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Thank you! I'll be looking into the software you suggest post-Christmas. Much appreciated.

Thank you... and very interesting to hear that there are passable orchestral samples out there. I've put the score together with an older version of Sibelius software, and I don't consider its orchestral sample library to be of an acceptable level (nor the piano sample, for that matter).

Thanks again, to both of you, for the encouraging feedback. I do plan to put together a 'mock' orchestral combination with me on piano, and using orchestral sampled sound, but it goes without saying that this is a compromise at best.

Thanks to both of you. I appreciate the positive impression!

I suppose I didn't think of that, as my YT channel is anonymous unless you do detective work!

Andrew Wright. www.andrewwrightpianist.com

(Please move or delete if this is inappropriate, but I'm pretty certain it meets the romantic style requirement!)

Due to the obvious problems in procuring an orchestra, and the fact that I'm not made of money, it will only be presented publicly in solo piano form at this point in time. Here's a live recording with sheet music; obviously it's not studio pristine and precise (minor memory lapse in the second movement in particular, three bars are thus dropped from the score representation).

From a technical perspective, the work is largely constructed out of two related descending motifs, both of which occur within the first minute and a half. They are in effect mood mirror images of one another. The first is contemplative and questioning, the second (bar 36) more bold and positive (and, yes, I shall preempt any observations that it has similarities to the notorious Warsaw Concerto!) All the material within the first two movements is directly derived from one or other of these motifs, as is the closing material. For example, the passage from bar 166 in the first movement is a minor key transformation of the second motif, and the first movement ends with a recall of cells from the  opening motif.

The second movement represents a reverie; an oasis of calm before the violent irruption of the Dies Irae at the start of the last movement. The work concludes with a triumphant re-presentation of the second motif.

https://youtu.be/119uH6zeDtg

Obviously I hope this may be of interest, and that I can be forgiven for leaving the orchestra somewhat to the imagination. There are basic orchestration comments within the score.

Thanks for this reminder. I, for one, will definitely be buying this. I really like the Ponti von Bronsart, but it will be nice to have a version with "modern" sound.

Just had a phone call, and there's been a short notice cancellation: it will be rescheduled but at this point I can't say for when. I hope no-one stayed up; it's almost 3am here!

In case anyone here might like to catch this: Sun 7th Jan at 1900 - 2100 PST, streamed on http://kzsu.stanford.edu/live/-
a radio broadcast episode of "The Music Treasury", presented by Dr Gary Lemco.

I will be interviewed by phone live on air (at the rather unfortunate UK time for me of 3am GMT, but I'll stock up on coffee beforehand!) and we will be talking about operatic transcriptions, paraphrases, etc, and he will play some of my recordings, which I don't really wish to spam the forum with, but for clarity's sake, exist as two discs of operatic paraphrases, cat. nos DDA25113 and DDA25153. My understanding is that the set list will be mainly Liszt and Thalberg (who I would argue is unsung, but he's certainly better known than a lot of other 19th century composer-pianists), but there will also be paraphrases by Martucci, Jaell and Leschitizky.

I should have added earlier that, for those who have been kind enough to get hold of a copy, unless you get a physical copy, you probably won't be getting the digital booklet, which is available here:
https://d2ajug1vehh95s.cloudfront.net/25153booklet.pdf and I hope it is a useful complement to the music!

Thal, I assume all the Zichy is left-hand only? I think Artur Cimirro has recorded it. I've seen little Dohler, but the Norma paraphrase which I played through a while back really didn't seem inspired at all.

Re Halka, it would make a good centrepiece of any potential programme, but on a purely pragmatic basis, the amount of work needed to get it to the required level is such that I'm sure I could learn four "normal" paraphrases in the same time! There is also the argument that there are several recordings already extant (there is a live video by Giulio Draghi on youtube, incidentally), and perhaps the time would be better deployed working on unrecorded material.

I do have an original copy of the Litolff Op20 if this is any help, and I also have (apart from much more, some of which has already been mentioned above!):

Teresa Carreno - Reminiscences de Norma Op14 & Fantaisie sur l'Africiane de Meyerbeer Op24.
Napravnik - Les Adieux - (2nd) Fantasy on Czech National Themes Op5.

I'm interested in the Litolff and the Carreno. I'm slightly repertoire-constrained, almost by semantic definition, in that if I do plan any sequel album, to keeping to operatic source material. I'll send you my email address by pm should you wish to pass the scores on.

Thanks! I've done a bit of work cross-referencing the OT and IMSLP. I've tended to start from composer and opera first, rather than arranger. The Litollf you mention doesn't seem to be on IMSLP, incidentally. Basically I've tried to locate some core pieces for each CD thus far, then dig around for worthy obscurities, which usually involves reading through a silly number of pieces and seeing which ones appeal on first glance. There is, as you say, a certain amount of diminishing returns the more obscure one gets. I didn't mind the Kullak Casta diva setting, and might return to it; I don't think it's as good as Thalberg's though - perhaps a bit "fussy". Lots of thinking for me and lots to investigate!

@ Rob H: thanks so much for buying, and I'm delighted you have enjoyed what you heard. I'll check IMSLP for the Rosenthal; I can't remember exactly when he died, and potential implications for the 70-year rule, but hopefully I will find it.

@ Mark Thomas: thanks so much for the list of Raff material. Again I'll be looking through IMSLP over the next week and seeing what I think. I'll probably start with the Africaine, as I know the Liszt paraphrases therefrom, and that should be a useful point of comparison.

Much appreciated, to all of you.

@ Gareth, Rob H: Halka is a super paraphrase; it is of course also at the very highest level of difficulty, imo, in this area of the repertoire. I've looked at it already and it's been tenuously in the "for consideration" pile for a fair while. I suppose the answer to whether I pursue it largely comes down to the small section in left hand sixths, which is certainly outwith my comfort zone. I'm very reluctant to criticise any recording of it when it is so replete with technical demands. Some of the Ponti recordings were made on next to zero budget; even, in some cases, on an upright, so I've been told.

Thanks for the numerous replies! I'll try to reply to all of them tonight.

@eschiss1: Yes, I was actually peripherally aware of the Wagner/Jaëll recording you mention (and I believe it is commercial), but it had slipped my mind. It's not by me! I had a quick look at the Hunten and I agree with Gareth; it seems to be one of the "functional" paraphrases written for amateurs to play. Rosellen I was previously totally unaware of, so thank you for that, and once again, IMSLP beckons and I'll have a look around.