LDV16

21 WILHEM LATCHOUMIA Next we enter the universe of Tristan with Pesson, Jaëll, and Liszt . . . W. L.: I think Gérard Pesson’s En haut du mât opens up a new horizon after the extended Fantasia. The piece is completely integrated in the trajectory of the programme, since it employs the Young Sailor’s song at the very start of Act I of Tristan und Isolde . Gérard doesn’t make a transcription; he takes the strange monody written by Wagner and harmonises it. This piece is the beginning of a triptych centring on Tristan . To continue preparing the arrival of Isoldens Liebestod , which constitutes the core of my recording, I then move on to the first of the Drei Stücke aus Richard Wagners ‘Tristan und Isolde’ by Alfred Jaëll. Although it’s a rather awkward transcription, I didn’t make any ‘adjustments’. I approached it with the sound of the Tristan orchestra in mind, but at the same time trying not to produce a transcription of the orchestra. I reappropriate it by regarding it as a work for piano; I allow myself to bring out certain elements more, and others less.