Valentina Lisitza also includes that fantastic passage - I really wish Liszt hadn't omitted it from the solo version. But I'm glad some pianists dare to reinsert it - it surely does no harm, it's all Liszt's music after all. My favourite solo Totentanz recording by Arnaldo Cohen doesn't have the passage (but that's very understandable as he recorded it for Naxos' complete Liszt-cycle).
He is exceptional and plays fantastically, i know very well how insanely hard this is. But still nearly not as fiery or robust as Lisitsa's solo version, she creates so much energy that it never feels like the orchestra is missing. And ofc crazy technical skills
Having listened to both interpretations many times, I must say this one grew on me far more than Lisitsa's. Not only is it more articulate but the themes in general are much more clear comparing to Lisitsa's interpretation. She uses too much pedal and often loses certain melodies that Lechner very well brings out. For example, during the 5th Variation around the 9 mins mark, Lisitsa fumbles most of the left hand octaves while playing the right hand arpeggios loud enough so it isn't noticeable, quite an odd decision for such an "acclaimed" pianist.
@@calebhu6383 well it's surely not easy to get precisely, (lh does pratically nothing but repeating the notes) but rh kinda has to get all of the chords
@@luciferlyset7543 Lisitsa's version is the GOLD standard. The power, precision and clarity are all on point. She just managed to keep the momentum til the very last note.
I'm learning only the arpeggios, and it's really fun/hard. I think once you can play it well enough you can put it in any improvisations so it's quite useful.
Beautifully played! My favourite rendition so far. Very rich paino timbre. Not sure is it's due to piano itself, recording equipment or tuning - but it's just sublime
With Hallowen coming up, it's good to remember that the 19th century mind had a wonderful grasp of Gothic horror and fantasy--FRANKENSTEIN, DR. JEKYLL AND MR. HYDE; THE PICTURE OF DORIAN GRAY, etc. DRACULA may date from the early 20th century, but a 19th century mind created it.
![[Oravecz György] Liszt: Totentanz for Piano Solo](http://i.ytimg.com/vi/01zFysxnlQU/mqdefault.jpg)
![[Oravecz György] Liszt: Totentanz for Piano Solo](/img/tr.png)
14:46 the level of pulse pounding dynamics here is just simply fantastic
0:00 Looks like doable piece for me!
0:25 WHAT THE F--
This has to be one of my favorite interpretations -- not only does Lechner add the glissandi back in at the end (14:46) but he plays them SO sharply!
14:46 YES! so glad this was added back into the solo version
yahhhhhh that crazy stunning cadenza
I don't know if it was added on the sheet, i dont see the glissando notation, maybe was added by the performer
@@abnergutierrez366 it was transcribed from the original orchestral version beuh
@ًًًًًًًًًًًًًًًًًًًًًًًًً reee
Valentina Lisitza also includes that fantastic passage - I really wish Liszt hadn't omitted it from the solo version. But I'm glad some pianists dare to reinsert it - it surely does no harm, it's all Liszt's music after all. My favourite solo Totentanz recording by Arnaldo Cohen doesn't have the passage (but that's very understandable as he recorded it for Naxos' complete Liszt-cycle).
He is exceptional and plays fantastically, i know very well how insanely hard this is. But still nearly not as fiery or robust as Lisitsa's solo version, she creates so much energy that it never feels like the orchestra is missing. And ofc crazy technical skills
Having listened to both interpretations many times, I must say this one grew on me far more than Lisitsa's. Not only is it more articulate but the themes in general are much more clear comparing to Lisitsa's interpretation. She uses too much pedal and often loses certain melodies that Lechner very well brings out. For example, during the 5th Variation around the 9 mins mark, Lisitsa fumbles most of the left hand octaves while playing the right hand arpeggios loud enough so it isn't noticeable, quite an odd decision for such an "acclaimed" pianist.
Funny how I suck at piano, but my favorite composers are some of the greatest pianists of all time. Liszt, Rachmoninoff, Ravel
Same.
Ravel played bad :)
@Felis Skalkotris Sorabjitus Ravel might be my favourite composer:)
Ravel sucks
@@Whatismusic123 better than you could ever be in your lifetime lmao
Ha Liszt... Mon premier amour ! J'écoute la Totentanz depuis mes 14 ans et je la trouve toujours plus magnifique...
UN FRANCAIS EEEEEENFIN
0:25
Left hand has left the chat.
Right hand has left the chat.
That's one of the easiest parts of the piece
@@calebhu6383 well it's surely not easy to get precisely, (lh does pratically nothing but repeating the notes) but rh kinda has to get all of the chords
@@AsrielKujo If you miss a note or even an entire chord, literally no one's going to notice as long as the left hand supporting notes are spot on
@@calebhu6383 also true
@@calebhu6383 was not expecting you here
9:04-9:17 this part is breathtaking and perfectly executed (but not so effective as with the orchestra)
Personally, I think Lisitsa did a bit better, but it's still excellent.
@@luciferlyset7543 Lisitsa's version is the GOLD standard. The power, precision and clarity are all on point. She just managed to keep the momentum til the very last note.
Insane!! The first arpeggio took me5 minutes to even play...
David Gdalevich five minutes are very very good... It took me one hour...
I'm learning only the arpeggios, and it's really fun/hard. I think once you can play it well enough you can put it in any improvisations so it's quite useful.
@Liebesträume that's because i am everywhere
1:59 3:05 7:51 and 13:34 some of my fav parts of totentanz😊
Those are insane arpeggio like stuff at the beginning :00
?
9:43
What a insane piece of work.......crazy..........Cannot imagine this can be played by a human being
A very good interpretation Patrick..........
Brilliant rendition.
Beautifully played! My favourite rendition so far.
Very rich paino timbre. Not sure is it's due to piano itself, recording equipment or tuning - but it's just sublime
14:12 You can't play this if you don't have 16 fingers in each hand...
My brain started playing the orchestral parts
7:10
Liszt forever ❤
Thanks for uploading!
10:29
❤❤❤❤
halelujiah !!!! i´ve found it finally ! :)
Dies irae, dies illae...
Fantasitc intepretation.
@Enescu Thank you for noticing
very interesting, thank you
what piece is more difficult between Liszt’s totentanz piano solo vs Rachmaninoff piano concerto no.3 third movement?
ia eud the latter
I’d say this one
Rach 3
This one
Rach 3 by a lot
It's all quite simple, really!
This is great, but there seem to be a few pages of the score missing, just before the end.
Yeah, at the end Lechner plays the orchestral version as opposed to the solo version
extra !
Tuning: 0c: A4 = 440Hz
With Hallowen coming up, it's good to remember that the 19th century mind had a wonderful grasp of Gothic horror and fantasy--FRANKENSTEIN, DR. JEKYLL AND MR. HYDE; THE PICTURE OF DORIAN GRAY, etc. DRACULA may date from the early 20th century, but a 19th century mind created it.
How much more difficult is this than, say, the second Ballade?
A lot more difficult
Personally I like har-zahav better in the solo version
s525...
Horrible interpretation
It is much better than Lisitsa's interpretation... ;)
I'd love to see you do better
acaso tu tocas mejor'
NO, NOT at ALL. Valentina Lisitsa is 10 classes better !
tnsnamesoralong Be quiet.
3:19
10:50
12:08
10:29
13:34