Tyler Hay at St .Mary’s The gentle giant with a heart of gold and magic fingers.

Tyler Hay at St.Mary’s The mild titan with a heart of gold and also magic fingers.


Tuesday 31 January 3.00 pm

I have actually listened to Tyler play often times over the previous couple of years and also it is excellent to see just how he has actually grown right into a musician of excellent stature.A technological guarantee allied to a music knowledge and also interest that enables him to dive deep right into the piano archives discovering numerous unjustly overlooked ratings.The wonder is that Tyler along with Mark Viner and also Thomas Kelly are a wish for future songs making and also have the ability to bring their explorations clearly to life in recording and also on the show system Three musicians, each extremely various, all with an exceptional technological training providing their playing such weight and also guarantee.Not constantly a very easy point as much of the songs was composed for author– pros and also make excellent needs on the pianist.All 3 got their very early training at the Purcell School for talented young artists and also all 3 mosted likely to the Royal College of Music to best the base that they had actually been offered as talented young people.Both Tyler and also Mark Viner examined keeping that outstanding fitness instructor of young artists Tessa Nicholson (both later on developing their researches with Niel Immelman ).Another of her trainees from Purcell and also later on proceeding with her at the RAM,Alim Beisembayev, lately won the Gold Medal at the Leeds.Thomas Kelly examined with the late Alan Ball at the Purcell School and also later on at the RCM.The extreme elegance Tyler gave the Field nocturnes was matched by the vibrant mastery called for from Clementi (his notorious Gradus advertisement Parnassum provides some suggestion of what is anticipated).The Liszt Venezia e Napoli flaunted his outstanding feeling of design in addition to vibrant showmanship.

Sumptuous pureness of noise and also mild streaming enhancements hidden Tylers instead armed forces look.Jorge Bolet also looked even more like a sergeant significant than a pianist however his beauteous special and also impressive refined radiance have actually entered tale.Bolet was from the exceptional institution of David Stapleton as was Earl Wilde and also numerous various other epic numbers of the not also far-off past.Tyler improved his researches with Niel Immelman that was from the institution of the excellent English pianist Cyril Smith that epitomised the Stapleton school.I well bear in mind Niel Immelman and also Frank Wibaut (and also numerous others consisting of David Helfgott of ‘Shine’ popularity and also the unbeatable Fanny Waterman) impressive the instead much more strong development of their fellow trainees with their all-natural simplicity and also rainbow scheme of audios.There was beauteous elegance in the C small nocturne that Liszt compared to ‘a moonlit stroll among the birch trees’. A luminescent noise with fiortiori decorations played like streams of gold with the decorations integrated so unobtrusively right into the Bel canto line.The innocent Pastoral elegance of the F significant nocturne with it’s simpleness and also the lovely little cadenza simply included in the ever before much more ornamented melodious line had fun with miraculous special causing the lovely bell like ending.There was elegance and also intimate beauty in the A significant nocturne that was Schumann’s preferred.Its seemless Schubertian profusion of track so perfectly formed in Tyler’s ever before much more delicate hands.The E level nocturne based upon an Irish individual track was had fun with the seductive virtue and also pureness of noise that had actually made these efficiency such an attracting display for Tyler’s much less daring coworkers.

John Field (26 July 1782– 23 January 1837), was an Irish pianist, author, and also educator.He was birthed in Dublin right into a music household, and also got his very early education and learning there, specifically with the Italian author Tommaso Giordani.The Fields quickly relocated to London, where Field examined with Muzio Clementi.Under his tutoring, Field rapidly came to be a renowned and also in-demand show pianist. Together, master and also student went to Paris,Vienna and also St Petersburg.Ambiguity borders Field’s choice to stay in the previous Russian resources, however it is most likely that Field functioned as a sales rep for the Clementi Pianos.

Field came to be popular for his blog post-London design, possibly created in Moscow around 1807. The particular structure is that of a chromatically embellished tune over a sonorous left hand sustained by delicate pedalling. Field additionally had a fondness for ostinato patterns and also pedal factors, instead uncommon for the dominating designs of the day. Entirely rep of these attributes are Field’s 18 nocturnes and also connected items such as Andante inedit, H 64. These jobs were several of one of the most prominent songs of the very early Romantic duration and also do not follow a rigorous official plan however produce a state of mind without message or program.They were appreciated by Chopin that ultimately made the piano nocturne well-known, and also Liszt that released a version of the nocturnes based upon uncommon Russian resources that integrated late alterations byField

None have actually fairly achieved to these obscure eolian consistencies, these half-formed sighs drifting via the air, gently regreting and also liquified in scrumptious sorrowful. Nobody has actually also tried this strange design, and also specifically none of those that listened to Field play himself, or instead that heard him fantasize his songs in minutes when he completely deserted himself to his ideas.— Franz Liszt’s beginning to his version of Field’s nocturnes, 1859.

Tyler pictures that Clementi need to have listened to Purcell’s Dido and also Aeneas (and also perhaps even seen it on the phase in London) and also been influenced to compose his only honestly programmatic work.An extremely great job inexplicably omitted from programs and also seldom played also in Italy or somewhere else.It’s significant sluggish opening causing the Allegro and also Tyler’s driving balanced power where enthusiastic profusions contrasted with meaningful melodious flows.There was excellent elegance that Tyler gave the Adagio with it’s tolling bell like opening and also long held pedals where the fragile melodious line arised with it’s supernatural murmurings The last Allegro ruptured onto the scene with the brilliant rapidity of Tyler’s exceptional ‘fingerfertigkeit’.Passages of virtually theatrical excitement as Tyler’s electrical power brought this exceptional job clearly to life.Hopefully it will certainly be a seeing card for all pianists to take into consideration for their future programs.

Muzio Filippo Vincenzo Francesco Saverio Clementi (23 January 1752– 10 March 1832) was an Italian author, pianist, pedagogue, conductor, songs author, editor, and also piano supplier, that was primarily energetic in England.Encouraged to research songs by his dad, he was funded as a young author by Sir Peter Beckford that took him to England to progress his researches. Later, he visited Europe many times from his enduring base in London.Clementi relocated with his partner Emma (née Gisborne) and also his household to the borders of Lichfield,Staffordshire and also rented out ‘Lincroft House’ on the Earl of Lichfield’ s Estate from 1828 up until late 1831. He after that relocated to Evesham where he passed away on 10 March 1832, after a brief disease, aged eighty. On 29 March 1832, he was hidden in the cloisters of Westminster Abbey.Accompanying his body were 3 of his trainees: Johann Baptist Cramer, John Field and alsoIgnaz Moscheles He had 5 youngsters, a child Carl by his partner Caroline (née Lehmann) that passed away right after his birth and also the others, Vincent, Caecilia, Caroline, and also John Muzio with his 2nd partner Emma.

Didone Abbandonata– Piano Sonata in G,Op 50, No.3 is the last sonata made up by Muzio Clementi in 1821. It was labelled after Metastasio’s often-set opera libretto where Clementi looks for to inform the awful tale of Virgil’s heroine instrumentally. It is the only instance of such a programmatic item in the author’s body of work.One of one of the most distinguished pianists of his time– that also took part in a competition with Mozart and also did not shed– Muzio Clementi produced essential instructional benefit piano and also entirely 63 sonatas for piano solo. Didone abbandonata days from his last compositional piece for solo piano sonatas composed in 1821. The subject of Dido, that was deserted by Aeneas and also revealed her pain via grieving, anguish and also, eventually, going crazy chaos, was incredibly preferred and also based on plenty of setups given that the 17th century in operas, solitary “scena” and also numerous crucial jobs. The efficiency guidelines for the sonata are as many as they are unusual, and also represent Dido’s hyper-expressiveness.

The just various other time I have actually heard this job was by the identified Italian pianist,Sandro de Palma, that has a comparable interest to Tyler of seeking overlooked jobs as they dive ever before deeper right into music archives

And currently a well recognized job by Liszt that is frequently consisted of in recitals.Cherkassky made use of to play the Tarantella on it’s very own.That excellent Liszt authority Leslie Howard appropriately explains that at the Canzone and also Tarantella ought to be played with each other as they are connected by the umbelical pedal that Liszt so plainly suggests.Tyler certainly played the whole collection of 3 items.Creating a beauteous ambience with the fragile arabesques where Liszt can right away produce the weak liquidity of that magic city.A melodious line that simply drifted over the mild waves and also was perfectly engraved with refined decorations that appeared to move with such simplicity from Tyler’s reliable hands.There was significant strength to the ‘canzone’ with Tylers feeling of the nobility and also splendour of theatrical rhetoric.A perfectly pretentious finishing connected to the impressive funabulistics that Liszt needs in the Tarantella.Repeated keeps in mind tossed of with the jeux perlé simplicity of the excellent superstar of the Golden age of piano having fun.An age when exaggeration was even more impressive than rumbustuous vacant mastery of the ‘I plays mostly forcibly”. A means of playing excavating deep best to the base of the tricks( and also past!) that qualifies incorrectly much of the Russian institution of playing epitomised by the much regreted Alexander Toradze and also the ever before existing Denis Mutseev.From Tyler’s hands streamed seemless streams of silver and gold with a main episode of beauteous elegance and also refined awesome rubato.This was the lesson that the Belcanto vocalists of their day had actually conveyed and also influenced pianists to mimic.The enjoyment and also mastery that Tyler excited in the last web pages of the Tarantella was impressive for its pianistic excellence and also enthusiastic participation.

Venezia e Napoli where each of the 3 item is based upon what recognized product in the roads of Italy at the time of their perception.

Gondoliera is explained by Liszt in ball game as La biondina in gondoletta–Canzone di Cavaliere Peruchini (Beethoven’s setup of it, WoO157/12, for voice and also piano triad simply explains it as a Venetian folk-song, and also Peruchini continues to be evasive) and also he treats it in a much gentler method than in the earlier variation with a specifically great knowledgeable with tremolo enhancement; the tremolo overviews an extremely dark musing upon Rossini’s Canzone del Gondoliere–‘Ness ùn maggior dolore’ (Otello) which itself remembers Dante’s Inferno and also the Tarantella— including motifs by Guillaume Louis Cottrau (1797– 1847)– arises from the midsts, a lot more refined than in its previous, primary-coloured clothes, however eventually triumphantly energetic.

Tyler is additionally a talented communicator whose intros were not just useful however additionally enjoyable with savory asides that made one pleasure much more his exceptional efficiencies

Tyler Hay was birthed in 1994 and also acquired a location to research at the Purcell School in 2007 where he examined underTessa Nicholson He examined with Graham Scott and also Frank Wibaut at the RNCM and also with Niel Immelman and also Gordon Fergus-Thompson at the RCM. Tyler has actually executed Rachmaninoff’s second Sonata at Wigmore Hall, Scriabin’s 5th So nata at the Purcell Room and also Ravel’s Concerto for Left Hand Alone at theQueen Elizabeth Hall In 2016, Tyler won initial reward in the key-board area of the Royal Overseas League Competition and also in addition to winning the RNCM’s Gold medal competitors, additionally won initial reward in the Liszt Society Competiti on. He completed in the lasts of the Leeds International Piano Competition in 2021 and also won first reward in the Dudley International Piano Competition in November, 2022. CDs of Liszt, John Ogdon and also Kalkbrenner are readily available on Piano Classics and also Tyler’s most current cd of virtuoso piano songs by Simon Proctor is currently readily available on Navona Records


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