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

Tuesday 31 January 3.00 pm

I have actually heard Tyler play lot of times over the previous couple of years and it is great to see how he has actually developed into an artist of excellent stature.A technical guarantee allied to a musical intelligence and interest that permits him to dive deep into the piano archives discovering numerous unjustly ignored scores.The marvel is that Tyler together with Mark Viner and Thomas Kelly are an expect future music making and have the ability to bring their discoveries clearly to life in recording and on the show platform 3 artists, each extremely various, all with an exceptional technical training offering their playing such weight and assurance.Not constantly a simple thing as much of the music was composed for author– virtuosi and make excellent needs on the pianist.All 3 got their early training at the Purcell School for talented young artists and all 3 went to the Royal College of Music to ideal the base that they had actually been provided as talented youths.Both Tyler and Mark Viner studied with that excellent fitness instructor of young artists Tessa Nicholson (both later on improving their research studies with Niel Immelman ). Another of her trainees from Purcell and later on continuing with her at the RAM, Alim Beisembayev, just recently won the Gold Medal at the Leeds.Thomas Kelly studied with the late Alan Ball at the Purcell School and later on at the RCM.The extreme charm Tyler gave the Field nocturnes was matched by the vibrant virtuosity needed from Clementi (his notorious Gradus advertisement Parnassum offers some concept of what is anticipated). The Liszt Venezia e Napoli displayed his excellent sense of design along with vibrant showmanship.

Delicious pureness of noise and mild streaming accompaniments belied Tylers rather military appearance.Jorge Bolet too looked more like a sergeant significant than a pianist however his ravishing special and impressive subtle radiance have actually entered legend.Bolet was from the exceptional school of David Stapleton as was Earl Wilde and numerous other famous figures of the not too far-off past.Tyler refined his research studies with Niel Immelman who was from the school of the excellent English pianist Cyril Smith who epitomised the Stapleton school.I well keep in mind Niel Immelman and Frank Wibaut (and numerous others consisting of David Helfgott of ‘Shine’ popularity and the indomitable Fanny Waterman) impressive the rather more strong development of their fellow trainees with their natural ease and kaleidoscopic combination of sounds.There was ravishing charm in the C small nocturne that Liszt compared to ‘a moonlit walk among the birch trees’. A luminescent noise with fiortiori decorations played like streams of gold with the decorations integrated so unobtrusively into the Bel canto line.The innocent Pastoral charm of the F significant nocturne with it’s simpleness and the lovely little cadenza simply contributed to the ever more embellished melodic line had fun with the utmost special resulting in the lovely bell like finale.There was grace and intimate beauty in the A significant nocturne that was Schumann’s favourite.Its seemless Schubertian profusion of tune so wonderfully formed in Tyler’s ever more delicate hands.The E flat nocturne based upon an Irish folk tune was had fun with the seductive innocence and pureness of noise that had actually made these efficiency such an attracting display for Tyler’s less daring associates.

John Field (26 July 1782– 23 January 1837), was an Irish pianist, author, and teacher.He was born in Dublin into a musical household, and got his early education there, in specific with the Italian author Tommaso Giordani.The Fields quickly relocated to London, where Field studied with Muzio Clementi.Under his tutelage, Field rapidly ended up being a well-known and in-demand show pianist. Together, master and student went to Paris, Vienna and St Petersburg.Ambiguity surrounds Field’s choice to stay in the previous Russian capital, however it is most likely that Field served as a sales agent for the Clementi Pianos.

Field ended up being popular for his post-London design, most likely established in Moscow around 1807. The particular texture is that of a chromatically embellished tune over a sonorous left hand supported by delicate pedalling. Field likewise had an affinity for ostinato patterns and pedal points, rather uncommon for the dominating designs of the day. Completely agent of these characteristics are Field’s 18 nocturnes and associated pieces such as Andante inedit, H 64. These works were a few of the most prominent music of the early Romantic duration and do not stick to a stringent official plan however produce a state of mind without text or programme.They were appreciated by Chopin who consequently made the piano nocturne well-known, and Liszt who released an edition of the nocturnes based upon unusual Russian sources that integrated late modifications by Field.

None have actually rather achieved to these unclear eolian consistencies, these half-formed sighs drifting through the air, gently regreting and liquified in tasty melancholy. No one has actually even tried this strange design, and particularly none of those who heard Field play himself, or rather who heard him dream his music in minutes when he totally deserted himself to his motivation.— Franz Liszt’s beginning to his edition of Field’s nocturnes, 1859.

Tyler envisions that Clementi should have heard Purcell’s Dido and Aeneas (and perhaps even seen it on the phase in London) and been motivated to compose his only honestly programmatic work.An extremely great work inexplicably omitted from programs and hardly ever played even in Italy or elsewhere.It’s significant sluggish opening resulting in the Allegro and Tyler’s driving balanced energy where enthusiastic profusions contrasted with meaningful melodic passages.There was excellent charm that Tyler gave the Adagio with it’s tolling bell like opening and long held pedals where the fragile melodic line emerged with it’s ghostly murmurings The last Allegro burst onto the scene with the scintillating rapidity of Tyler’s exceptional ‘fingerfertigkeit’. Passages of nearly operatic enjoyment as Tyler’s electrical energy brought this exceptional work clearly to life.Hopefully it will be a going to card for all pianists to think about for their future programs.

Muzio Filippo Vincenzo Francesco Saverio Clementi (23 January 1752– 10 March 1832) was an Italian author, pianist, pedagogue, conductor, music publisher, editor, and piano maker, who was mainly active in England.Encouraged to study music by his dad, he was sponsored as a young author by Sir Peter Beckford who took him to England to advance his research studies. Later on, he explored Europe various times from his enduring base in London.Clementi moved with his spouse Emma (née Gisborne) and his household to the borders of Lichfield, Staffordshire and leased ‘Lincroft Home’ on the Earl of Lichfield’ s Estate from 1828 till late 1831. He then relocated to Evesham where he passed away on 10 March 1832, after a brief health problem, aged eighty. On 29 March 1832, he was buried in the cloisters of Westminster Abbey.Accompanying his body were 3 of his trainees: Johann Baptist Cramer, John Field and Ignaz Moscheles. He had 5 kids, a child Carl by his spouse Caroline (née Lehmann) who passed away right after his birth and the others, Vincent, Caecilia, Caroline, and John Muzio with his 2nd spouse Emma.

Didone Abbandonata– Piano Sonata in G, Op. 50, No. 3 is the last sonata made up by Muzio Clementi in 1821. It was entitled after Metastasio’s often-set opera libretto where Clementi looks for to inform the terrible story of Virgil’s heroine instrumentally. It is the only example of such a programmatic piece in the author’s oeuvre.One of the most distinguished pianists of his time– who even took part in a contest with Mozart and did not lose– Muzio Clementi produced essential pedagogical works for piano and entirely 63 sonatas for piano solo. Didone abbandonata dates from his last compositional opus for solo piano sonatas composed in 1821. The subject of Dido, who was deserted by Aeneas and revealed her sorrow through grieving, misery and, eventually, raving insanity, was very popular and subjected to numerous plans considering that the 17th century in operas, single “scena” and numerous important works. The efficiency directions for the sonata are as various as they are unusual, and signify Dido’s hyper-expressiveness.

The only other time I have actually heard this work was by the recognized Italian pianist, Sandro de Palma, who has a comparable interest to Tyler of locating ignored works as they dive ever deeper into musical archives

And now a well recognized work by Liszt that is typically consisted of in recitals.Cherkassky utilized to play the Tarantella on it’s own.That excellent Liszt authority Leslie Howard appropriately explains that at the Canzone and Tarantella need to be played together as they are connected by the umbelical pedal that Liszt so plainly indicates.Tyler naturally played the whole suite of 3 pieces.Creating a ravishing environment with the fragile arabesques where Liszt might instantly produce the sluggish liquidity of that magic city.A melodic line that simply drifted above the mild waves and was wonderfully engraved with subtle decorations that appeared to stream with such ease from Tyler’s reliable hands.There was significant strength to the ‘canzone’ with Tylers sense of the nobility and magnificence of operatic rhetoric.A magnificently florid ending connected to the impressive funabulistics that Liszt needs in the Tarantella.Repeated notes tossed of with the jeux perlé ease of the excellent virtuosi of the Golden era of piano playing.A period when understatement was even more impressive than rumbustuous empty virtuosity of the ‘I plays generally by force”. A method of playing digging deep best to the bottom of the secrets( and beyond!) that characterises erroneously much of the Russian school of playing epitomised by the much regreted Alexander Toradze and the ever present Denis Mutseev.From Tyler’s hands streamed seemless streams of gold and silver with a main episode of ravishing charm and subtle spectacular rubato.This was the lesson that the Belcanto vocalists of their day had actually imparted and motivated pianists to imitate.The enjoyment and virtuosity that Tyler excited in the last pages of the Tarantella was impressive for its pianistic excellence and enthusiastic participation.

Venezia e Napoli where each of the 3 piece is based upon what recognized product in the streets of Italy at the time of their conception.

Gondoliera is explained by Liszt in ball game as La biondina in gondoletta– Canzone di Cavaliere Peruchini (Beethoven’s setting of it, WoO157/12, for voice and piano trio simply explains it as a Venetian folk-song, and Peruchini stays evasive) and he treats it in a much gentler method than in the earlier variation with an especially great verse with tremolo accompaniment; the tremolo guides a really dark musing upon Rossini’s Canzone del Gondoliere–‘ Nessùn maggior dolore’ (Otello) which itself remembers Dante’s Inferno and the Tarantella— integrating styles by Guillaume Louis Cottrau (1797– 1847)– emerges from the depths, far more subtle than in its previous, primary-coloured clothes, however eventually triumphantly lively.

Tyler is likewise a talented communicator whose intros were not just helpful however likewise entertaining with delightful asides that made one relish a lot more his exceptional efficiencies

Tyler Hay was born in 1994 and acquired a location to study at the Purcell School in 2007 where he studied under Tessa Nicholson. He studied with Graham Scott and Frank Wibaut at the RNCM and with Niel Immelman and Gordon Fergus-Thompson at the RCM. Tyler has actually carried out Rachmaninoff’s second Sonata at Wigmore Hall, Scriabin’s fifth So nata at the Purcell Space and Ravel’s Concerto for Left Hand Alone at the Queen Elizabeth Hall. In 2016, Tyler won very first reward in the keyboard area of the Royal Overseas League Competitors and along with winning the RNCM’s Gold medal competitors, likewise won very first reward in the Liszt Society Competiti on. He completed in the lasts of the Leeds International Piano Competitors in 2021 and won first reward in the Dudley International Piano Competitors in November, 2022. CDs of Liszt, John Ogdon and Kalkbrenner are readily available on Piano Classics and Tyler’s newest album of virtuoso piano music by Simon Proctor is now readily available on Navona Records

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