My composition, from a concert in August. I have a recording of this on a better piano, but somehow I prefer this one and think the more brittle piano sound suits it. It's originally an improvisation, albeit one from which I've culled the more incoherent parts. I'll write it out when I have a week where I'm feeling particularly masochistic.

I do hesitate to upload this, as it's far from a completely serious piece probably not to all tastes, with gratuitous quasi-Liszt octave passages and some rather (deliberately) kitschy bad Rachmaninov impersonations. It's supposed to make you smile However, I needed some fireworks to finish a programme: it's always gratifying when your audience "bravos" during, as opposed to after, the last chord..

A little background: I love the Liszt paraphrase which is mostly on the same material, but it's very difficult and as for the recording by Earl Wild.. I couldn't play like that in a million years.


Wright - Paraphrase on Meyerbeer's Robert le Diable

Wow, Andrew - that sure was something! I think Liszt would have really like you!

Ok, but now you will have to help me with categorizing this. My head hurts today and I can't concentrate for a long time.

Maybe



A vexatious question.

For categorising transcriptions and paraphrases the general convention is "Original composer - Arranger" so in this case it most accurately is Meyerbeer-Wright (i.e. me) Paraphrase on Robert le Diable. Failing that, I would put it as by me and as Paraphrase on.. i.e. Wright Paraphrase on Robert le Diable or Wright Paraphrase on Meyerbeer's Robert le Diable, depending on taste. However, what is probably most consistent with the way transcriptions are classified within the "Various classical piano" section on the site would be to put is as Meyerbeer: Wright - Fantasy on Robert le Diable (in the same format as, for example, the fantasy I already have up on Bellini's La Sonnambula.)

You lost me about half-way though....

haha - just kidding. This is up!

I felt the same thing with that guy on your recording, who screamed out "Bravo!!!!"

But when you play a recital only with piano transcriptions, you should include this kind of piece, as the audience expects that

Thank you: as a programme-concluding item, I think it worked rather well.



Probably You just have to make sure you can find enough serious transcriptions to balance it out.