Piano Pieces to be Orchestrated for Large Orchestra

From a mediocre pianist (actually, let's even say less), the sustain pedal is not indicated on the score and I doubt that Liszt did not foresee it. What would be the most correct "pedaling" ... at least the first page to understand how it works (let's say the first 17 measures up to the fermata)... maybe also the following 10

Destroyed wrote:

Instruments that in the bass (very low bass) can be agile enough to play thirty-second notes in an Allegro Energico? See measure 13

But do you see? Those three notes (because it is a matter of three notes) are an effect that you must "translate" into the orchestra; you shouldn't try to make them sound "as if on the piano". The fact remains that the contrabassoon can easily play them (and they come out clearly), along with the double basses (which, however, won't be clear down there, but in my opinion, that isn't important). However, that triplet can be doubled, perhaps by the bassoons, an octave higher. The whole thing can be "helped" by a ppp bass drum roll with hard mallets to increase the dramatic effect.

Destroyed wrote:

What does V. S. mean at the end of measure 17?

Volta Subito (Turn Quickly).

AbateFaria wrote:

As a mediocre pianist (actually, let's even say less), the sustain pedal is not indicated on the score and I doubt that Liszt did not foresee it. What would be the most correct "pedalization"?

A question without an answer, in my opinion... even the first measure could be a subject of discussion: pedal yes/pedal no. I would put it (but, then, how much? how?), but there are those who prefer not to put it in order to respect Lisztian notation, which uses nails. And that's where the dispute begins: how did Liszt's piano sound? How did the dampers of mid-nineteenth-century pianos work? If I use half-pedaling, do I get closer to what Liszt likely intended? Must I necessarily worry about researching what Liszt intended, or can I think of this Sonata on a modern piano without posing the problem of the instrument? And we are only at the first measure, just imagine...

I'm arriving a bit late with this suggestion, but it might still come in handy: in the past, my teacher had me orchestrate some operatic pieces (for piano) by Grieg.

I had a lot of fun and, in my opinion, they are suitable because, besides being beautiful, they are simple; they have a writing style that isn't too dense and allow for good coloring with the orchestra and plenty of play with doublings.

in any case, enjoy your Liszt :)

AleGozzo wrote:

they allow for good coloring with the orchestra

..speaking of coloring, how are we doing with the seminar?

Another suggestion could be C. Franck: "Prélude, Choral et Fugue"

Eagle wrote:

..speaking of coloring, how are we doing with the seminar?

the question I feared ..... as for how we're doing, it's time we get a move on