Meyerbeer-Liszt - Réminiscences de 'Robert le diable' (audio + sheet music)
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- เผยแพร่เมื่อ 1 ม.ค. 2016
- Horror show thrills did not originate in Hollywood -- in fact, the "dream" or "nightmare factory" of movie production was anticipated in its most lurid artifacts by nineteenth and early twentieth century opera. Pacts with the devil, the undead, demoniac possession, the strutting Devil himself were part and parcel of early Romanticism, from the lofty philosophical heights of Goethe's Faust (which gave rise to a number of musical works quite apart from the evergreen of Gounod's Faust, Boïto's Mefistofele, and Mahler's "Symphony of a Thousand") to Weber's classic Der Freischütz, premiered in 1821, with its stunning Wolf's Glen scene, and Marschner's Der Vampyr in 1828, which influenced the young Wagner. All are possessed by demon-crossed lovers and rife with plot complications turning up again every season in spates of predictable B movies to gorge an apparently inexhaustible appetite. Eugène Scribe, that master of the operatic hot property, cobbled together a libretto potpourri of the genre for the wealthy Meyerbeer who composed the most phenomenally successful operatic spectacle of the century, the first "grand" opera, Robert le diable, premiered at the Opéra on November 22, 1831, to such earth-shaking success that it is credited with making the fortune of that moribund institution. Robert, son of the devil Bertram by a mortal woman, is led into temptation by his father at every turn, though ultimately saved by the love of a good woman (a theme very dear to Wagner). The third act features an epitome of poor taste that thrilled generations of opera-goers as Bertram summons the ghosts of nuns who violated their vows to dance a Valse infernale. Liszt, an avid opera fan, transcribed this waltz in 1841 as Réminiscences de Robert le diable -- Valse infernale, which he performed for the first time at a recital in the Salle Erard on March 27, 1841, creating a furor -- it sold out the same day it was put on sale by his publisher, Maurice Schlesinger. Schlesinger, at that time, was tossing journalistic assignments and musical hackwork to the obscure Richard Wagner, then in perilous financial straits in Paris. At an all-Beethoven fundraising concert on April 25, with Berlioz in command of the orchestra and Liszt the featured soloist, a clamorous audience refused to allow the program to proceed until Liszt at last consented to perform the Valse infernale. Reviewing the event for the Dresden Abendzeitung, Wagner snarled "Some day Liszt in heaven will be summoned to play his Fantasy on The Devil before the assembled company of angels."
(allmusic.net)
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: • Franz Liszt - Reminisc...
Original sheet music: imslp.org - เพลง
This is one of Liszt's most commonly played pieces back when he was a young virtuoso doing recitals. It's easy to see why..
This piece contains incredible thematic combination. At 5:12, the 2:07 theme is placed in the LH and the 4:12 theme in the RH. At 6:16 the same thing is done in B major but at 6:25 the left-hand/right-hand treatment is inverted. At 8:49, the earlier 2:07 theme is placed in the RH and the 7:16 theme in the LH (again this is inverted at 8:59). Finally at 9:11, the earlier 2:07 theme (albeit more similar to its 6:25 RH treatment) is present in the RH simultaneously with the 1:33 theme in the LH. A phenomenal piece and a phenomenal performance. Thank you for sharing!
This is why I find studying Liszt's pieces on the score - especially in the reminiscences and the sonata in B minor - very fun.. You get to notice things like this and appreciate the thought behind these compositions a lot more.
on a scale of 1 to 10 how much do you like the valse infernale 1st theme
10 for me!
Basically Liszt invented mashup. (Obviously not medieval music also exist)
Bravo Earl Wild! I heard him live in London once. The concert was so long that it was in three parts with two intervals. He liked Bosendorfer.
2:59-3:12 Liszt should have put something like:
Normal measure: for regular pianists
Ossia: for people like me, the one and only Franz Liszt
@Gottschalk was my uncle It is not a person but an italian word, meaning there is an alternative way to play some measures in a sheet, which is written by the composer himself. Most of the time, ossias are helpful to diminish the difficulty of some part. With Liszt in the contrary, ossias can just make the sheet going to be mad.
@Schoenberg is my daddy I thought you knew...
@@amerrylittlemonarch wow this comment is so new, just 1 hour ago
@Schoenberg is my daddy I thought you knew what an ossia is.
@Felis Skalkotris Sorabjitus Funny how you replied to this seven months later.
0:34 Where did that come from? Evidently, Mr. Wild took some liberties and added a run up to that last chord. You go, Earl.
Wow what an enjoyable listen! Pity we've submitted today to too much "puristic" hocus-pocus. What is wrong with a little showmanship? Liberace showed how important it was and I respect his achievement. That's the problem today, we like to resort to packaging it as "classical music" to be appreciated & admired by the learned, elite few. Liszt had no problem transcribing popular music as showy piano tunes and I don't think we should criticize today anyone who finds fun in doing the same!
I have played many virtuoso transcription pieces of Liszt, this one is right up there in terms of stamina demands for being roughly 10 minutes long
9:56 might be one of My favorite Liszt endings ever.
originally it was in B minor but the performer here did it in B major, still sounds pretty good!
@Schoenberg is my daddy Indeed.
One of the most technical difficult virtuosos pieces I've ever seen ! And Earl Wild has bee a real "Devil Guy" on the piano !!
Great energy from Wild, he gets Liszt. And Liszt -talk about a high-energy twenty-something!
0:34 That chord is just *delicious*
一度聴いたら夢にまで出てくるほどの魅力のある曲。リストの演奏会では、冒頭（アンコールではなく）に「悪魔ロベールを」という声が大合唱されたというほど。邦題「悪魔ロベールによる回想」1:00第１テーマ、これが終始付きまとう。2:12クロスでは右手が低音部を受け持つ。4:14 ラプソディー第６フリシュカに似ているオクターヴの連続、そして、7:16は地獄のワルツ。これも印象的なメロディー。8:17 プレスト・アッサイのクロス和音の連打カデンツァはリスト作品中でも指折りのド迫力！9:56コーダは激しい半音階の急上昇により始まり、終わる。
Really like how the performer took liberties. This is good form liszt playing
at 0:52 I always expect an orchestral blast, because of that moment's similarity with the part where orchestra comes in at Saint-Saens no 2
What a beatiful adding at 2:55
that ending 😱😱😱 i would love to see that being played, damn...
from the vinyl back cover which I still have-" a piece, that in Liszt's time, was considered unplayable, except for Liszt or the devil himself"
6:25 this is fire, i mean rest of them is yellow but this part is blue
Браво блестяще исполнил
Thank you for the always interesting commentary. It's always at least slightly funny (oh Wagner, Wagner...). You choose the fragments well. Just for reference, I'm suprised that you didn't mention that Wagner personally didn't like Mayerbeer, and that's why he may have been overtly disgusted with everything he did.
On another note, I saw Robert le Diable yesterday on stage. I wish I could have seen the premiere. (I wish I could have seen Berlioz' The Damnation of Faust too...Damn.)
I was very happy that I'd seen it, but it just doesn't compare with what we know the first production was.
*Category: Sports*
Nice thing! Thanks for upload!
You're welcome. :D
enjoyed the notes (on the notes!) you made.
This is probably my favourite piano piece, absolutely amazing. I wonder if part of this was the used for the nursery rhyme Georgy porgy pudding and pie? Same tune!
I love this reminiscences
Funny to see how the composers were linked at that time ! (For anyone wondering, I'm thinking about Alkan here)
It should be included in the title & the description that the pianist is EARL WILD 🎹
BRAVOOOOOOOOOOO!!!!!!!!!
Nice jokes with the Ossia, man. I laughed at that.
I love hearing Lizst just beat up pianos.
Isn't he supoused to finish in b minor? Obviously he finished piece with B major!
Performer's discretion, I'll say that.
Sounds better lol
Hi thenameisgsarci, I am always a fan of your channel, and I am wondering if you could do the audio-sheet version of Liszt's concerto pathetique or its predecessor Grosses Concert-Solo? I really love this piece~
Which one would you like me to do the most? You do the honor. :)
Oh never mind, someone has already done a video of "Grosses Concert-Solo" (th-cam.com/video/fUqUnNjEJVk/w-d-xo.html).
thenameisgsarci true, but I found that recording is very awkward.
OK, which one would you like me to do the most, then?
thenameisgsarci since there is already a solo version, maybe youcan consider do a 2-piano version~ As for selecting record, Argerich's and Richter's renditions are both excellent.
i love that commentary lol
Thanks
Yeah. But you could just reply me on your first comment, though. :D
7:11
08:33 now i see where Pokemon red/blue got inpired for the theme "Route 1"
Does anyone know where I can get the notes to the meyerbeer-liszt cavatine from Robert le diabele? Its not the one from the video but the other one he wrote. Its nowhere to be found, not even on imslp
I have the sheetmusic. Drop me an email at the email address in my channel description.
How does its difficulty compare with his other paraphrases like the Grand Spanish Concert Fantasy S. 253, La Clochette, or El Contrabandista?
Maybe a bit easier but still almost close in terms of difficulty ... its among the top 10 hardest liszt paraphrases ig
This is scary.
Probably Liszt's best operatic "fantasy" after the Don Juan fantasy, though I think this is superior to the latter in several respects, such as cohesion. Also, an excellent performance, I think the best I've heard. A work by Liszt played too infrequently relative to its merit.
I thought I'd let this piece run on a window in the background. Well, that didn't work.
Hmmmmm. The score has B minor chords at the end, not the played B major ones.
he did the Picardy Third
on a non baroque piece. Some men just want to see the world burn
+wintypes hhhhhhh true
Why the sound is so brutal?
Devil energy
wow sometimes the pianist even got right notes! :)
My god.
7:50
what year was this
... and murder an Erard...
8:35 Sheet error or performer's error? He was playing as if the score showed 5 sharps. :/
Hmmm... dare should I say "performer's discretion?"
Oh okay... Thanks!
+Tai Ching Kan All ending in major instead of minor, stupid decision. Does it occur in the opera?
+ruramikael Again from my previous comment, I doubt it's the performer's error. A G-natural would likely have been intended instead, or the score should've shown 5 sharps.
+Tai Ching Kan He is playing in B major from 8:31 to the true key change at 8:47. Also the ending at 10:07 has been changed to major instead of minor. Definitely the decision of the performer.
The themes are?
Valse infernale (Act III, No.10), and Air de ballet (Act III, No.15).
Gsarci, what would Liszt think...
Liszt will feel so accomplished with this; it was one of his greatest hits.
+thenameisgsarci Sure it's good but it doesnt come even close to la cloche sonne.
They're two different pieces. :/
+thenameisgsarci Take it easy my man, I was just making a hilarious pun :)
Oh, OK. Phew.
Epic epic playing by the master.
6:25, 9:11
Very Alkan's style
This is early liszt style... Alkan was influenced by that.
Very chopinesque
Am I the only one that notices he's incorrectly playing the section at 8:32? He's playing it in a major key when it should be in a minor key. I see lots of pianists play this section incorrectly, only a few play it minor. He starts with a D# when it should be D natural.
"incorrectly"
The middle section would be much better if it was played sensitively and a little slower, as it is in the ballet of 'Robert le Diable', where it is the 2nd variation for Marie Taglioni. Also, then it would contrast better with the concluding percussive sections. Knowing the actual ballet, this grates, and I suspect Liszt played it more like a ballet adage, as he took the opera seriously, as I do, and unlike some here.
exactly most pianists who play liszts transcriptions go more for the wow affect instead of what the original composer wanted them to be. And im certain that Liszts playing was allot more faithfull to the original composition instead of the look what i can do
@@blazbrlek8530 To be honest with you, the entire _raison d'être_ of this work is the "wow effect". If Liszt wanted a more "faithful" transcription then he would have done one that takes less liberty with Meyerbeer's score.
0:40 I pissed myself
This was Liszt's competition piece which he used against Sigismund Thalberg in their 1830s duel.
It was Pacini-Liszt Niobe Fantasy not Robert.
@@frankromano9064 Yep, that is correct. There is no mention of the Meyerbeer paraphrase being played in the duel.
@@AndreiAnghelLiszt Seen you around dig your style. Big up to you my man!
Wagner, as a freelance music critic assigned in Paris, heard Liszt play this as an encore in the 1840s. Wagner wondered why Liszt wrote such "rubbish".
Source for this?
Wtf
@@GUILLOM Regardless if it's true or not, it would make sense, tbh. Wagner hated everything about Meyerbeer, and pretty much hated jews in general... and so to see Liszt transcribe something from Meyerbeer would've left Wagner flabbergasted.
Wham, bam, no thank you, sir. I am a fan of Wild, a marvelous artist, but I couldn't wait until this slam-bang fest of a piece came to an end.
Open your mind then.
@@juvenalredivius1077 ironic for such a close minded fool
The composer of this piece is Liszt or meyerbeer?
Meyerbeer made the themes, Liszt remixed those themes into one big collection. Is that good enough, I'm pretty bad at explaining, but I hope you got the point. XD
3:43 wrong note in right hand.
You're right. What a terrible pianist, let's hang him in the square for all to see.
Lol i thought i was a keyboard warrior for literalism 😂
Just the one? Shocking!
Old video, would love to have it XD without Xd the forced interjections over the score :P :L :IO. Can't even explain it but its like primal levels of distracting and annoying.
6:57