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Alessandro Marcello / Earl WildAdagio (Oboe Concerto in D minor, Mvt. II)

The art of the transcription has been an important part of Earl Wild’s lengthycareer. It could be said that Wild’s transcriptions represent not so much an evo-lution of the genre as a continuation in the very best of the Romantic tradition,looking back as far as Franz Liszt’s transcriptions of Schubert’s songs. In the same

tradition as Liszt was Rachmaninoff,whose transcriptions are legendary intheir own right. Earl Wild follows inthis tradition and has been called oneof the greatest transcribers of ourtime. In 1997 he was recognized assuch when he received a Grammyaward for his CD devoted entirely topiano transcriptions, nine of whichwere his own.

One of Earl Wild’s two mostrecent transcriptions comes from thesecond movement of AlessandroMarcello’s famous Oboe Concerto in Dminor. Wild remarked on the workby saying, “I knew that Bach mademany transcriptions of old Italian

Alessandro Marcello (1669-1747)

music; this was one of the ways in which he studied. I decided to make my ownpiano transcription of Marcello’s Adagio because I believe it is one of the mostbeautiful, elegant melodies of the eighteenth century.”

Wild paid careful attention to finding simple, but effective, voicings for theaccompanying chords and has quite particular taste in regard to the work’s tempo.Wild says, “I have heard the original work performed many times. Unfortunately,many oboe players, who have wonderful breathing apparatus’ and can easily playlong beautiful phrases, often play the piece too fast for my taste. I decided that Iwould transcribe the work in a very simple fashion so I could play it in a moreexpressive tempo while performing it in concert.”

Wolfgang Amadeus MozartPiano Sonata in F Major, K. 332

Mozart rarely referred to the piano sonatas in his family correspondence; onlyonce did he address his Piano Sonata in F Major, K. 332. In a letter to his father in June1784, Mozart wrote, “I have just delivered the three sonatas for clavier solo – the onesI sent to my sister, the first one in C, the second in A, and the third in F – to Artaria tobe engraved.”

Musicologists long credited the composition of the F Major sonata to Mozart’stime in Paris around 1778. Upon careful analysis of the manuscript paper, watermarks, and even Mozart’s handwriting, however, it is now agreed that the sonata wasprobably composed in 1783 in either Vienna or Salzburg.

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Regarding the always controversialtopic of ornamentation, Earl Wild hasremarked, “I discovered that Mozart oftencomplained that performers didn’t orna-ment his sonatas. So, I decided to deco-rate this sonata, allowing it to soundimprovisatory.” He continues, “There aremany striking melodies in Mozart’s pianocompositions but I try to think of them asbeing orchestral. I feel that if you thinkof the melodies as coming from a clarinet,an oboe, or a string instrument you willalways get the proper sound and degreeof phrasing.”

Ludwig van BeethovenThirty-Two Variations in C minor, WoO 80

Ludwig van Beethoven composed his Thirty-Two Variations in C minor in 1806.The work is based on a brief chaconne theme of only eight measures with a strong har-monic shift at the start of each of bar. Interestingly, apart from some incidental changes,this harmonic progression (highlighted by a bass line which follows a descending chro-matic scale for six measures before retuning to the tonic through a IV V I cadence)remains intact throughout the composition. Beethoven never wanders into another key

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Wolfgang Amadeus Mozart(1756-1791)

or tonal center (each variation is in eitherC Major or C minor), changes the time sig-nature, or varies the tempo.

Beethoven instead chooses to exploreonly the melodic and rhythmic elements ofhis theme, and he does so quite exhaustive-ly. The overall design principle here con-sists of building groups of variations, wherea series of variations will grow out of a pre-vious motif, either melodic, rhythmic, orfigurative. In doing so, Beethoven has craft-ed a work so meaningfully interconnectedwith itself that, despite a lack of modulationor of variation in key or time signature, thelistener’s interest is never lost.

The Thirty-Two Variations in C minorare arguably one of the greatest examples of a well-composed set of variations in therepertoire. It is additionally one of the great examples of virtuosity. Earl Wild has com-mented that, “Some of the variations are very difficult, like the ones with repeated-notesnear the beginning of the piece. If your tempo is too slow it will sound like an exercisein technique!”

Wild goes on to add, “This piece is one of the greatest examples of Beethoven’s stub-born nature. The theme always sounds, at least to me, like a stubborn child. It’s asthough somebody invited Beethoven to a party but he didn’t want to go. So, Beethovensays, “No, no I won’t go. No, no I won’t go. I won’t go. I won’t go! I will… not… go.’”

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Ludwig van Beethoven(1770-1827)

Mily BalakirevPiano Sonata in B flat minor, Op. 5

Nearly a century after his death, Mily Balakirev fails to be recognized as occupyingas important a place in Russian music of the Nineteenth Century as his contemporariesand, even today, few of his works are performed.

A virtuoso pianist and self-taught composer, Balakirev was a member if the “MightyHandful,” a group of five composers that included Alexander Borodin, Cesar Cui,Nikolai Rimsky-Korsakov, and Modest Mussorgsky. These five composers were respon-sible for molding the destiny of Russian music as dawn broke on the Twentieth Century.

Along with piano fantasy Islamey, Balakirev’sPiano Sonata in B flat minor is widely considered tobe the composer’s greatest achievement. With theexception of Mussorgsky’s Pictures at an Exhibition,Balakirev’s sonata is the only large-scale work forsolo piano composed by a member of the “MightyHandful.”

Balakirev’s first sketches for this sonata dateback to 1855, but it wasn’t until 1905, just fiveyears before the composer’s death, that the workwould take its final shape. Dedicated to compos-er Sergei Liapunoff, the Piano Sonata displayssuperior achievements in thematic unity, incorpo-ration of folk melodies, virtuosity, and supremelyidiomatic writing for the instrument.

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Mily Alexeyevich Balakirev (1837-1910)

Frédéric ChopinFour Impromptus

Frédéric Chopin’s Four Impromptus are actually anything but impromptu.Whereas the title suggests an improvisatory birth, these pieces are clear, well-planned little gems that demonstrate the composer’s skill in manipulating a sort-form composition.

Alfred Cortot wrote the following regarding Chopin’s Impromptus:

First Impromptu in A flat Major,Op. 29. “A babble of lively waters, arustling of leaves at the top of trees, amurmuring breeze of the day at itsbirth – everything that brushes light-ly, slides, and whispers seems to haveinspired this arabesque of sonorities.”It is impossible to better characterizethe fluid freshness of this adorablepage. Triplets in both hands give usits élan, aside from a moment’s pausefor a theme marked sostenuto, whichfollows a reprise of the beginningmotive.

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Frédéric Chopin portrait-coin by Antoine Bovy, 1837

(1810-1849)

Impromptu in F sharp Major, Op. 36. If Chopin had called this a nocturneinstead of an impromptu we would not be surprised. This cantilena, markedandantino, has nothing fleeting about it. I slow down and sings, with pret-ty modulations, toward the entry of a theme in triple crotchets. The coda isvaporous, airy, and caressing.

Third Impromptu in G flat Major, Op. 51. Perhaps the most perfect of theimpromptus, marked vivace giusto, in writing and in feeling [this work is]rather close to the famous La Leggierezza of Liszt. But Chopin sacrificesnothing to unnecessary virtuosity. Here as elsewhere, his music is tremblingwith avowals, inflated with élan and intoxicated ecstasy. The second part, indouble notes for the right hand, must never make the line of discourse heavy,nor should the performer make pathos out of the cello song that an inter-lude, sostenuto, gives to the left hand before a return of the initial warbling.

Fantaisie-Impromptu in C sharp minor, Op. 66. Why did Fontana give thename of Fantaisie-Impromptu to this fourth impromptu, published among theposthumous works? Nobody knows. Any why did Chopin withdraw itfrom the catalogue of his works, when it succeeds as well as the first three?No one knows. In any case, the Fantaisie-Impromptu has become the mostpopular of the four, so that in the words of a humorist, if this impromptu didnot exist, the music classes at boarding schools for young ladies would haveto close their doors. No doubt because the first section of this page is fastwithout offering the fingers that play it any great difficulties and because thesecond theme, singing freely, gives superficial feelings the opportunity toexpand – sometimes too lavishly. Neither unchained passion nor pathosbathed in the confusion of the pedal, but an impatient whispering followedby a moment of bashful abandon.

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Earl WildJarabe Tapatio (“Mexican Hat Dance”)

The second of Earl Wild’s most recent transcriptions is an adaptation of one

of the world’s most beloved folk-tunes which exudes Wild’s youthful and upbeat

personality. Jarabe Tapatio, famously known as the Mexican Hat Dance, is a vir-

tuoso confection that inevitably leaves a smile on the face of all who hear it…

even Wild.

“That’s why I love the piece so much,” Wild has commented, “it always

makes me smile.” The famous dance tune originates from Mexico during the

reign of Emperor Maximilian, who loved the native music so much that he

would employ the strolling folk musicians to play at the palace during fiestas

and weddings. The term for these performers, mariachis, comes from the

French word for marriage and it was these musicians who made the folk-song

Jarabe Tapatio famous.

Wild recalls the transcription’s gestation period saying, “I have always

loved this piece and wanted to make an updated, but authentic version for

piano solo. I phoned an old friend of mine, Frederic Franklin, who was a great

premier dancer with the Ballet Russe for years. I met Freddie in Pittsburgh

when the dance company first came to the United States in the early 1930’s.

When I asked him if he knew much about the Mexican Hat Dance, he respond-

ed, ‘Oh yes, we danced it many times.’ Excitedly, I asked him to sing it to me

in the correct tempo over the phone! He sang the song from beginning to end

(all the parts) exactly the way it’s always been performed; I thanked him and

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took it from there.”

The arrangement opens very tongue-in-cheek, with the piano grumbling

out the tune in the instrument’s extreme bass register. This dark, mock-dra-

matic opening provides a most wonderful effect when the full melody finally

appears and begins singing in the treble register. According to Wild, the effect

is “like the sun coming out.”

Also included in the arrangement very near to the climax and in homage to

the traditional Mexican wedding, are eight measures of clanging church bells.

Says Wild, “The whole piece has to be lively and festive, just the way it’s played

by the mariachis.”

Program notes by Christopher Weiss © 2006

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Earl Wild was born on November 26, 1915 in Pittsburgh,Pennsylvania. As a child his parents would often play opera overtures (suchas the one from Bellini’s Norma) on their Edison phonograph. As the record-ings were playing, Earl, only three years old, would go to the family piano,reach up to the keyboard, find the exact notes, and play along in the samekey. At this early age, Earl Wild displayed the rare gift of absolute pitch. Thisand other feats labeled him as a child prodigy and led immediately to pianolessons.

At six, he had a fluent technique and could read music easily. Before histwelfth birthday, he was accepted as a pupil of the famous teacher SelmarJanson, who had studied with Eugen d’Albert and Xaver Scharwenka, bothstudents of the great virtuoso pianist / composer Franz Liszt. The youngpianist was then placed into a program for artistically gifted young people atPittsburgh’s Carnegie Tech (the Institute of Technology) -- now CarnegieMellon University. Enrolled throughout Junior High, High School, andCollege, he graduated from Carnegie Tech in 1937. By nineteen, he was aconcert hall veteran.

As a teenager, Mr. Wild had already composed many works and piano tran-scriptions as well as arrangements for chamber orchestra that were regularly

oEARL WILD

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performed on the localradio station. He was invit-ed at the age of twelve toperform on radio stationKDKA in Pittsburgh (thefirst radio station in theUnited States). He madesuch an impression that hewas asked to work for thestation on a regular basisfor the next eight years.Mr. Wild was only fourteenwhen he was hired to playPiano and Celeste in thePittsburgh SymphonyOrchestra under the batonof Otto Klemperer andFritz Reiner.

With immense hands,absolute pitch, graceful stage presence, and uncanny facility as a sight-readerand improviser, Earl Wild was well equipped for a lifelong career in music.

During this early teenage period of his career, Earl Wild gave a brilliantand critically well received performance of Liszt’s First Piano Concerto in E flatwith Dimitri Mitropoulos and the Minneapolis Symphony in Pittsburgh’s

Earl Wild

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Syria Mosque Hall.He performed the work without the benefit of a rehearsal.In 1937, he joined the NBC network in New York City as a staff pianist.

This position included not only the duties of playing solo piano and chamberrecitals, but also performing in the NBC Symphony Orchestra under conduc-tor Arturo Toscanini. In 1939, when NBC began transmitting its first com-mercial live musical telecasts, Mr. Wild became the first artist to perform apiano recital on U.S. television. In 1942, Toscanini made Earl Wild a house-hold name when he invited him to be the soloist in an NBC radio broadcastof Gershwin’s Rhapsody in Blue. It was the first performance of the Rhapsodyfor both conductor and pianist, and although Mr. Wild had not yet playedany of Gershwin’s other compositions, he was immediately hailed as themajor interpreter of Gershwin’s music. The youngest (and only) Americanpiano soloist ever engaged by Maestro Toscanini and his NBC Symphony, Mr.Wild was a member of the orchestra, working for the NBC radio and televi-sion network from 1937 to 1944.

During World War II, Mr. Wild served in the United States Navy as amusician, playing 4th flute in the Navy Band. He performed numerous solopiano recitals at the White House for President Roosevelt and played twenty-one piano concertos with the U.S. Navy Symphony Orchestra at theDepartmental Auditorium, National Gallery, and other venues in Washington,D.C. During those two years in the Navy he was frequently requested toaccompany First Lady Eleanor Roosevelt to her many speaking engagements,where he performed the National Anthem as a prelude to her speeches.

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Earl Wild has participated in many premieres. In 1944 on NBC radio,he performed the Western World premiere of Shostakovich’s Piano Trio in Eminor. In France, he was soloist in the world premiere performance of PaulCreston’s Piano Concerto in 1949. He gave the American premiere of the samework with the National Symphony in Washington, D.C. In December of1970, with Sir Georg Solti and the Chicago Symphony, Mr. Wild gave theworld premiere of Marvin David Levy’s Piano Concerto, a work specially com-posed for him.

Mr. Wild has had the unequaled honor of being requested to perform forsix consecutive Presidents of the United States, beginning with PresidentHerbert Hoover in 1931. In 1961 he was soloist with the National Symphonyat the inauguration ceremonies of President John F. Kennedy in ConstitutionHall.

A common element among the great pianists of the past and Earl Wild isthe art of composing piano transcriptions. Mr. Wild has taken a place in his-tory as a direct descendant of the golden age of the art of writing piano tran-scriptions. Called “The finest transcriber of our time,” Earl Wild’s piano tran-scriptions are widely known and respected. Over the years they have beenperformed and recorded by pianists worldwide.

In 1986, on the occasion of the hundredth anniversary of the death ofFranz Liszt, Earl Wild was awarded a Liszt Medal by the People’s Republic ofHungary in recognition of his long and devoted association with this greatcomposer’s music. Liszt is a composer who has been closely associated withMr. Wild throughout his long career as he has been performing Liszt recitals

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for over fifty years. Championing composers such as Liszt long before theywere “fashionable” is part of the foundation on which Mr. Wild has built hislong and successful career.

In addition to pursuing his own concert and composing career, Earl Wildhas actively supported young musicians all his life. He currently holds thetitle of Distinguished Visiting Artist at his alma mater, Carnegie MellonUniversity in Pittsburgh. In 1996, Carnegie Mellon honored Mr. Wild withtheir Alumni Merit Award and in the fall of 2000 they further honored himwith their more prestigious Distinguished Achievement Award.

His discography of recorded works includes more than 35 piano concer-tos, 26 chamber works, and over 700 solo piano pieces. Today at the age ofeighty-eight, he still continues to perform concerts and records at least onenew disc per year.

In 1997, he received a GRAMMY Award for his disc devoted entirely tovirtuoso piano transcriptions titled Earl Wild - The Romantic Master (an 80thBirthday Tribute).

For the first official release of the newly formed IVORY CLASSICS labelin 1997, Earl Wild recorded the complete Chopin Nocturnes (CD-70701),which the eminent New York Times critic Harold C. Schonberg reviewed inthe American Record Guide saying, “These are the best version of theNocturnes ever recorded.” Since its inception, IVORY CLASSICS hasreleased twenty-eight newly recorded or remastered performances featuringEarl Wild.

Major recognition is something Mr. Wild has received numerous times in

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his long career. He was included in the Philips Records series entitled The GreatPianists of the 20th Century with a double disc devoted exclusively to piano tran-scriptions. He has been featured in TIME Magazine on two separate occasions;the most recent was in December of 2000 honoring his eighty-fifth birthday.One of only a handful of living pianists to merit an entry in The New GroveDictionary of Music and Musicians, Mr. Wild is therein described as a pianistwhose technique “is able to encompass even the most difficult virtuoso workswith apparent ease.”

Mr. Wild is currently working on his memoirs which he hopes to publishsoon.

Earl Wild’s compositions and transcriptions are published byMichael Rolland Davis Productions, ASCAP

mrdavisprod@sprintmail.comTelephone: 614.761.8709

Mr. Wild’s official website: www.EarlWild.com

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Introducing the limited edition SHIGERU KAWAI EX CONCERT GRAND

These limited edition masterpieces are the per-sonal legacy of Kawai Global Group’s Chairmanemeritus, Shigeru Kawai who has led the companyfor over 50 years. Mr. Kawai called upon his mostelite craftsman, called Master Piano Artisans, to cre-ate these exceptional instruments. A designatedArtisan meticulously guides the crafting of eachindividual instrument and, upon completion, signshis name to celebrate the finished work of art.

The piano uses unique materials such as rare Ezospruce from Hokkaido, Japan’s northernmostisland, is aged (or seasoned) naturally for up to fif-teen years before it is deemed ready for crafting intoa SHIGERU soundboard. This lengthy agingprocess is known in Japan as Kigarashi, translated‘finding balance between time and nature.’

The Ezo soundboard has been hailed as the mostresonant in the world, producing a full-bodied, richtone like no other. To hear it is to believe in therewards of time and patience.

The Artisan “hand presses” each set of SHIGERU hammers without the use of heat orartificial hardeners that can destroy the hammer’s tone and longevity. These unique ham-mers are described by the name, Shiko Seion, translated ‘the ultimate level of voicing.’ Thebass strings on the SHIGERU piano are known as Temaki strings, hand wound by theArtisan to create a depth and clarity not found on traditional machine wound strings.

After nearly a year of careful preparation and hand assembly, a SHIGERU KAWAI EXis complete and ready to be sent to its destination.

Kawai piano technician, Yasuhiro Kitamura Kawai Executive Vice President, Junichi Ando

Pianist Earl Wild

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EARL WILD - Rachmaninoff Song Transcriptions (CD - 74001) (DDD & ADD)Earl Wild is the finest transcriber of his time and these skills are on display in his Rachmaninoff song transcriptions. All thirteen songs haveglorious remastered sound.

EARL WILD - Virtuoso Piano Transcriptions1997 GRAMMY® Award (CD - 70907) (DDD)Bach/Wild, Handel/Wild, Saint-Saëns/Wild, Chopin/Wild,Rachmaninoff/Wild, Tchaikovsky/Wild, Fauré/Wild, Mozart, J. Strauss Jr. and Earl Wild’s Fantasy on Snow White.

EARL WILD - Chopin Etudes (CD - 76003) (DDD)The complete Etudes were recorded when Mr. Wild was seventy-seven - no rickety joints here, just pure motion and artistry, with the fluid technique and musical depth of a seasoned artist - absolute poetry.Remastered 24-bit Pow-r recording.

EARL WILD - Beethoven Sonatas (Hammerklavier) (CD - 76001) (DDD)Earl Wild plays Beethoven’s Hammerklavier Sonata Op. 106 and Sonata Op. 31, No. 3. Very impressive, musical and flawless Beethoven. One of thebest Hammerklavier Sonatas on disc. Remastered 24-bit Pow-r recording.

EARL WILD - Living History (CD - 75002) (DDD)A remarkable testament to Earl Wild’s vast career. The tone he extracts from his Shigeru Kawai EX Concert Grand is stunning. At ninety, Earl Wild clearly proves that he has remained at the top - truly the last romantic pianist.

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CREDITS

Recorded in Holy Trinity Lutheran Church, Buffalo, NY. May 11-14, 2003

Original 24/88.2 Master - Recorded direct to the SADiE Artemis

Producer: Michael Rolland Davis

Recording Engineer: Ed Thompson

Piano: Shigeru Kawai EX Concert Grand #2425001

Kawai Master Piano Artisan: Yasuhiro Kitamura

Special thanks to: Pastor Charles Bang of the Holy Trinity Lutheran Church,Buffalo, NY. and Brian Chung, Senior Vice President

of the Shigeru Kawai of America

Generous assistance came from the Michael D. Palm and Ivory Classics Foundations

Liner Notes: Christopher Weiss

Design: Samskara, inc.

To place an order or to be included on our mailing list:Ivory Classics® • P.O. Box 341068 • Columbus, Ohio 43234-1068

Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799michaeldavis@ivoryclassics.com

Visit our website: www.IvoryClassics.com

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Alessandro Marcello / Earl Wild - Adagio 4:30Wolfgang Amadeus Mozart - Sonata in F Major, K. 332 14:25Allegro 4:45Adagio 5:03Allegro assai 4:37Ludwig van BeethovenThirty-two Variations in C minor, WoO80 10:44

Mily Balakirev - Sonata No. 1 in B flat minor, Op. 5 24:51Andantino - L’istesso tempo 6:13Mazurka 5:12Intermezzo 4:21Finale - Allegro non troppo, ma con fuoco 9:05

Frédéric ChopinImpromptu No. 1 in A flat Major, Op. 29 3:36Impromptu No. 2 in F sharp Major, Op. 36 5:50Impromptu No. 3 in G flat Major, Op. 51 4:36Fantaisie-Impromptu No. 4 in C sharp minor, Op. 66 5:09Earl Wild arr. - Jarabe Tapatio ‘Mexican Hat Dance’ 3:27

TOTAL TIME - 78:14

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