Abstract
As part of the project dedicated to the rediscovery of guitarist and composer Mario Parodi, in 2022 I recorded Liebestraum No. 3 by Franz Liszt in a revised version of the arrangement by guitarist Mario Parodi.
The recording was made on an original Enrique Garcia No. 262, Barcelona 1922.
Audio and Video: Giovanni Tammaro Recorded at: Teatro Asioli, Correggio (RE)
Liszt and Parodi - A Rediscovery of Romantic Interpretation
Liszt: Liebestraum No. 3, Notturno (Transc. Mario Parodi/Marco Ramelli)
Playing Liszt on the guitar might be considered a risky endeavor, but it offers a fascinating opportunity to approach Liszt’s music from a new perspective. For me, Mario Parodi served as a bridge into this exploration, offering insights not only into Liszt’s music but also into the interpretive practices of the Romantic tradition.
Starting with Parodi’s transcriptions, my aim was not simply to perform the arrangements, it was to delve into Parodi sophisticated approach to performance, which transcends the boundaries of the guitar and provides a window into the Romantic approach.
Understanding Parodi’s background is essential to appreciating his unique style. Born in Turkey to a Genovese father, Parodi relocated to Argentina in 1950. In Istanbul, he began as a self-taught guitarist but received formal training in counterpoint, harmony, and interpretation from pianists—a crucial detail for understanding his interpretive style.
A Connection to Liszt’s Legacy
What interpretive traditions might Parodi have absorbed from his piano instructors in Turkey? Turkey, during the late 19th and early 20th centuries, retained a strong connection to Liszt’s legacy, particularly following Liszt’s mid-19th-century visit to Istanbul. Many Turkish pianists were influenced directly or indirectly by Liszt’s teaching.
One notable example is Faik Bey, also known as Francesco della Sudda (1859–1940). Trained in Weimar by Liszt himself for over three years, Faik Bey was affectionately nicknamed "Der Pasha" by Liszt. This deep connection to Liszt's teachings shaped Turkish piano pedagogy well into the 20th century, remaining relatively insulated from other interpretive traditions.
In this context, Parodi absorbed a performance style steeped in Lisztian ideals. His playing is characterized by masterful manipulation of time, nuanced rubato, and an almost tactile treatment of sound. Parodi’s interpretations reflect a Romantic ethos, where sound is a material to be molded, and phrases breathe with dramatic flexibility.
Preserving and Reinterpreting Parodi’s Legacy
Thankfully, Parodi’s recordings allow us to glimpse his world of interpretation. His performances reveal a Romantic tradition rooted in Liszt’s teachings, aligning with the work of Liszt’s students such as Frederic Lamond. However, in 20th-century Argentina, this interpretive style was largely misunderstood. Parodi was perceived as eccentric, his approach misaligned with the prevailing trends of his contemporaries.
My recording of Liebestraum No. 3 seeks not only to honor Parodi’s transcription but also to embrace his philosophy of interpretation as a creative act. Inspired by Liszt’s own concept of “recreation,” I have adapted Parodi’s transcription, particularly in the cadenzas, incorporating my own creative voice while staying true to the spirit of the Romantic tradition.
This project highlights the interpretive richness of Parodi’s approach, bridging the Romantic ideals of Liszt with the expressive possibilities of the guitar. It underscores the enduring relevance of rediscovering these forgotten voices and their unique contributions to music history.
The recording was made on an original Enrique Garcia No. 262, Barcelona 1922.
Audio and Video: Giovanni Tammaro Recorded at: Teatro Asioli, Correggio (RE)
Liszt and Parodi - A Rediscovery of Romantic Interpretation
Liszt: Liebestraum No. 3, Notturno (Transc. Mario Parodi/Marco Ramelli)
Playing Liszt on the guitar might be considered a risky endeavor, but it offers a fascinating opportunity to approach Liszt’s music from a new perspective. For me, Mario Parodi served as a bridge into this exploration, offering insights not only into Liszt’s music but also into the interpretive practices of the Romantic tradition.
Starting with Parodi’s transcriptions, my aim was not simply to perform the arrangements, it was to delve into Parodi sophisticated approach to performance, which transcends the boundaries of the guitar and provides a window into the Romantic approach.
Understanding Parodi’s background is essential to appreciating his unique style. Born in Turkey to a Genovese father, Parodi relocated to Argentina in 1950. In Istanbul, he began as a self-taught guitarist but received formal training in counterpoint, harmony, and interpretation from pianists—a crucial detail for understanding his interpretive style.
A Connection to Liszt’s Legacy
What interpretive traditions might Parodi have absorbed from his piano instructors in Turkey? Turkey, during the late 19th and early 20th centuries, retained a strong connection to Liszt’s legacy, particularly following Liszt’s mid-19th-century visit to Istanbul. Many Turkish pianists were influenced directly or indirectly by Liszt’s teaching.
One notable example is Faik Bey, also known as Francesco della Sudda (1859–1940). Trained in Weimar by Liszt himself for over three years, Faik Bey was affectionately nicknamed "Der Pasha" by Liszt. This deep connection to Liszt's teachings shaped Turkish piano pedagogy well into the 20th century, remaining relatively insulated from other interpretive traditions.
In this context, Parodi absorbed a performance style steeped in Lisztian ideals. His playing is characterized by masterful manipulation of time, nuanced rubato, and an almost tactile treatment of sound. Parodi’s interpretations reflect a Romantic ethos, where sound is a material to be molded, and phrases breathe with dramatic flexibility.
Preserving and Reinterpreting Parodi’s Legacy
Thankfully, Parodi’s recordings allow us to glimpse his world of interpretation. His performances reveal a Romantic tradition rooted in Liszt’s teachings, aligning with the work of Liszt’s students such as Frederic Lamond. However, in 20th-century Argentina, this interpretive style was largely misunderstood. Parodi was perceived as eccentric, his approach misaligned with the prevailing trends of his contemporaries.
My recording of Liebestraum No. 3 seeks not only to honor Parodi’s transcription but also to embrace his philosophy of interpretation as a creative act. Inspired by Liszt’s own concept of “recreation,” I have adapted Parodi’s transcription, particularly in the cadenzas, incorporating my own creative voice while staying true to the spirit of the Romantic tradition.
This project highlights the interpretive richness of Parodi’s approach, bridging the Romantic ideals of Liszt with the expressive possibilities of the guitar. It underscores the enduring relevance of rediscovering these forgotten voices and their unique contributions to music history.
| Original language | English (Ireland) |
|---|---|
| Publication status | Published - 13 Apr 2022 |
Keywords
- Liszt
- Romanticism
- Performance practice
- rubato