Franz Liszt - 3 Etudes de concert S. 144 (Arrau)
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- เผยแพร่เมื่อ 21 ต.ค. 2015
- Three Concert Études (Trois études de concert), S.144, are a set of three piano études by Franz Liszt, composed between 1845-49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today. As the title indicates, they are intended not only for the acquisition of a better technique, but also for concert performance. The Italian subtitles now associated with the studies - Il lamento ("The Lament"), La leggierezza ("Lightness"), Un sospiro ("A sigh") - were not in early editions.
The études was written in dedication to Liszt's uncle, Eduard Liszt (1817-1879), the youngest son of Liszt's grandfather and the stepbrother of his own father. Eduard handled Liszt's business affairs for more than thirty years until his death in 1879.
Il lamento is the first of Liszt's Three Concert Études. Written in A-flat major, it is among the composer's longest pieces in this genre. It starts with a four-note lyrical melody which folds itself through the work, followed by a Chopin-like chromatic pattern which reappears again in the coda section. Although this piece opens and ends in A-flat major, it shifts throughout its three parts to many other keys including A, G, B, D-sharp, F-sharp and B.
La leggierezza (meaning "lightness") is the second of the Three Concert Études. It is a monothematic piece in F minor with a very simple melodic line in each hand under an unusual Quasi allegretto tempo marking, usually ignored in favour of something a bit more frenetic. It starts with a fast, but delicate sixteen chromatic-note arpeggio divided in thirds and sixths under an irregular rhythmic subdivision and cadenza so as to underline the light atmosphere of its title. The technical difficulties involved are fast passages of minor thirds in the right hand and light, but quick leggiero chromatic scales.
The third of the Three Concert Études is in D-flat major, and is usually known as Un sospiro (Italian for "A sigh"). However, it is likely that the title did not originate with Liszt. Although there is no evidence that he actively attempted to remove the subtitle, none of the editions or subsequent printings of the Three Concert Études published by Kistner during Liszt's lifetime used them; he simply ignored such subtitles in later years, always referring to the piece by key.
The étude is a study in crossing hands, playing a simple melody with alternating hands, and arpeggios. It is also a study in the way hands should affect the melody with its many accentuations, or phrasing with alternating hands. The melody is quite dramatic, almost Impressionistic, radically changing in dynamics at times, and has inspired many listeners. The étude has been considered by many pianists as one of the most beautiful piano pieces ever composed, Liszt kept the ètude in his repertoire until his final years.
Un sospiro consists of a flowing background superimposed by a simple melody written in the third staff. This third staff-an additional treble staff-is written with the direction to the performer that notes with the stem up are for the right hand and notes with the stem down are for the left hand. The background alternates between the left and right hands in such a way that for most of the piece, while the left hand is playing the harmony, the right hand is playing the melody, and vice versa, with the left hand crossing over the right as it continues the melody for a short while before regressing again. There are also small cadenza sections requiring delicate fingerwork throughout the middle section of the piece.
Towards the end, after the main climax of the piece, both hands are needed to cross in an even more complex pattern. Since there are so many notes to be played rapidly and they are too far away from other clusters of notes that must be played as well, the hands are required to cross multiple times to reach dramatic notes near the end of the piece on the last page.
(Wikipedia)
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to 480p if the video is blurry.
(Original audio: • Études de concert (3),... )
Performer: Claudio Arrau - เพลง
Liszt, one of my best friends since 1832
Liszt had great admiration for Chopin, as evidenced in the biography he wrote after he passed away. The bitterness was professional jealousy more than anything; Liszt was simply such a damn good pianist that he wrecked other pianists wherever he went, leaving everyone floundering in his wake. And the fact that he effortlessly pulled all the fine ladies was salt in the wound. One time, Liszt was asked to write a review of some of Chopin's music... Chopin was concerned, at which his friend turned to him and said "Oh don't worry, he will make a fine kingdom for you".. to which Chopin replied "Yes. In his empire."
@@AlexAlcyone Liszt seemed to always admire Chopin, but Chopin by contrast seemed to show annoyance, sometimes even bitterness towards Liszt. A student of Liszt's went to take lessons from Chopin, and after playing a run in a mazurka not written in. When asked who added it, the student replied that it was Liszt's, to which Chopin said: "He does have to put his stamp on everything, doesn't he? Well let him, for he plays for hundreds and I rarely play for one!" How awkward it had to have been for that student!
@@Sam-gx2tiChopin saying he rarely played for one was mostly because of his constant illness, otherwise he would most definitely be playing for more.
"Il lamento" (0:14)
"La leggierezza" (11:04)
"Un sospiro" (16:37)
Thank you.
The kind of musical masterpieces that never gets old.
I had played all three in a public recital in 2005.
No.1 in A-flat (Il Lamento) is my favourite in this set by far and perhaps at the very top on my list of favourite Liszt.
Like Sonetto 104 del Petrarca, Ricordanza (Transcendental No.9) and the third piece here (Un Sospiro) I easily end up in tears when playing or listening to this piece. They all touch my most profound, bittersweet memories.
Thanks for sharing the entire set, especially No.1 because it is grossly under-played and under-rated and rarely appears even on TH-cam.
Indeed, Il Lamento is a magnificent piece, and certainly grossly underplayed. It is perhaps difficult for many pianists, not just in the technical sense, which is not beyond other Liszt pieces, but in the sense of comprehending the elevated arc and trajectory of its emotions. Some pieces are suited to the salon; this one seems suited to filling the vault of some magnificent architecture and requires that sense of scale. I think of Neuschwanstein and imagine Liszt writing and playing it there, though I don't know if he did. It's no problem for Arrau though.
I love Ricordanza too
I only played no. 1 il lamento and no. 3 un sospiro. And I agree, at least at this time, I find no.1 more emotional and beautiful......Though when performing to someone who has never heard either, I would find no.3 more impressive
But no.1 is indeed underrated
I played all three about seven years ago. I accidentally read some of the passages wrong but it was still great fun. I probably should give them all another go.
😳😳😳
Esto es verdadera música y no lo que hoy día nos quieren introducir ...
this is so beautiful I can,t keep my tears back oh how I wish to play Liszt
No.2 is so god damn good. It took me like 5 listens to start appreciating it and now I hear it everyday at least once. It's so incredibly beautiful!
15:02 very good
0:14 Il Lamento
11:01 La Leggierezza
16:32 Un Sospiro
Thx
Whoops, miscounted Liszt's age there. It's OK, I corrected it already. And I missed the birthday party yesterday. I'm so very sorry, Liszt... -_-
And, oh yeah, you like the way I made this vid? Go ahead, criticize. :D
+thenameisgsarci I have only one correction: The last part in sospiro is not the same as the sheet. I remember there are three different endings for this study. Thanks for your job. Regards from Uruguay.
+Joaquín D'Alessio Yes, I'm aware that the ending is different, but the sheet for it isn't available on IMSLP. And I was a bit in a hurry to post this up.
Shame
+Sergei Rachmaninov
I'M SO SORRY!
WAAAAAAHHH!
Naughty
Happy Birthday Liszt!
I used to dismiss Arrau when I was young because he was never as flash as some other Lisztian pianists. But, more fool me, those pieces were beautifully played. 🎼🎵🎶
Probably the best recording of the D flat I've ever heard.
Arrau... você e Liszt deveriam ser imortais. Que perfeição, quanta beleza entre cada nota.
I love LISZT 😭😭❤❤❤❤
Man. These days it is so easy to listen to Liszt`s music, and it can often feel shallow and pointless and impossible to relate to if you're not super invested in piano technique. But these are amazing, as is Mr Arrau.
I have never felt that way about Liszt; in many ways he is the most "relatable" composer if near-instant affinity is a marker of that.
I am very grateful that I never started listening to Liszt's music before I was past 60 years of age, both because I feel it takes a certain degree of maturity (or at least life-experience) to grasp what he was up to and because more musicians, notably pianists and singers, have started ignoring the old stereotypes about his music and started taking it seriously. And of course there were always a few pianists such as Arrau (and Jorge Bolet, Louis Kentner among others) who understood and produced memorable recordings like these, even when the musical Establishment wasn't particularly interested. @@amerrylittlemonarch
Magnífica!
아라우의 리스트가 제 귀에는 최고의 연주로 들리네요. 어려운 곡을 쉽지만 정갈하게 군더더기없이 표현하는 능력은 타연주자보다 뛰어난듯 합니다.
Hi.
Yo! :D
+thenameisgsarci Too easy.😂
Of course, it is to you...
lol
Hey, Liszt. Why did you make your music so hard? :P
20:40 to 21:05 must be the most beautiful phrase ever composed
Grande Claudio Arrau!
Viva Chile :)
Gorgeous.
So inspiring. Liszt is great.
20----23. 🇮🇷🎶🎶🎶🎶🧨🎹. Cadá vez me fascinan Los Estudios de concierto 🌹
20:05 Liszt's own cadenza for Un Sospiro
sospiro is like........ wow. Specially played by Arrau.
Yes, Arrau is wonderful. I would also recommend Sospiro played by Van Cliburn.
@@VassilikiKravari very beautiful. I had heard about Cliburn but never payed attention until know. I realize my mistake! Thank you so much for the recommendation
@@Otokage007 I am glad you liked it. Sometimes a surprise comes when you do not expect it!
the last page of the sospiro could be seen as one of the earliest examples of octotonicism. major chord descending in minor 3rds prepared by a dominant 3rd inversion. the whole passage is one octotonic mode.
Liszt really was ahead of time.
En película Una llama Majica ( biografía Lizst )
Liszt!!!!! It has to be said he was no Salieri....and thank the heavens for that. Liszt; one of the most underrated ever!
Salieri was a particularly wonderful composer. He taught the young Liszt for a while.
No recordar a Salieri.
Thanks for bringing us Arrau's playing with the score. I haven't been as familiar with the first two as with good old "Un Sospiro." I think I like them in reverse order, from most to least. "Il lamento" doesn't merit its great length.
You're welcome. :)
Un sospiro has to be the best one here
16:37 i love this part
Alvin Rachman un sospiro
Jorge Bolet 🎶🎶🎶🎶🎶🎶
Jorge Bolet. Lizst. México. 🇲🇽. 🫶.
The A flat major etude feels inspired by Mr. Chopin.
Yes, I am specifically thinking about the beginning after the introduction of the second etude. It is very like Chopin's etude opus 25 no 2 in f minor.
Lol
All three are inspired by him, he invented the musical etude.
Eddie Hutchence - He certainly developed the “musical” Etude but he absolutely did not invent it.
@@e.hutchence-composer8203 Liszt’s S136 musical etudes came before Chopin’s Op 10. Of course Liszt’s are much more teenagery and primitive, but S136/9 clearly shows Liszt developing the etude as a musical form.
I would rather use sheet music by Editio Musica Budapest, because they have that alternative ending, which Arrau plays here.
Michal Pietor I was wondering what happened.
Including the cadenza.............
To be honest, I was quite confused while making this entire video, but laziness got the better of me.
Thanks man.
15:02 a magic moment
Indeed
Hey, you might not be looking at this after two years, but just in case: you spelled "birthday" wrong!
4:08
20:25
I just wish Liszt had written music that was a little more difficult to play,.... LOLOL ;)
Thanks for posting. Arrau never disappoints. I always have the impression that he finds the tempo the composer himself would have wished for, unlike most of today's musico-historically illiterate young virtuosos.
It's a pity you didn't improve on the notes that you uncritically copied from the wikipedia. Their description of the third piece is a clumsy mishmash of contributions from multiple authors. The wikipedia is not gospel: regard it more critically.
20:06 WHAT'S HAPPENED ???
I believe I have explained that in another comment thread...
9:50
11:04 軽やかさ
Liszt after Chopin dies: "Oh! I've got an idea for a wonderful set of nocturne-like pieces. The third one develops Chopin's theme from the middle-section of his e minor etude, also found in one of his mazurkas... and some minor movements of other pieces. But MINE will make your heart burst."
Liszt after Schumann composes Fantasia: "Oh! I've got an idea for a one movement cyclical sonata that's totally, totally new. No one's ever thought of doing this before."
Liszt upon studying Wagner's 'Tristan chord:' "Oh! Look at this chord I put in my b minor sonata which does not totally sound like that asshole's music, yeah that guy who married my daughter..."
Liszt after hearing Schumann's "Faschingsschwank aus Wien:" "Oh! Wouldn't you know! I was JUST working on a "concert etude" that sounds JUST like that Intermezzo. But I won't publish it for another 10 years or so because... Clara will kill me if I do that now. btw... it's called Un Sospiro."
My god this is perfect
Ulen Grau nailed it
Chopin after listening to Moscheles impromptu: Yeah that's cool and all but let me show you what a just came up with. I call it "fantasie impromptu".
Mozart after listening to a Clemeti sonata: Hey clemeti, you wouldn't mind if a borrow some ideas from the sonata right? (Overture of magic flute, note by note copy of the theme)
Prokofiev after listening to The rite of spring: Hey Diagilev I have an idea for a ballet. Its about a primitive tribe and their pagan traditions.
Diagilev: Get the hell out of here!
Good artists borrow, great artists steal
John Williams: Hold my cognac
22:00 this part dose not correct to sound... is there other versions of this? 🥺
Paul Barton's
Liszt wrote an alternative ending for un sospiro, and that's what Arrau plays. BTW there is also an insert at 20:04 ("1875 for August Rennebaum"). The insert and alternative ending are in the Editio Musica Budapest Score.
¿How comes you don't mention anywhere that the pianist who plays in this amazing recording is Claudio Arrau (one of the greatest pianists of all times)? I find it disrespectful and outrageous.
The title card at the first 20 seconds of the video.
@@thenameisgsarci Oh, I see, turns out that you waited too long to put it and it appears for a very short time, moreover, the icon of your channel is over his surname; that's why I didn't see it. Anyway, why you don't mention him in the title or in that long description of the video? that's a way of giving him too little importance, and he is such a giant, not a lesser pianist.
Fixed, added name in the description.
@@thenameisgsarci Nice!
Who is the pianist?
Tell me honestly, you skipped the title card. o_0
+thenameisgsarci I'd recommend you put the name of the pianist in the description. A lot of people click the video without reading the title card because they are just waiting for the music to play. :p
+Echoherb
I dunno if you're gonna agree with me, but I believe patience is a virtue.
And also, at least, if someone copies my videos, if ever, he/she doesn't need to hassle to find the information about the materials I used.
So, there. :/
thenameisgsarci That makes sense, I didn't really think of it like that. Adding it to the description I believe would take minimal effort though, and I believe the description of the pianist is embarrassingly easy to miss. I was even looking at the title card and somehow missed it. I don't think it's because I was being impatient, perhaps it's some trick of the human mind to miss things that are not expected. I can only blame myself though, admittedly. I want to thank you for putting the work into uploading these either way.
Nah, it's fine. Thank you for the crucial feedback, I might do that in the future. :)
That’s the most vastly different ending to a written score I’ve ever heard. I understand creative license, but seriously? You cut one of the most significant miniphrases of the piece and doubled 2 bars into 4??
I wasn't able to check the edition used by the performer.
You are criticising Arrau for using an ossia written late in life by Liszt himself. The whole tone scale ending was written in the 1880s for one of his students as far as I remember. Un Sospiro has a fair few examples of this, where Liszt wrote different ossias for different students.
first :D
I really want to like the first etude but I just find it boring.
+gayerest Maybe if you play it by yourself you don't find it boring...
+gayerest I found the harmonies and modulations to be quite exciting.
+Echoherb I've listened to it a few times since then and it's growing on me. It was always the main melody that didn't grab me in the same way that other Liszt pieces do.
gayerest it's Claudio, trust me. He's horrendous.
i guess the problem with liszt is some boring melodies out there, i mean he spent more time about harmonies and modulations but the melody just dosent talk to you....and there are too many passages there i mean when he wants to change the theme or the scale he just do some crazy notes and then start the new theme, this is something that chopin did very well
Anyone else here just to listen to Un Sospiro
I hate you.
I came to listen to the whole set cuz un sospiro isn’t the only good one
I would think that when you list your pieces to be played that at the same time the PIANIST playing them would be Accredited!!!! Maybe I'm asking too much. I had to hunt around a while to figure it out. It should be on Line One of the Title.
Again. Why was it so hard during the romantic period to give the left hand more than a few scant opportunities to play the down beat of a measure lol? I think a lot of pieces would have been way more accessible to the world in general if the composers hadn't deliberately turned their back on the classical traditions so much. When you have so much rubato and rhythmic liberties happening with the performance style, it just obscures the flow that much more to have almost every measure in the left hand start with an eighth rest or a note tied from the previous measure. It's like they were purposefully going out of their way to make it more crypto.
Arrau couldn't handle Liszt at this point in his life.
I found this performance hard to listen to. All I could hear were arpeggiated notes. It sounded as if the pianist couldn't actually play the pieces very well. I don't know if this was intentional or if it's just the style of playing, but I don't like it!
You are deaf
@@hcab8118 Nah I just have preferences
@@Rhythmmical the preferences of someone who cannot appreciate beauty. The beauty is there and you just cannot hear it...and assume no one else does.
@@hcab8118 Matter of fact, I can hear beauty perfectly fine because beauty is subjective. That also means that I actually can appreciate beauty. You're acting mad that I don't like what you like. If you like the delayed the melody, that's perfectly fine. And if I can accept that you like something I don't like, then surely you are capable of extending the same courtesy to me. You can have the last word because I won't be continuing this pointless conversation.
@@Rhythmmical no subjectivity here. There's a monumental worked crafted with symmetry and lyricism... where's the subjective?
What I absolutely hate about Arrau is perfectly displayed here. He ignores all the Liszt-ian excitement and passion.
pianistajs But what about his gorgeous velvet singing tone, effortless sense of structure and storytelling, his languid romanticism that breathes from another era. There are plenty of young pianists who can whip furiously through these pieces. And so few who do what arrau does.
Arrau is a legend and rightly so, and you are not, so shut up.
Array studied with a student of Liszt... Who did you study with?
Get your hearing checked buddy, this is an all time great recording. Mature Arrau doing mature Liszt. Humble yourself.
Always speed!...For the people! Speed is not passion! If Arrau wanted to, he could, and with unparalleled perfection, play faster than any pianist!..so what!! Listen more carefully.! For me (just my opinion) nobody plays with as much passion as Arrau!
all I hear is way too many notes trying to cover up an incredibly boring theme with a completely nonsensical progression. If people seriously like these sorts of pieces there is something wrong with them
For majority of people who don't like classical music, No 1 & 2 might be the case. However, No 3 (Un Sospiro) is rated by many as one of the top masterpieces ever written. Spend some time on it, I am sure you would love it.
bob smith Yes people do like these pieces, especially the 3rd concert etude. They're fantastic to play and listen to. Now fuck off
You're probably low key listening to Katy Perry so shut up
What do you listen to then? Minecraft parodies?
I bet your nub ass that you can't even tell me what a plagal cadence is off the top of your head, so leave your rants about chord progressions to your abusive daddy
9:30