerto with the Fort Worth Symphony
Competition, CA since 2006. His students have
Assistant: Dawid de Villiers
Orchestra and James Conlon. This performance
been prizewinners in important competitions
Piano tuner: Keith Goodwill
was also seen on French National Television
such as Marguerite Long, Hilton Head, JoseÌ Iturbi,
Program notes: Barry Ross
in May, 2003, to commemorate the 50th
Isang Yun, and Gina Bachauer.
Graphic Design: mrdesign
After a reading of …Liszt!
TP1039305
Antonio Pompa-Baldi (piano)
Sergey Mikhaylovich Lyapunov (1859-1924)
1. 12:34
Douze études d’exécution transcendante, Op. 11, No. 12 ’Élégie en memoire de Franz Liszt’
Frédéric Chopin (1810-1849)
Études Op. 10
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
02:02
01:34
04:22
02:07
01:45
03:41
01:36
02:25
02:16
02:14
02:34
02:43
No. 1 In C
No. 2 In A Minor
No. 3 In E
No. 4 In C Sharp Minor
No. 5 In G Flat
No. 6 In E Flat Minor
No. 7 In C
No. 8 In F
No. 9 In F Minor
No. 10 In A Flat
No. 11 In E Flat
No. 12 In C Minor
Franz Liszt (1811-1886)
14.
14:16
Ballade No. 2, S. 171, in B Minor
15.
07:00
Ernani: Paraphrase de concert (S532)
Roberto Piana (b. 1971)
16.
08:52
Total Time: 72:12
Après une Lecture de Liszt
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