Piano World Home Page Forums Our Most Popular Forums Pianist Corner Greatest encores of all time

Alright friend, I'll tone down the nastiness (for now) because I think there is actually potential for a fairly interesting side-conversation here.
First, about the two piano versions of concertos. I'd say it sounds worse in concertos where the orchestral part is more vital (e.g., Brahms 2). In the case of Rach, the piano part is self-sufficient enough to be played with satisfactory effect without an actual orchestra. Actually Libetta's intention was most likely to play the soloist part with no accompaniment at all. I don't think adding the 2nd piano made it sound much worse, although I'll admit the excitement of the 'spur of the moment' context makes up for the less than ideal combination.
About Schubert D960 being much greater music than Rach 2... Maybe. However, IMO in Schubert the final product is more 'performance-sensitive' (demands more musical skills from the performer IMO) than Rach. In the hands of a top tier performer, Schubert D960 > Rach 2, no doubt. But if the performance is just average, I'd actually find the Rach less of a chore to listen to.

OK now my list:

1. Chopin Polonaise op.53
2. Rachmaninov: Lilacs, Prelude G-major 32/5 and D major 32/2
3. Couperin Le Tic Toc Chop
4. Debussy Clair de Lune
5. Scriabin 8/12 and 42/5
6. Schumann-Liszt Gretchen am Spinnrade
7. Ravel jeux d'eau
8. Bach-Siloti Prelude b minor


I can't stand Chopin Prelude in c# op post., as everyone and their gradma is playing it as an encore.

Personaly would like more often hear some Transcendental Etudes, Hungarian Rhapsodies, Paganini Etudes, Bach Toccatas, some heavy repertoire

I heard Tomas Vasary play a concert of Kodaly pieces and sets of Brahms variations. He played Brahms' First Paganini Variations as a first encore, and the Second as a second, which were neatly divided by applause.

I think the reason some performers embark into long encores is not out of pretentiousness or for showing off, but more because they want to take advantage of the shift in mood that happens after the official program is done. The optional nature of the encore is a reassuring aspect . The performer can choose to play the piece or not, depending on how confident they are to play it well at that moment. This is a significant upside. Let's not forget that encores are generally prepared and practiced just like the official program is, despite their apparent 'spur of the moment-ness'. Only an idiot would think that the performer hasn't prepared most (if not all) of their encores beforehand!

Egon Petri used to play Busoni's transcription of Mozart's Serenade from Don Giovanni as an encore. That's a piece I started learning myself.

Liszt's Sursum Corda is one of my favorite, especially in a large hall. Certainly not overplayed, which is a plus.

Another arrogant and obnoxious comment.It's hard to believe this is a serious comment.

It would be a privilege.

The encore(s) need to be considered in the context of the recital programme. After a Mozart recital, for instance, probably only Mozart would be possible. Or perhaps Bach.

After some programmes an encore is impossible and would break the mood. For example, after Winterreise. What could you play after Beethoven Op 109 - 110 - 111? Probably, nothing. Or perhaps, some Bach.

If one puts aside the exceptional cases, most pianists prepare a set of 2 or 3 encores in advance with the program. That is basically part of the program, so to speak. It is polite from the audience to ask for encores (would be really frustrating for the pianist if that wasnt the case ....) and polite for the performer to play a couple.

Personally in classical piano concerts I get saturated after 2 hours or 2,5 hours (but I have attended a few Wagner operas of 5 hours ....), so playing an additional 30 minutes of encore would be too much for me.

It would be boring. I once attended MAH recital and by far it was the biggest disappointment it ever had on any classical concerto (so with orchestra or recital only).

In general, I agree. But a long time ago I attended an all Mozart recital by Uchida. Her first encore was a short work by Schoenberg. After the Beethoven one could play a Beethoven Bagatelle. I have heard the last three Schubert Sonatas played in recital but can't remember if their were any encores or what they were.

If the last piece on a recital is a technical show piece, I don't think the first encore should be another show piece.

I once attended an unforgettable recital by violinist Dora Schwarzberg, and she played a whole hour of encores. Apparently, where she was performing (Valdres, Norway), it was normal to keep clapping and calling performers back onto the stage, but it didn't necessarily mean you were expected to play an encore each time. But she did. She is a heavy person, and at one point after walking out and then back onto the stage in slow steps, she told the audience something like, "We have many, many encores. So if you want to go home tonight, it's better that I stay here!" It was effectively a second recital. It was all really interesting and not very typical for violin encores- I remember Wagner's Albumblatt, Polka and Suite in the old style by Schnittke (whom she considers one of the greatest composers), and this moving Valse by Tchaikovsky.

That sounds wonderful. I love Schnittke too.

In the US, there are union rules and possibly community restrictions which will prevent encores from going on too long. Go too long, and you end up paying the crew penalty money.

What about the Rubenstein classic—
Falla’s Ritual Fire Dance!

The weirdest set of encores I ever heard were 5 of the 6 moments musicaux (Schubert) by Sokolov, everyone waited for nr.6 and then he dissappeared, haha.

Even just 5 moments musicaux are weird.