Réminiscences des Huguenots (1st version), S.412i - Franz Liszt/Giacomo Meyerbeer
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- เผยแพร่เมื่อ 8 ก.พ. 2024
- Franz Liszt/Giacomo Meyerbeer: Réminiscences des Huguenots de Meyerbeer - Grande Fantaisie dramatique pour le Piano (first version), S.412i/Op.11.
Artwork: images.app.goo.gl/sfDNAs9Dgrg...
Liszt's fantasia on Meyerbeer's Les Huguenots, was decisively superior to Thalberg's on the same opera, despite the critical acclaim received by the latter piece. As with the Niobe fantasia, Liszt set out to write a piece as different from Thalberg's as possible... For his fantasia on Les Huguenots Liszt went straight to the heart of the opera - the much admired duet between Raoul and Valentine in Act IV. In this he showed greater discernment than Thalberg, whose fantasia is mainly based upon the trivial Coro con Ballo of Act II, the Huguenot's Rataplan and the chorale "Ein feste Burg". This chorale, heard throughout the opera, seems to have been an indispensable feature of any fantasia. Thalberg also includes a brief allusion to the G flat love-duet, but in such a perfunctory way as to rob this music of all its tremulous beauty. The original version of Liszt's fantasia gives the duet in full.
Liszt appears to be attempting something new in this: basing the structure of the fantasia on the dramatic movement of the opera itself. The piece opens with a pianistic equivalent of the tolling of the bells that signal the beginning of the massacre of the Huguenots, which recurs at nodal points to articulate the form of the piece-a procedure familiar from the Niobe Fantasia. One of Scribe's and Meyerbeer's masterstrokes in this opera was to have the love duet take place against the background of the start of the massacre, but Liszt carried this idea a stage further by throwing together within the smaller confines of his fantasia Raoul and Valentine's love music and the chorus of Assassins from Act V, ending the piece with a coda in which a "delirando" version of the love theme and the Protestant Chorale try and fail to make headway against the music of the murderers. The result is a magnificent encapsulation of the chief dramatic tensions of the opera.
In addition to this, Liszt adds musical "glosses" to point up the dramatic situation. The introduction is a good example. Not only does Liszt place the ensuing duet in context by reference to motifs associated with the massacre of the Huguenots, but he is also able to suggest the pathos of the lovers' predicament in a few bars of "espressivo" suspensions over the rising chromatic scale associated with the "bell" theme (3:11). The effect is moving and totally unexpected against the background of the violently excited introduction. The "development" section (9:58) beginning at bar 179 intensifies the dramatic struggle. An "animato" transformadon of the bell theme introduces a frenetic version of the 1st melody, in the midst of which the F-major climax from the previous section rings out despairingly, only to be cut off by a return to the delirious figuration. At bar 249 ff. (11:55) Liszt takes up the chorale melody and treats it to several violent transformations before a paraphrase of the introduction returns to form a doom-laden preface to the ecstatic G flat duet. This duet (starting from 14:28) Liszt transcribes as faithfully as possible, making an arrangement which is often strikingly similar to that of the vocal score. This most exquisite music was to cause him considerable trouble. Regrettable as it would be to omit the duet, it is evident that its cantabile lines and restrained accompaniment transfer very uneasily to the piano, which is unable to sustain legato in the same way. The carefully balanced sonority loses its magic when transcribed for the piano, [and] the intensity is impossible to reproduce effectively despite a valiant attempt... Which version one chooses to play largely depends on the ending preferred; both bring the piece full circle to material initially heard in the introduction - as in the La Juive and Niobe Fantasias - but perhaps the original ending is more exciting, even if it does seem to represent the triumph of the assassins rather than that of the Huguenots. [...]
Réminiscences des Huguenots is indubitably the finest of the fantasias composed in 1835-6, and represents a new departure in Liszt's treatment of the dramatic course of the opera. The interest of the piece is heightened by the attractiveness of its themes; in common with the Niobe Fantasia Liszt uses a type of ritornello structure to connect the themes, but unlike in the earlier piece, the procedure now has dramatic significance. [...] (Kenneth Hamilton)
One little piece of trivia: Liszt mentioned to Olga von
Meyendorff in an 1881 letter that he used to perform Reminiscences des Huguenots only rarely in his virtuoso years because of
the amount of time it took him to practise!
Second version (S.412iii): • Fantaisie dramatique s...
Inauthentic "intermediate" version (with cuts and alterations): • Grande fantaisie drama...
Discord Server: / discord
*The biggest thank you to our 1,500 subscribers-an incredible milestone, and Happy Chinese New Year!* Here we present a series of 3 videos on the Huguenots Fantasy for this special occasion and express our dearest thanks to everyone for watching, including those having to wait for five years to see a remake of this beast of a fantasy :-)
I still can’t get over how beautiful 10:47 is 😭
this is surely one of the highlights of the piece! but personally i prefer the entire development section preceeding it lel, the perfect way to build up tension
just seen the opera finale and very sad to see everyone got shot.
anyway very dramatique fantaisie the leaps is what makes this one of the hardest opera fantasy
Meyerbeer literally killed off the main characters while their assassins were cheering lol; this version's ending reflects exactly the barbarism in the finale of the opera :(
also ya the leaps are legendary
Bro what!?????
yeah check the original out, there is a reason it was the most popular opera in the 19th century
This is one of the best works by Liszt
yup, the very best and quintessential of Liszt!
this is one from the definitive remakes of all time LET'S GOOOOOOOOOO!!!!111!!!!1!1!
also thank you all for the astonishing milestone of 1.5k subs ❤ :DDDDD
🥳🥳🥳🥳🥳🥳🥳🥳
Good job my dearest mf
Man this boutta go crazy when it drops
👀
Amazing work, Liszthesis! Thank you for sharing all the known and unknown works of Liszt with the best quality ever! Congratulations on 1,500 subscribers!
❤️🩵💙❤️🩵💙❤️🩵💙❤️🩵💙
Take care,
K10
thank you for such kind words!!!
@@Liszthesis You're welcome. Happy Lunar New Year to all who celebrate, btw! ❤❤❤❤
the song in ALPM that reach 10K moment
BRUH how can u still remember that xD back then my pt2 modding skills were so bad lol
+Liszthesis, well if i remember correctly, the third modder plays this song. well,Achmad I meant. also proest song and emotional too even without velocity control in ALPM -blame cheatah mobile-
yeah that could be attributed to Emblazon's midi on which the alpm ver was based, and Achmad's vid is still up on yt ^^
Hey Liszthesis, what are your thoughts on the part at 10:47? I personally think it’s one of the best things Liszt ever wrote but I was just curious what someone else thinks of it
it sounds like carnival de venice lol
3:58 kinda reminds me of Liszt’s Transcendental Etude No. 7 (Eroica)
I was thinking about the same. Listen 2:31
Happy Lunar New Year
same goes to you fellowman :-)
Congratulations 👏👏.
thanksss
Wow you finally re-worked this midi, btw what happened to the first one, I couldn't find it
that video has long been unlisted lol
15:23 Transcendental Etude 12 moment
10:44
Maybe The best part
Ah yes.. John Cage‘s piece…
let's gooooooooooooooo
5 yrs in the waiting hhhhh
@@Liszthesis ye it's actually been a long time too tbh... glad you did a remaster :)
6:15 timestamp for myself
Réminiscences des Astronauts next please
if you can provide the sheet👀
22:12 Original ending
the 'bad guy' ending, as opposed to the well-known chorale 🥲
I wish he kept from 22:12 until 22:24, then went to the chorale
New pfp?
it's our Discord server's banner lul
epos
indeed
21:40 wtf
Liszt on steroids
@@easypianotutorial9361Soooo… just normal Liszt?
I hope people will stop whining about the gallop in a minor after this
welp the popularity of this one is still fairly low