I read in a musical album of Liszt years ago that Henselt wasn't able to play this piece towards the end. It's a crazy challenging piece, but also a beautiful work as well. Amazing performance, and I love the pianist's own cadenza from 15:49 as well.
7:23 I didn't know that this was a part of a larger work. The music score that I had gave the appearance that this is the beginning of the piece. I wish I could find it again...even though I gave up learning it after a couple of weeks.
It is always nice to have more and more recordings of one great but forgotten masterpiece. Although, have to add, nothing can be compared to Kocsis' version.
Оказывается Лист совсем неординарный композитор,что только не услышишь в его произведениях и все очень ярко ,возвышенно, страстно,темпераментно, про виртуозность ,вообще молчу. Как он мог рассчитывать, что это могут играть другие или в то время ,когда он писал это под ,каким либо впечатлением или событием в жизни, что имело на него ,определённое воздействие,он возможно даже не думал о том, что кому то,захочется играть его шедевры! На мой взгляд очень сложно. Браво 👏 Красота.
This is a rather uneven performance. Parts of it are very good but then there are rough edges that prevent me from giving it a 5/5. If this was done in studio, I don’t know why he didn’t fix the mistake in the strepitoso part of the second page and the octaves right before the final section. Also I didn’t like how he used the sostenuto pedal for the ripple of ‘quasi arpa’ chords. It sounded too blunt and cold like he just wanted to get them out of the way. I do like his use of the damper pedal for the ‘rolling drums’ of Andante quasi Marcia funebre because the echo has an eerie effect that is quite compelling. And measures 60-71 and 252-263 are crisp and clean with little to no pedal. (I am learning the piece now and have yet to achieve this.) Taken as a whole, this isn’t a bad performance but for me, the gold medal goes to Giuseppe Andaloro because while his playing is bright, clear and vibrant, he also takes his time with the Andante section to give it time to breathe so it can serve as a foil for the more boisterous sections.
Can't you just appreciate and enjoy how much the pianist was able to accomplish with this music? He is a human being, and not a machine just like you and I. He is an artist, and there are so many amazing elements to his interpretation. Why focus on the negative?
Liszt n’était pas que le compositeur des Rapsodies hongroises ! Totendanz, de Profondis et le concerto solo mériteraient d’être réunis lors d’un récital par un Bertrand Chamallou , un Alexandre Malofeev ou autre ! Mais là je rêve !
I'm unaware as to what you're implying; if you're trying to indicate that it's 'gross' as in 'disgusting', then shame on you. However, if you are trying to convey that it is 'gross' as in 'grand', then I wholeheartedly agree and you have excellent musical taste.
11:20 this is wrong. The bass notes are to be played without the sustain pedal. The upper register is sustained by careful use of the center pedal, which Liszt himself designed specifically to realize such passages on the piano.
Your idea of using the middle pedal in this section would indeed be clever and effective, but it wouldn't have been Liszt's...because he didn't have the middle pedal available to him in 1850.
I like this so much more than the Sonata in B Minor. I find the Sonata in B minor to be incredibly boring compared to this piece. There's just something about the Sonata in B Minor that is very offputting to me. I really don't like listening to it.
Have you heard this performance by Leslie Howard on an 1860 Steinway? th-cam.com/video/-tbcRcVko-c/w-d-xo.html A real revelation... and I don't use that word casually!
Interesting take. I think the Sonata features more unpleasant (but genius) themes and is probably understood better as a “Faust Sonata“ like the Faust Symphony, similar to how there is a Dante Symphony and a Dante Sonata. The Grosses Konzertsolo might have been intended to be less programmatic than the later Sonata, although I am not sure if that makes it more accessible. Both pieces are brilliant and I definitely prefer the length of the Solo. In my opinion, the Solo should have been orchestrated and reworked into a “4 movements in 1” Piano Concerto to properly separate it from the Sonata
![Liszt: 3 Petrarch Sonnets [From Years of Pilgrimage: Italy], S.161 (Tiempo, Chamayou)](http://i.ytimg.com/vi/7K67MCQZgy0/mqdefault.jpg)
![ละลาย (LALALYE) - DAOU PITTAYA ต้าห์อู๋ พิทยา [OFFICIAL MV]](http://i.ytimg.com/vi/wo6r9TgausI/mqdefault.jpg)
The most forgotten and underrated work by Liszt!
I read in a musical album of Liszt years ago that Henselt wasn't able to play this piece towards the end. It's a crazy challenging piece, but also a beautiful work as well. Amazing performance, and I love the pianist's own cadenza from 15:49 as well.
The beginning of the piece sounds a lot more difficult to me
What I would pay to hear Liszt play!
A piano firework of the extraclass ! Thank you for posting !
What a fantastic performance for an otherwise lesser known work by Liszt, Bravo!
Brilliant composition and a brilliant performance! Was not familiar with this Liszt piece. Thank you for posting all of these performances.
7:23 I didn't know that this was a part of a larger work. The music score that I had gave the appearance that this is the beginning of the piece. I wish I could find it again...even though I gave up learning it after a couple of weeks.
A very satisfying work.. Deserves to be heard moere
thank you once again for introducing me to another Liszt beauty!!
Reminiscent of the B minor Sonata.
Yes, listen to 7:26 or 8:18
8:15 especially this
@@kacemchawqi5787 Wow, this is even the theme of the sonata!
Also reminds me of his “Malédiction”, Ballades 1 & 2, “Dante Sonata” and “Orage” in places
I think it was written before the B minor sonata. it's a good piece to learn before it.
It is always nice to have more and more recordings of one great but forgotten masterpiece. Although, have to add, nothing can be compared to Kocsis' version.
Fantástica.
Great performance! I’m used to hear it way slower than this, but i almost prefer this now:)
7:33 damn this chord just wants to resolve so badly it's terrifying how much pleasure I get from that D minor chord ...
D flat major ;) but yes I agree it's very satisfying the way it resolves.
@@AEPMUSlC damnit music theory is my achilles heel. Bet you I just overlooked a flat and it's gonna kill me for the next few weeks 😂
Bravo brilliance grandiose fantastic music super
A very interesting composition. Amazing never to have heard it.
15:49 Nice alternative ending
Оказывается Лист совсем неординарный композитор,что только не услышишь в его произведениях и все очень ярко ,возвышенно, страстно,темпераментно, про виртуозность ,вообще молчу. Как он мог рассчитывать, что это могут играть другие или в то время ,когда он писал это под ,каким либо впечатлением или событием в жизни, что имело на него ,определённое воздействие,он возможно даже не думал о том, что кому то,захочется играть его шедевры! На мой взгляд очень сложно. Браво 👏 Красота.
Great new ending!
from 1:12, the melody is close to Liszt’s funerailles..
This is a rather uneven performance. Parts of it are very good but then there are rough edges that prevent me from giving it a 5/5. If this was done in studio, I don’t know why he didn’t fix the mistake in the strepitoso part of the second page and the octaves right before the final section. Also I didn’t like how he used the sostenuto pedal for the ripple of ‘quasi arpa’ chords. It sounded too blunt and cold like he just wanted to get them out of the way. I do like his use of the damper pedal for the ‘rolling drums’ of Andante quasi Marcia funebre because the echo has an eerie effect that is quite compelling. And measures 60-71 and 252-263 are crisp and clean with little to no pedal. (I am learning the piece now and have yet to achieve this.) Taken as a whole, this isn’t a bad performance but for me, the gold medal goes to Giuseppe Andaloro because while his playing is bright, clear and vibrant, he also takes his time with the Andante section to give it time to breathe so it can serve as a foil for the more boisterous sections.
You are a big professional ,because İ don' hear or don't understand the pedal )))
Can't you just appreciate and enjoy how much the pianist was able to accomplish with this music? He is a human being, and not a machine just like you and I. He is an artist, and there are so many amazing elements to his interpretation. Why focus on the negative?
This work seems much more restrained than many of his other large works, which tend to be difficult for the sake of being difficult.
3:09
Wow!
His embellishment of the coda was a bit of a surprise…
Liszt n’était pas que le compositeur des Rapsodies hongroises ! Totendanz, de Profondis et le concerto solo mériteraient d’être réunis lors d’un récital par un Bertrand Chamallou , un Alexandre Malofeev ou autre ! Mais là je rêve !
Maravilhoso.
Tuning: 0c: A4 = 440Hz
The ending reminds me of the norma paraphrase.
👏
11:19
Grossest concert solo Evah!!!
I'm unaware as to what you're implying; if you're trying to indicate that it's 'gross' as in 'disgusting', then shame on you. However, if you are trying to convey that it is 'gross' as in 'grand', then I wholeheartedly agree and you have excellent musical taste.
@@therealrealludwigvanbeethoven Excellent comment!!!
@@LucasPianoSalon Thank you, Lucas!
@@therealrealludwigvanbeethoven XD
@CRÖCÖDILE no
11:20 this is wrong. The bass notes are to be played without the sustain pedal. The upper register is sustained by careful use of the center pedal, which Liszt himself designed specifically to realize such passages on the piano.
But this sounds cool
Your idea of using the middle pedal in this section would indeed be clever and effective, but it wouldn't have been Liszt's...because he didn't have the middle pedal available to him in 1850.
@@SGregW Wrong. The sostenuto pedal was invented by Bosselot in 1843.
4:53 Dear romantic piano players: a slower tempo doesn't always have to equal "rubato sludge pit". It's getting old.
^
Arrebatador.
Arrepiante.
BRUTTO!!!!!!!
bello
Non sopporto Liszt! Non ci posso fare nulla!
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bruh
Why why why why bruh
Bruh bruh bruh
Why why why why why bruh
Why why why why why why bruh
@DÜT DÜÜÜT MÖMEÑT WÎTH CRÖCÖDILE Why why why why why why why why bruh
I like this so much more than the Sonata in B Minor. I find the Sonata in B minor to be incredibly boring compared to this piece. There's just something about the Sonata in B Minor that is very offputting to me. I really don't like listening to it.
Have you heard this performance by Leslie Howard on an 1860 Steinway?
th-cam.com/video/-tbcRcVko-c/w-d-xo.html
A real revelation... and I don't use that word casually!
Interesting take. I think the Sonata features more unpleasant (but genius) themes and is probably understood better as a “Faust Sonata“ like the Faust Symphony, similar to how there is a Dante Symphony and a Dante Sonata. The Grosses Konzertsolo might have been intended to be less programmatic than the later Sonata, although I am not sure if that makes it more accessible. Both pieces are brilliant and I definitely prefer the length of the Solo. In my opinion, the Solo should have been orchestrated and reworked into a “4 movements in 1” Piano Concerto to properly separate it from the Sonata
15:10