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Thank you!!!…

Here is Bolet earlier rendition reissued on CD, should you be interested.

Apparently he made one ever earlier recording (RCA, 1960) but that seems never to have been issued on CD at all.

And thanks for Jeno Jando recommendation. Sounds like worth listening to.

I too like Claudio Arrau on Philips and I wish he had been recorded in better sound. But he is fascinating combination of technique and musicality, not something you often hear in these pieces.

Jorge Bolet, however, is my personal favourite. His late DECCA recording is surely somewhat deficient techically, but he manages – as every great artist does – to convert his weaknesses into strengths. His is the most musical interpretation I’ve ever heard and I think nobody has ever done more to prove that Liszt was first and foremost a great composer and then – and only then – a stunning technician.

Do you know by the way that Bolet has an earlier recording of the Etudes? It is not especially well recorded (Ensayo) but captures Bolet is his absolute prime (1970). “Mazeppa” is especially different, almost a minute longer and stupendous technically without losing a bit on the musical side. On the whole the recording is stunning but still unique musically.

Once I used to be appalled by Lazar Berman but now I look upon him as much more interesting artist than I used to; and of course his technical prowess is amazing. As for Cziffra and Berezovsky mentioned by the commentator above, these are quite simply the most perverse “interpretations” known to me; because of such travesties Liszt has been, and indeed still is in some quarters, regarded merely as a meretricious poser and nothing more. Nothing is further from the truth.

There were a number of scenes that Parajanov shot which didn’t make it into the final cut of the film, including those Grigorian included in his documentary. Some may have been cut due to censorship, but probably most were cut because they didn’t turn out the way Parajanov wanted or because they didn’t fit into the film as it was taking shape. However, the footage is uniformly striking and deserves to be more widely seen. It would be great to include the footage as a supplement to a DVD special edition of the film. I describe the outtakes in more detail in my book chapter on “Pomegranates.” Remarkably, about 4 hours worth of outtakes from the film were shown on Italian TV a few years back. The Parajanov Museum in Yerevan also beautiful color production stills of most, if not all of the discarded scenes.

As for Berezovsky, I saw a video of his live performance at La Roque D’antheron – a strong performance, and uniquely valuable as a video record of the Etudes. It made me appreciate how challenging those pieces really are – the pianist has to know the keyboard completely in order to manage all the rapid, wide leaps. What do you think of Berezovsky’s CD?