The other rarity is a piece from Liszt’s Années de Pélérinage (Years of Pilgrimage): ‘Sunt lacrymae rerum’ (‘There are tears for things…’) from the third ‘year’. The title is a quotation from Virgil’s Aeneid – a reference again to Dido. “This is very dark piece, full of pathos,” says Angelo. “Liszt’s late works seem to contain a vision of the future, looking forward into the soundworlds of Debussy, Ravel, Scriabin and others. There’s an otherworldly feeling to this piece, and an element of deep romanticism buried beneath its dark exterior.” Angelo credits this work with changing his life. Aged 17, he heard a recording of it by the Hungarian pianist Ervin Nyiregyházi, a one-time prodigy whose adult career (and life) traversed terrifying polarities of low and high. His musicianship reflected this extremity. “It’s an overwhelming, powerful recording and I was quite hypnotised by it,” Angelo says. “I grew up listening to many great pianists on record – Sviatoslav Richter, Vladimir Horowitz and Georg Cziffra, among others – but hearing Nyiregyházi transformed my ideas. It opened my eyes and ears to a completely different soundworld. I realised that this is the road for me. This was my catalyst for developing my own aesthetic. “My spiritual tie is primarily with the 19th century, so I felt grounded when I heard these great players that were linked to the past. They seemed to play with enormous expressiveness and a deep romanticism. It’s something very personal.”
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