Liszt - Études d'exécution transcendante d'après Paganini, S140 (Filipec)
ฝัง
- เผยแพร่เมื่อ 1 ม.ค. 2020
- As it happened, the foremost virtuoso of the age was not Liszt; in fact, he was not a pianist at all, but a violinist. Already during his own lifetime, Paganini had become a legend: he was the supreme artist who could do anything and his virtuosity was such that in order to account for it all, people supposed him to be in league with the Devil. Everywhere his works were regarded as unplayable, until Paganini turned up and played them; a particular speciality of his was to play an entire piece on one string alone, with which he would bring the house down. He guarded his secrets jealously: whenever he rehearsed a concerto he would never allow the orchestral players a chance to observe what he did during the cadenza, for he would play his cadenzas once, and once only, and that was at the performance; these were moments of supreme virtuosity, when the man and his violin became one, and the hushed audience would witness such marvels of execution that it seemed, indeed, as if the very Devil had taken possession of him.
In April 1832, the great violinist would give a benefit concert in the Paris Opera House for the victims of cholera, with Liszt present in the audience. In the lives of most great men there sometimes comes a blinding flash of revelation when they see their future destiny clearly marked out before them, and Liszt's "blinding flash" occurred right there in response to hearing Paganini play. Liszt was so entranced by the unfettered expressiveness of his playing, and the Italian wizard's ability to turn to utterly musical account a technique of legendary transcendence, that he experienced an artistic awakening and the young composer immediately declared his intention of achieving upon the piano an equivalent new technical mastery, something he would achieve with much toil (according to his own testimony 10 or 12 hours practice a day). His new aim to create a new kind of repertoire for the piano in which he could transfer to the keyboard some of the more spectacular of Paganini's feats-tremolos, leaps, glissandos, spiccato effects, bell-like harmonics- was attained with the selection of a group of Paganini's unaccompanied Caprices, notorious for their difficulties, which he set about reproducing their complex problems on the keyboard. He brought forth the first fruits of these endeavours in 1838, the Paganini studies, which represented a massive breakthrough in piano technique.
For the first study Liszt employs the sixth of Paganini’s Caprices, but adds transpositions of the introduction and coda to No.5-grand arpeggios-in the equivalent places. Following on, the second study, based on Caprice No.17, excellently transfers Paganini's original onto the keyboard, reformulating the original exercise in scales and double-stops in pianistic terms. The third study is commonly known by its title in the second edition (La Campanella-a reference to the little bell employed by Paganini in the rondo of his Second Violin Concerto). Uniquely in this study, Liszt does not preserve Paganini’s original tonality (B minor) or structure: here, the transposition to A-flat minor puts all the nastier leaps between black notes (which are much easier to target) and Liszt mixes in a repeated-note elaboration of the first theme of the rondo of Paganini’s First Violin Concerto, transposed into A-flat major; this study turns out to be quite a boisterous affair and could not be in greater contrast with its second version. The fourth study is a treatment of Caprice No.1; it inhabits the very edge of the technically possible with its stretches, leaps, hand-crossings and Liszt's grand melodic lines in counterpoint to the straightforward broken chords of the original. La Chasse is the nickname often given to Paganini’s ninth Caprice-a study in double-stopping-as well as to Liszt’s fifth study here which is based upon it. Both Paganini and Liszt mark the opening theme as imitando il flauto, and the lower repetition as imitando il corno; the spiccato phrases tossed from one register of the violin to another in the middle section are yet again excellently adapted by Liszt in pianistic terms. The set ends with a study based on the most familiar part of Paganini’s work, Caprice No.24, the work that provided fertile material for Brahms and then for Rachmaninoff. Like its source, Liszt’s study offers a theme, followed by eleven variations, and the whole is finally concluded with a flaming Coda.
Liszt dedicated this 1838 set of studies to Clara Schumann and, for all her carping ingratitude, went on happily to dedicate the 1851 revised set to her as well. - เพลง
0:00 - No.1 in G minor
4:40 - No.2 in E-flat major
10:14 - No.3 in A-flat minor ('La Campanella')
14:47 - No.4/II in E major
18:41- No.5 in E major ('La Chasse')
22:18 - No.6 in A minor
Why this is different version of la campanella? Liszt make two versions?
The Piano Gamer This whole video is the S.140 set, written in 1838. The more famous (and much easier) revised editions (S.141) were published in 1851, and includes the famous La Campanella version you are thinking of. Personally, I prefer the earlier S.140 one to the later S.141 one, but that is just my taste :)
So, I must read more about Liszt pieces ;p. Thank's and greetings from Poland
The Piano Gamer Never a bad thing to read more about Liszt! His musical works and life story could fill a million books!
@@jakubbanas4647 There are 5 different pieces by Liszt which incorporate the 'La Campanella' theme:
• Grande fantaisie di bravura sur La Clochette de Paganini, S420
(1832)
• No.3 from the 1838 Paganini studies
• The first and second versions of the Grande fantasie sur des thèmes de Paganini - [Variations sur] La clochette et Le Carnaval de Venise, S700i/ii (1845)
• The revised No.3 from the 1851 set.
"Liszt dedicated this 1838 set of studies to Clara Schumann and, for all her carping ingratitude, went on happily to dedicate the 1851 revised set to her as well." XXXD
@@RafaelGarcia-ue6uc the description
Altough she couldnt stand him lol
@@micoveliki8729 She disliked his own music, but admired him as a colleague and friend.
just goes to show liszt was the better man. he wasn't bitching and criticizing his fellow musicians but propping them non stop.
Some of this ..too many notes for what it's worth....🙄 With too much noise..for the sake of noise
Thumbnail starts 27:08 (but listen to the whole thing 👌)
Did that 😂
amazing..
you sir, are too
@@enragedcrocodile I concur!
황선용Seonyong Hwang Does it give you impetus to make your own recordings? ;)
Flipec is underated legendary virtuoso
25:32 is both epic and downright terrifying!
Epic as a normal listener, terrifying as a pianist
the next var is even more terrifying. Saying as a guy with smol hands
This is utterly inconceivable. What can man not do?? It seems not possible yet here it is. Extraordinary. Mr. Filipec, there are no words. And Andre, thank you for the upload!
@Mathews196 And Mr. Filipec for the sublime recording.
I always liked this version of la campanella more because it includes the theme of the 1st violin concerto unlike s. 141, but bloody hell why does it have to be so hard?
I know right!! It’s so freaking hard, I like this recording better than petrov’s though
@@jackcurley1591 In general I like s.140 more(if I forget about the difficulty), but there are some things in s.141 which imo are better, for example blind octaves in no. 2, glissandi in no. 5 and chromatic scale at the end of no. 6
@@niccolopaganini4268 Well, Liszt had just been inspired by the foremost virtuoso of the age, Paganini, someone who not only played the violin better than any rival but played the violin as well as it could be played (quite a different proposition) and not only did Liszt want to emulate this on the piano with these legendary works, but he wanted to turn his concerts into something more akin to Paganini's-
séances if you will, where some unknown spirit has stirred and swept the audience with fear and ecstasy (so far, only Paganini had conjured this mephistophelian, dark atmosphere with his style of virtuosic diablerie, and his influence on the history of virtuosity could now never be eradicated, something Liszt would also eventually achieve with his quest for the ne plus ultra of piano technique). So all this might account for these works' difficulty. In any case, it is better to dedicate your life to the keyboard and practice hard enough to achieve the skill required to play these works well or just sit back and observe someone else do it instead of whining about the difficulty, a pointless exercise in my opinion. ;)
The Music it is not for anyone, it requires special conditions
Andrei Cristian Anghel yeah.. because it sounds amazing because it’s „difficult“, you can’t have it easy and sounding amazing.. it has to be difficult to sound amazing :D
Legendary.
Indeed, unless a bunch of crackpots consider 4b unplayable 🤣
@@CatkhosruShapurrjiFurabji I mean is not but no one played it at the violin tempo
@@xxmeliozxx1160 who said it's supposed to be played at tempo? In a transcription, Liszt adds his own elements to the piece, and so, it's not necessary to play it at that tempo.
@@CatkhosruShapurrjiFurabji but how do you know that this piece was originally at the violin tempo and then was changed due to the fact that no one could play it except for Liszt
@@xxmeliozxx1160 no one said Liszt could play it. Also, it's fine to change the tempo but, the music is still the same. He changed it from Vivo to Andante Quasi Allegretto. Perhaps, he himself felt that it could have been bettered and he did revise it to S.141. Although the original composition is by Paganini, Liszt was the one that adapted it so he does have the right to change a few elements, as opposed to changing the music in its entirety.
I saw Goran Filipec last november in Rafael Orozco Piano Festival in Córdoba, Spain. He played these studies and he was fantastic. Thanks so much, Andrei!!!
YESSSS IT’S WORKING
I get that most pianists play the revised versions because they are difficult enough.
But if you program the piece that is supposed to show the breakthrough as Liszt the virtuoso pianist, I think this is the version to go.
I totally understand why women fainted hearing this played.
It's a superhuman achievement.
Je suis d'accord. Je peux jouer la version plus simple, mais si vous voulez être challengé et recevoir plus d'applaudissements, c'est cette version qu'il faut choisir parmi la révisée.
Brillante! Virtuoso!
Incredible!
My favorite pieces.....thanks a lot. Happy new year.I wish you could listen more and more Liszt music all year.
Finally an awesome recording of the 1838-set! You have always the best 'Liszts'!!
На редкость хорошее исполнение! Спасибо!!
Interesting! I've played some of these in the later revisions and I'm sure glad I did, since these versions are a whole other level above. Specifically no. 2 is way harder than the one I learned throughout certain passages. I love this version of no. 1, especially when the main theme returns and it's not just tremolos again in the left hand. Thanks for sharing!
Final 24 caprice - perfect!!! The best ever!)
barely can't we listen to the "original version" played at the modern era
Thanks for sharing!
I always loved Paganini caprice no. 6!Discovering this Liszt's arrangement of such a piece is a feeling that words cannot explain. It's as all I live could easily be justified by those minutes of pure pleasure and ecstasy!
I love no.5 really playful and full of happiness.
I’m learning the revised version of the 6th etude right now it is so hard but these are so much harder
Seen you a lot 😂😅 good luck to you my guy, can't imagine myself learn pieces as hard as this, I'd probably stay with Chopin and Liszt's easier pieces cause in no way am I able to play pieces such as these 😂 better reason for me to make my own pieces
Listen closely to Variation 5 of the 6th etude. Although marked piano and leggiero, Filipec's choice to do the exact opposite creates a more dramatic feeling and almost a more violinistic approach. Hamelin's more faithful performance is still my favorite, but this is absolutely divine.
On another note, the description you wrote is really nice.
What I admire in these works was how incredibly close Liszt stayed faithful to the original - especially no. 6, almost everything Liszt added in the 6th etude was incredibly faithful to Paganini's 24th caprice, and the transition of the base melodies from violin to piano was very well done; furthermore, the ascending tenths Liszt added in var VI exactly mirrors the difficulty seen in Paganini's caprice, where Paganini added ascending tenths, exactly in this very part.
Incredible performance from Filipec.
Finally a recording of these etudes that's actually decent
Wow, this looks incredibly hard.
27:07 - OH HEEEECK NO!!!
Davvero eccellente
Such an amazing performance! Filipec really nails it hard on these extremely hard etudes, my goodness. Equally brilliant technically as with Petrov, but I feel like Petrov's recordings has this more restrained nuance as if he's a bit overwhelmed-But my Lord I don't feel like that at all at this performance! He plays with such great feeling and sense for the music, it carries me away without giving an impression of a supposedly subhuman quality these etudes are supposed to possess; and what could at first be an invitation to dismiss Liszt's early music as “circus blunders” if executed too tautly, becomes such brilliant showstoppers which are of course-a perfect tribute to Paganini's dazzling violin acts, transcribed as equally astonishing, pushing the limitations and boundaries of what a piano can do at the time as what Paganini had done with the violin. Terrific performances of an otherwise perhaps, revolutionary pieces that shape virtuoso piano-writing and playing as we know today!
I feel that Petrov's was this more powerful "Russian" approach, if I can get a bit stereotypical, with these etudes. Generally I tend to like particularly the 4th (and hardest) one of the set more in this one, since I'm all for Filipec's "detached" sound.
Гениальная гармония!!!
Ok I think we should build a 200m gold statue of this guy for having the courage to play the full set
At least4 people (not including liszt) have played the whole set
@@zswu31416 I know. But it is an extremely difficult mission
@@zswu31416 Yeah, but they haven't played the full, full set. Along with 1-6, Filipec also played both "versions" of 1 and 5 along with 4a which is usually ignored by most pianists.
@@thenotsookayguy does it really matter though, if the pianist has the balls and technique to play 4b then 4a and the other versions will be a piece of cake
@@zswu31416 No, not really. But it is nice, they took to the extra time to include 'em
Thanks so much for this amazing video Andrei! I’m so glad it was finally unblocked. Filipec’s recordings are transparently conveying to me a man who truly understands Liszt; and, what is more, a man with the perfect technical ability to play these sardonically difficult works. Only such an adroit pianist such as Filipec can do these works justice, and a score video of this set is exactly what TH-cam needed! Thanks again! :D
Why was it blocked
Cyka Landon Naxos copyrighted the recording, but later unblocked the video after Andrei asked them
There were actually score videos of the Petrov recording, but this is good as well because it's all in one video and allows for an alternative version of the set.
Santosificationable I much prefer Filipec’s recordings. I heard them a while ago on his channel and Andrei made them into a score video :)
Yi-Chung Huang could do this justice
Love Var 9: around the 26 Minute mark!
Ces morceaux sont magnifiques et très stimulants. Je souhaiterais vraiment avoir le talent de cet homme pour jouer ces pièces. Bravo à Filipec et je souhaite profondément qu'il obtienne plus de reconnaissance et de réponses du public pour son effort et sa détermination.
Ahh, the astounding Paganini etudes! Also the one by Filipec - I prefer them even over Petrov's (well, some of the etudes at least). That being said both are two different approaches to the etudes. (also where is 4a lol)
Just unbelievable! He wrote music he could play. A real difference between the 1838 set and the 1851 set. Are we sure he only had 10 fingers? Play Liszt for and octopus and we say "i could do that easy!"
Every 5 seconds or so I ask myself, "Isn't that bad for your hands?" Lol
@Peter Rabitt Bullshit-if you have a relaxed wrist and hand and a sufficiently developed technique these are perfectly safe to play. If you haven't mastered Chopin's op.10/1,2,4,7,8,10,12 and op.25/6,8,10,11 and 12 and maybe one or two of the 'meatier' Transcendentals like Mazeppa (NOT Harmonies du soir, which is Number 11 btw), then you shouldn't be going anywhere near the 1838 Paganini studies. I don't know what kind of 'professional pianist' you were.
@@AndreiAnghelLiszt bro. it was a joke
Yes, for all 8 of them.
«Liszt dedicated this 1838 set of studies to Clara Schumann and, for all her carping ingratitude, went on happily to dedicate the 1851 revised set to her as well.» ….und das ist sehr sehr lustig😂🤣
There are many videos similar to yours. But to be frank you have a great choice of interpretation in choosing people who really make it sound like Liszt
I have never listened this pieces except petrov's, howard's
Should the ossia of the 1st be there since it was composed by Robert Schumann? On the other hand, it's present in the video with Petrov's playing.
25:55 that’s insane
Etudes are meant to PREPARE for MORE difficult pieces.. so which NON-etude pieces are more difficult than these „etudes“? 😅
C ME This is the sort of “Concert Étude” that was pioneered by Liszt and also Chopin during the 1820s and 1830s that were meant to function as really virtuosic and difficult works but also be very musical and exciting for a concert audience. This isn’t the same kind of Czerny Etude that focuses on one technique to improve it for other pieces :)
Very few pieces, if any, top no. 4, but some of the Reminiscences are on par with most of these etudes.
Check out Alkan and Mereaux!
that a minor etude is extremely hard bro
This is the first I've ever heard the S140 La Campanella, and the first thing that I noticed was its similarity with Hamelin's own Paganini Etude, much moreso than the revised S141. It's interesting that Hamelin's piece drew much more inspiration from the original than from the much more popular S141.
Joe Campbell just to clarify is s140 the original and 141 the revised one??
@@viren4053 Yeah, that's right.
Liszt had 5 hands on each finger and those hands, had 10 fingers on each
Note to self: 13:37 is a weird part I never noticed before in the Campanella
Just noticed at 20:45, you can see Liszt’s early other ideas through the Ossias and how they’re implemented in the S.141 renditions of the etudes - even with the way the grace notes after the trills are handled.
While Filipec’s performances are undeniably masterful, I gotta say, I’m not a fan of the way he handled Var. 7 in the 6th etude.
Just read the description... “with all her carping ingratitude” oof Andrei LOL
Varun Liszt dedicated his Sonata to Robert Schumann, and Clara could only hate it and call it “blind noise”. No wonder Liszt is more famous than the pair combined ;)
@@Varooooooom Clara famously detested Liszt's music at one point...maybe jealous? LOL.
If i were to rank them by favorite
No 1: etude 1
No 2: etude 6
No 3: etude 5
No 4: etude 3
No 5: etude 4
No 6: etude 2
Nice, a fellow No. 1 enjoyer.
No.1 is my favorite as well
i played these when i was in 4th grade .
Who's the madman that played No.4. First time i heard a proper recording of it
Goran Filipec :)
Fox Hound
He is brilliant but that is not the original version. Also trifonov played this same 2nd version which is "easier"
@@viren4053 No, this is the "original", harder version unless you're talking about Paganini's Caprice. Also Trifonov has never played these pieces.
Andrei Cristian Anghel
th-cam.com/video/sJqQ3CCl5jQ/w-d-xo.html i think the 4th is the same. (Trifonov)
Also im talking about this th-cam.com/video/uoudt6eApKo/w-d-xo.html
@@viren4053 You're wrong, Andrei is right.
Based
This video is back up, so I suppose that's nice.
This video was actually uploaded before TheExarion's but it was blocked for a long while. I don't know why it was recently unblocked but I sure am glad.
@@AndreiAnghelLiszt Yoooo, happy to see this up again!! :D
imagine all notes on the left hand were octaves for the coda
JESUS CHRIST Franz what have you done?!?!?!
Last one reminds me of Ling Ling 40 hours
The last one is based on Paganini's 24th Caprice.
he played var 1 just like me, except I play the simplified ver 😅
I prefer this version of La campanella compared to S 141.3
Was Listz mad when he wrote these? They are nearly impossible to play. No wonder why he revised them to simplify them.
If you are seriously asking if he was "mad" when he wrote these, I'd advise you to read the description.
@@AndreiAnghelLiszt I'm not being serious, just looking at how insanely difficult they are.
classicalhero7 Don’t whine about the difficulty of these pieces. These recordings are proof that they are playable by a human, and that Liszt definitely could play these. They perfectly fulfil the purpose that they were written to achieve.
The revisions seem to be even more challenging (or is Filipec playing the earlier version?).
@@martinbennett2228 This is the early version. The one we hear most often is the 1851 revision.
11:52
17:15
13:00 lol
28:22
Ez
11:55, 15:25, 19:30
' . . . and the hushed audience would witness such marvels of execution that it seemed, indeed, as if the very Devil had taken possession of him.'
Funny why people tend to attribute difficult or seemingly impossible things to the Devil rather than to God.
Well a lot of the music they produced is not the calm, beautiful music youd expect from someone blessed by God, so their complete mastery of their respective instruments was thought to be caused by the devil, since their level of playing was probably seen as beyond human. Just some conjecture though
I think this piece sounds like pre-Rachmaninoff etudes.
how do you play double notes that fast lmfao
s p e e d
If you can play them slowly, you can play them quickly
jeu beaucoup trop "perlé", ça devient sec et froid et ce n'est pas en variant le tempo qu'on cree de la grace, c'est deplaisant et en plus on a mal au coeur. un grand pretencieux ce pianiste!
S140 is more harder than s141.
Im pretty sure its quite obvious