Hexaméron, Morceau de concert S.392 for Six Pianos and Orchestra

Hexaméron, Morceau de concert S.392 for Six Pianos and Orchestra
The Miami Symphony Orchestra
Eduardo Marturet - Conductor
Christopher O'Riley - Piano (Liszt)
Marina Radiushina - Piano (Thalberg)
Ciro Fodere - Piano (Herz)
André Mehmari - Piano (Pixis)
Roberto Berrocal - Piano (Czerny)
Elisha Abas - Piano (Chopin)

Movements:
Introduction: Extremement lent (Liszt)
Tema: Allegro marziale (transcribed by Liszt)
Variation I: Ben marcato (Thalberg)
Variation II: Moderato (Liszt)
Variation III: di bravura (Pixis) - Ritornello (Liszt)
Variation IV: Legato e grazioso (Herz)
Variation V: Vivo e brillante (Czerny) - Fuocoso molto energico; Lento quasi recitativo (Liszt)
Variation VI: Largo (Chopin) - (coda) (Liszt)
Finale: Molto vivace quasi prestissimo (Liszt)

THE STEINWAY & SONS' PIANO EXTRAVAGANZA
2014/2015 Season “Grand Season Of The Piano”
Adrienne Arsht Center for the Performing Arts - Knight Concert Hall
May 3rd, 2015

Video Recording - Gabriel Cutiño

© 2015 Miami Symphony Orchestra. All rights reserved.

"This was a classic 19th-century set of operatic variations, a form that tended to produce more opportunities for virtuoso display than it did great music. Despite the enormous keyboard power on stage, the work wasn’t as thunderous throughout as you might expect. For much of the work, Liszt allowed just one pianist to play, letting each one perform a variation — all played with the required speed and agility — as the others took a break.
There were segments when all played, and thanks to the composer’s skill, the pianists’ technique and Marturet’s conducting, these came off as neither muddy nor chaotic. Instead, these were big, complex, rumbling passages — unforgettable aural experiences that are unlikely to be repeated anytime soon. The massive finale, with all pianists pounding away along with the orchestra, was a sonic blast that brought the crowd to its feet and provided a memorable ending to the Miami Symphony’s season."

David Fleisher - South Florida Classical Review