LDV16

All the same, the biggest portion of your disc in terms of duration is given over to Hugo Wolf’s paraphrase on Die Walküre . How did you tackle this luxuriant score that lasts a good twenty minutes? W.L.: I didn’t take it in the logical order. I startedwith the conclusion and spent a lot of time on the Feuerzauber (Magic Fire Music), then worked my way back through the work, analysing it in great detail. I again detached myself from the orchestra to some extent, in order to try to recreate a genuinely pianistic work, since Wolf’s writing is often very awkward and requires the player to make choices, in terms of timbre and of bringing out specific voices. The score is teeming with information, and the pianist must reorganise the discourse and determine priorities. After this musical proliferation, you end in the most complete sobriety with the Elegy in A flat major. W.L.: This is a double reference, to Tristan und Isolde of course, since the piece comes from a sketch for that opera, but also to the work by Gérard Pesson, whose utterly bare character it shares. 23 WILHEM LATCHOUMIA