@@rushana1956 I will clarify :) ..... this music sounds like what would be played at the end of a show, when the host is talking to the audience and saying "goodnight, see you next week, thanks for watching" and such. It reminds me of Saturday Night Live's closing music --> th-cam.com/video/HJ4nQxXhyko/w-d-xo.html I hope you understand now :)
The following rhapsodies are somewhat paid a decent amount of attention: 1. #2 (popular) 2. #6 (popular) 3. #9 4. #12 5. #13 6. #15 All these are really good as well. All the others are criminally underrated. Edit: also include #10 just in case.
The 3rd Rhapsody (19:14) is shockingly exceptional in at least two ways. First, I don't think I have ever heard a 19th-century piece use the lowest of the low register in such a way as it is from 21:37 - giving it a melodic line for a prolonged period (Cziffra in this recording inexplicably doesn't always play the lower octave doubling as indicated in the score). I can't recall any other composer using the lowest A at all before this piece - let alone use it as a melody note. Then there is that utterly fantastic chord at 22:29 (and again at 22:44) - an E-flat minor chord with both the upper and lower chromatic neighbour of the fifth - A, B-flat and C-flat in the same chord! Never have I seen anything like that in the romantic literature (I stand corrected - Chopin also uses it in his First Scherzo:). That's a glimpse of the 20th century right there. Published in 1853 - so knowing Liszt's compositional method, it probably originates in the 1840s. Also that magical mode mixture at 22:53 - such an uncanny eerie shimmer.
Don't forget that the modern piano arrived in the 1830s and it made the piano stronger, louder and extended the range. So it's impossible for earlier composers to be able to get that low.
@@classicalhero7 hi there! Of course I wouldn't expect those low notes from composers who hadn't had the range at their time ;) I said 19th-century - Chopin, Schumann, Mendelssohn, Alkan, Thalberg, Balakirev, Brahms, Rubinstein, Grieg, Tchaikowsky - composers we associate with imaginative piano music from the time and up to a decade or two after Liszt. I can't recall any other passage which presents such deep notes, for such an extended period and used melodically rather than as accompaniment/root. That might just speak to my ignorance though :) I would be interested if you could direct me to similar works.
The chord at 22:29 also appears in Chopin's first scherzo. Towards the end a B Minor chord is played with an added E# and G natural 8 times fff in both hands.
Perhaps the most extraordinary Liszt playing on record. Cziffra's technical facility is so other-wordly that your jaw must drop to the floor if you have ever attempted to play these Hungarian Rhapsodies. Who else takes these single-note cadenzas, chordal cadenzas, arpeggios, octaves, leaps, double trills, and glissandi at such a speed, with such clarity and accuracy? None of the great virtuosi of today could accomplish this - not Kissin, Lang Lang, Hamelin, or Katsaris. But then, Cziffra's interpretation has to necessarily sacrifice some musicality. His tonal range is more than adequate to provide continuing interest, but it is more limited than other pianists. You won't find the multiple pianissimos that Horowitz used in his playing, and which add such coloration and delight to his recordings. Nor is there the emotional depth (and eccentricity) that Nyierghazi invested in his Liszt playing. But so what? Cziffra is from some other planet as a pianist, joined perhaps only by Liszt himself.
Kissin is definitely my favorite pianist. I respect your opinion, but feel that his virtuosity is on par with Cziffra's. In order to play Liszt, from what I think, there should be a balance of musicality and technicality, as with any piece. In example of this can be seen in Kissin's performance of the 5th Transcendental Etude (Feux Follets), with the astounding accuracy yet beautiful texture.
@@vedantdave579 Ogdon. He came to my school before he was famous. Sometimes he stayed with a cousin; she remembers one time the car got stuck in snow and he was happy to get in the back seat and bounce up and down. He could read music as if it was ordinary text. When he was 18/19 he was asked at the last minute to play Brahms second Piano concerto. The conductor noticed that JO would lean over to see the next bar if the page turner was a bit slow. Asked John why, he said that although he knew of the concerto, he'd never played it before.
I'm suprised you mentioned Katsaris as I would say that Katsaris' technique and musicianship are both unrivalled even by Cziffra. His discography is certainly much more interesting
Thank you so much for sharing this, it must have taken forever to put this video together. I hadn't heard all the Hungarian Rhapsodies, that's something I wanted to do for many years and it's great to finally take that out of my list of things to do, it was great to listen to them all while reading the sheet music. My all time favorites are number 2, 6, 12, 14 and 15.
These have to be earlier recordings compared to the set Im familiar with. Im going to guess early early 60's. This is beyond unbelievable. This is Liszt. These are absolutely superior to his later recordings.
The right and left hands alternate to achieve the effect of octaves at that speed, when in actuality each hand is effectively playing at half that speed. It's still bloody difficult, but that is how it is physically possible -- it would not be so if a single hand had to play octaves at that pace.
Although I like more the first Cziffra's recording of the hungarian rhapsodies, which is more touching, in here his virtuosity shines, proving that no pianist had or has better technique that him...
@@liangliang5851 BECAUSE THEY'RE FULL OF MELODY. ALONG WITH CHINESE ACROBATICS OF COURSE. LATER LISZT IS JUST ACROBATICS. ACTUALLY LIST'S GREATEST PRODUCT MAY HAVE BEEN COSIMA, THE GODMOTHER OF NATIONAL SOCIALISM. A WITCHES BREW INDEED.
+TheExarion I can't say I agree. The final third feels forced to me, like the performer can't wait to be done. I don't get much sense of joy, only rushing for rushing's sake.
I love No. 2. Can anyone tell me if there are any other Liszt pieces that sound like that? That have that very specific emotion that the first 4 or 5 mins of No. 2 has? Idk how to describe it. But that piece is just so far above all of his others that I've heard.
Reminiscences de Don Juan (Mozart/Liszt), Reminiscences de Norma (Bellini/Liszt), Tannhauser Overture (Wagner/Liszt) to name a few that you may be looking for.
I didn't know Cziffra recorded all the rhapsodies (except 17 & 18) twice?! These interpretations are completely different from what I am familiar with.. Where did you get these recordings?
Cziffra recorded the complete Rhapsodies twice: in 1955 for Hungaroton and "His master voice" which became EMI later (I think you're familiar with these recordins which i like more also). He made e 2nd. recording for EMI i think in the 70'.
No, this is the second recording, I still prefer the 1st......this is, for instance, the 2nd. Rhapsody in the 1st version....not so fast, but magical...: th-cam.com/video/E9S2CfDwNAg/w-d-xo.html Listen for ex. at 9:02 of the old version compared with 18:02 of this version, how better it is, or the coda finale....
Cziffra's performance is unparalleled here. I've never heard LIszt played with such sensitivity, mystery, depth, etcetera. I think that the public's perception of Liszt is flawed with excessive machismo and dexterity, but here, Gyorgy lays it all bare for us to see.
This is really random, but I feel like the beginning of no3 is like an inverse of no2, and also that no7 is just an extended version of the first theme of no3, and that no8 is an extended version of the second theme of no3.
@Roman Bastoni It's actully quite handy for some people. You can either play with upper fingering: 1 & 2 fingers play the melody and 432 play C#, or with lower fingering: as sheets show hands separated. But it's also awkward for me so I also prefer the upper fingering.
That No. 15... I weirdly rather have a version that he bangs more the notes, because that personificates the fury, the agressivity you must have to play the piece. But great work as always
I only did the Hungarian rhapsodies. Anyway there's a perfectly good video of the Spanish Rhapsody played by Hough here: th-cam.com/video/KhHVTeuW5zI/w-d-xo.html
That's a good comment. Historic writing say he explored as far as possible in athletic pianism and broke pianos with his fingers, and women fainted at his concerts, he must have been quite a show of force, velocity and vigor all with the transcendental execution. Not modern pianos but still. I can only think of Rachmaninov after him as a composer who developed pianism further but Liszt probably went the furthest in force, power and madness.
The Cziffra recordings are different from the ones I've heard, and actually, I think he does a little worse with these than what I'm used to hearing. Interesting, thanks for sharing this, but I think I'll stick to the ones I know and love, which are a little more polished than these.
I think, No. 6 is not so long and has technically not so many difficulties to get along with. The Nos. 16-18 are - in the version I had on CD (Szidon, not Cziffra) described as not so hard to play (less fast, not so many difficult musical specials and figures but with interesting mood). Perhaps the third or the forth rhapsody is learnable for relatively normal piano players and I think they are also beautiful. The long and rather slow fifth rhapsody seems to be possible as well. But if You want to try a spectacular and not too dificult Liszt-Rhaosody, I think No. 6 could be a good choice (that's why I suggested it first off all).
The easiest rhapsody is probably no 3 because it's not too fast or as technical as the others. It's a little bit more simple with less polyphonic passages. The hardest one is probably no. 2 (not completely sure). The cadenza is hard but that depends if you are willing to play Hamelin's cadenza. But just because no.3 is the easiest, doesn't mean it's easy. Good luck with learning no. 6.
It says published (erschienen) 1851. Thank goodness metallurgy had advanced enough that strings were available for the piano and a Liszt could do what he did. Sorry, but I think of stuff like that!
@@Whaijorhujishkomunyk Do you actually think this is a Rhapsody? I love the piece as well, but if you look at it structurally and expressively it doesn't fit the general architecture and structure of the other Rhapsodies. Also, Liszt himself did not include this in the Rhapsodies. This was added to the series, along with 18 and 19, by one of his pupils (I think Golerich but I'm not sure) after Liszt's death.
@@kpokpojiji Good observation on your part! HR17 and 18 do sound like Rhapsodies to me but is distinctively darker, and definitely of more nationalistic flavor (17 in d minor? not a single time does HR17 feature a strong cadence on d minor). You do have clear Lassan and Friska sections in HR17 (though the Lassan is particularly short and the Friska doesn't sound quite as cheerful/happy/energetic as say, HR2's Friska), and for HR18 as well (though the Friska in HR18 seems to have this Presto, water droplets-like introduction to it...) Given Liszt composed these at a late stage of his life, it makes sense that they are tainted in what would become impressionism - I believe these works, Nuages Gris, Jeux d'eaux dans la villa d'Este and maybe the Legendes as well are really impressionistic avant-garde pieces. But HR17 and 18 are fully hungarian rhapsodies to me.
My jaw dropped at the sheer speed and clarity of the playing.
I agree with you
@@Franz_Liszt_Korean love so much
@@Pallmermessias Thanks
1. 0:00
2. 10:10
3. 19:14
4. 23:24
5. 28:05
6. 35:31
7. 41:51
8. 46:18
9. 52:00
10. 1:01:52
11. 1:06:38
12. 1:11:37
13. 1:20:21
14. 1:28:40
15. 1:39:46
16. 1:44:55
17. 1:50:22
18. 1:53:43
19. 1:56:48
Friskas:
1. 7:03
2. 15:17
3. -
4. 26:36
5. -
6. 39:37
7. 43:13 (45:13)
8. 49:26 (50:52)
9. 54:52 (58:03)
10. 1:05:55
11. 1:11:00
12. 1:18:00
13. 1:26:22
14. 1:36:28
15. 1:43:16
16. 1:48:13
17. -
18. 1:55:29
19. 2:01:23
Shikazu Okari a
Why is eleven in the lines
Franz Liszt-Chopin its special to me so its easier to find when repeated
Okay cool
❤️
23:24 "Alright, folks, it's been good having you here with us. We hope to see you all again next week. Be safe out there and goodnight"
Monsieur, faites-vous référence à un film? / Sir, are you referring to some movie or what?
@@rushana1956 I will clarify :) ..... this music sounds like what would be played at the end of a show, when the host is talking to the audience and saying "goodnight, see you next week, thanks for watching" and such. It reminds me of Saturday Night Live's closing music --> th-cam.com/video/HJ4nQxXhyko/w-d-xo.html
I hope you understand now :)
@@adamcolbertmusic Yes, I get it. Thank you!
Yes it sounds so much like that!
no.16 and 19 are terribly underrated. Both original version and Cziffra's transcription are so awesome
The power in those octaves in the 4th rhapsody my lord
4 is so underrated
No.9 too :')
Agree with both of you! Also 10 and 13 are pretty underrated imo
The following rhapsodies are somewhat paid a decent amount of attention:
1. #2 (popular)
2. #6 (popular)
3. #9
4. #12
5. #13
6. #15
All these are really good as well. All the others are criminally underrated.
Edit: also include #10 just in case.
and no 14
I agree
I bet Liszt would LOVE his arrangements of No.16 and No.19 !!
The 3rd Rhapsody (19:14) is shockingly exceptional in at least two ways. First, I don't think I have ever heard a 19th-century piece use the lowest of the low register in such a way as it is from 21:37 - giving it a melodic line for a prolonged period (Cziffra in this recording inexplicably doesn't always play the lower octave doubling as indicated in the score). I can't recall any other composer using the lowest A at all before this piece - let alone use it as a melody note.
Then there is that utterly fantastic chord at 22:29 (and again at 22:44) - an E-flat minor chord with both the upper and lower chromatic neighbour of the fifth - A, B-flat and C-flat in the same chord! Never have I seen anything like that in the romantic literature (I stand corrected - Chopin also uses it in his First Scherzo:). That's a glimpse of the 20th century right there. Published in 1853 - so knowing Liszt's compositional method, it probably originates in the 1840s.
Also that magical mode mixture at 22:53 - such an uncanny eerie shimmer.
I know, the 22:53 gave me goosebumps
Don't forget that the modern piano arrived in the 1830s and it made the piano stronger, louder and extended the range. So it's impossible for earlier composers to be able to get that low.
@@classicalhero7 hi there! Of course I wouldn't expect those low notes from composers who hadn't had the range at their time ;) I said 19th-century - Chopin, Schumann, Mendelssohn, Alkan, Thalberg, Balakirev, Brahms, Rubinstein, Grieg, Tchaikowsky - composers we associate with imaginative piano music from the time and up to a decade or two after Liszt. I can't recall any other passage which presents such deep notes, for such an extended period and used melodically rather than as accompaniment/root. That might just speak to my ignorance though :) I would be interested if you could direct me to similar works.
Nice
The chord at 22:29 also appears in Chopin's first scherzo. Towards the end a B Minor chord is played with an added E# and G natural 8 times fff in both hands.
Number 6 just seems like a meme - ‘how many times can I play this melody with while each tie making it more obnoxious and crashy’
thats liszt for you
catchy*
@@lopkobor6916 Lol nice.
How is it obnoxious and crashy
lol
Perhaps the most extraordinary Liszt playing on record. Cziffra's technical facility is so other-wordly that your jaw must drop to the floor if you have ever attempted to play these Hungarian Rhapsodies. Who else takes these single-note cadenzas, chordal cadenzas, arpeggios, octaves, leaps, double trills, and glissandi at such a speed, with such clarity and accuracy? None of the great virtuosi of today could accomplish this - not Kissin, Lang Lang, Hamelin, or Katsaris. But then, Cziffra's interpretation has to necessarily sacrifice some musicality. His tonal range is more than adequate to provide continuing interest, but it is more limited than other pianists. You won't find the multiple pianissimos that Horowitz used in his playing, and which add such coloration and delight to his recordings. Nor is there the emotional depth (and eccentricity) that Nyierghazi invested in his Liszt playing. But so what? Cziffra is from some other planet as a pianist, joined perhaps only by Liszt himself.
Kissin is definitely my favorite pianist. I respect your opinion, but feel that his virtuosity is on par with Cziffra's. In order to play Liszt, from what I think, there should be a balance of musicality and technicality, as with any piece. In example of this can be seen in Kissin's performance of the 5th Transcendental Etude (Feux Follets), with the astounding accuracy yet beautiful texture.
John Ogdon, sadly he died far too young.
@@simmo303 Yeah... RIP John Ogden
@@vedantdave579 Ogdon. He came to my school before he was famous. Sometimes he stayed with a cousin; she remembers one time the car got stuck in snow and he was happy to get in the back seat and bounce up and down. He could read music as if it was ordinary text. When he was 18/19 he was asked at the last minute to play Brahms second Piano concerto. The conductor noticed that JO would lean over to see the next bar if the page turner was a bit slow. Asked John why, he said that although he knew of the concerto, he'd never played it before.
I'm suprised you mentioned Katsaris as I would say that Katsaris' technique and musicianship are both unrivalled even by Cziffra. His discography is certainly much more interesting
Amazing job to put togheter all Rhapsodies with scores!!! Tank you very much!!!!
Todas son preciosas ,no hay donde escoger.Gracias por ponerlas ,no las habia oido ,seguidas
Dreams and fantasies. My favourite. :) Thank you Franz Liszt!
Thank you so much for sharing this, it must have taken forever to put this video together. I hadn't heard all the Hungarian Rhapsodies, that's something I wanted to do for many years and it's great to finally take that out of my list of things to do, it was great to listen to them all while reading the sheet music. My all time favorites are number 2, 6, 12, 14 and 15.
All of them are my favorites especially when it is in a virtuoso mode
These have to be earlier recordings compared to the set Im familiar with. Im going to guess early early 60's. This is beyond unbelievable. This is Liszt. These are absolutely superior to his later recordings.
What do you mean
I'm suprised as well. It was already amazing, but these are even more sensational - magnificient recordings.
These are the later recordings.
1:43:10 how is this physically possible
WalyB01 idk
I guess Liszt may know it. Lol😂
The right and left hands alternate to achieve the effect of octaves at that speed, when in actuality each hand is effectively playing at half that speed. It's still bloody difficult, but that is how it is physically possible -- it would not be so if a single hand had to play octaves at that pace.
By practice.
@@stevennababan6159 lmao
No. 14 is absolutely incredible
You should listen to Hungarian Fantasy, it’s a version of no. 14 Liszt made for piano and orchestra
Обожаю рапсодии! Почти все переиграла с удовольствием. Но требует много занятий!
Bravo! Thank you so much for this... :D
Getting lively a lot more lately with your channel, eh?
Must be your tribute to tnsnamesora...
thenameisgsarci ...long
Thanks for this!
Wonderful, thanks!
Thank you so much !
Fantastic!
No 5 at 29:45 seems to become the slow movement of Beethoven’s ‘Pathetique’.
Why does the descriptions say this video includes Chopin's Heroic polonaise, which is in the 'Rhapsody in Blue' album?
How long did it take for this beast to upload to youtube? I'm predicting around 3 days
I opened my eyes and I am still here .
50:00 always makes me squeak with happiness. Just like cuddling my niece :)
...what
Wait wha
What
A l a b a m a
Sweet home Abalama
The eighth one is absolutely amazing
Although I like more the first Cziffra's recording of the hungarian rhapsodies, which is more touching, in here his virtuosity shines, proving that no pianist had or has better technique that him...
I love Hungarian Rhapsodies 2,5,14,15,8,1
why?
6????
12?
@@liangliang5851 BECAUSE THEY'RE FULL OF MELODY. ALONG WITH CHINESE ACROBATICS OF COURSE. LATER LISZT IS JUST ACROBATICS. ACTUALLY LIST'S GREATEST PRODUCT MAY HAVE BEEN COSIMA, THE GODMOTHER OF NATIONAL SOCIALISM. A WITCHES BREW INDEED.
@@onceltom Hey, I think you left your caps lock on.
This is the second recording of compete Hungarian Rhapsodies by Cziffra, I still prefer the 1st. one.
Amazing !
For Cziffra These are the remastered versions. Why you choose the remastered version instead of original recording?
this is a very nice cd. i'm glad i bought it
36:43 now thats Liszt!
A-fucking-mazing.
TheExarion And might I say, this interpretation of the 2nd rhapsody is my absolute favorite.
+TheExarion I can't say I agree. The final third feels forced to me, like the performer can't wait to be done. I don't get much sense of joy, only rushing for rushing's sake.
hey can you not read it says 2nd
@@ShuckleDoesGamingI think he means a third interval on a piano.
36:49
That sounds as sharp as a knife! Wonderful
Anyone else notice that around 41:33, near the end of the 6th one, the recording seems to split for a second?
It's heard in numerous moments throughout the whole video.
1:26:42 OMG Pablo Saraste Zigeunerweisen, Op. 20, minute 7:08 something like that :0
:0000
Your right
I love No. 2. Can anyone tell me if there are any other Liszt pieces that sound like that? That have that very specific emotion that the first 4 or 5 mins of No. 2 has? Idk how to describe it. But that piece is just so far above all of his others that I've heard.
You'd probably like Liebestraum
Mazzepa maybe totentanz is one of my favourites or Wilde jagd
Reminiscences de Don Juan (Mozart/Liszt), Reminiscences de Norma (Bellini/Liszt), Tannhauser Overture (Wagner/Liszt) to name a few that you may be looking for.
Another name for this collection is "Just give up on piano dude"
I didn't know Cziffra recorded all the rhapsodies (except 17 & 18) twice?!
These interpretations are completely different from what I am familiar with..
Where did you get these recordings?
Cziffra recorded the complete Rhapsodies twice: in 1955 for Hungaroton and "His master voice" which became EMI later (I think you're familiar with these recordins which i like more also). He made e 2nd. recording for EMI i think in the 70'.
@@Rudel23 So these recordings are from 55?
No, this is the second recording, I still prefer the 1st......this is, for instance, the 2nd. Rhapsody in the 1st version....not so fast, but magical...: th-cam.com/video/E9S2CfDwNAg/w-d-xo.html Listen for ex. at 9:02 of the old version compared with 18:02 of this version, how better it is, or the coda finale....
@@Rudel23
I personally prefer the 1950s recordings, too !
The 1970s recordings here are free, charming, but... I don't know, just too much.🙁
most difficult: 52:00
@Schuyler Bacn yes
I have been working on it since June, a lot of fun to play
Not the most difficult, I'd say 14 is harder. (I can play no. 9)
No 3 starts off as something I might be able to play... little did i know.. D:
D:
I like snails very much
liszt truly was a wizard of the keys
No 19 sounds like a hymn I've heard
What?
Cziffra's performance is unparalleled here. I've never heard LIszt played with such sensitivity, mystery, depth, etcetera. I think that the public's perception of Liszt is flawed with excessive machismo and dexterity, but here, Gyorgy lays it all bare for us to see.
Pausa
Gran pianista .
This is really random, but I feel like the beginning of no3 is like an inverse of no2, and also that no7 is just an extended version of the first theme of no3, and that no8 is an extended version of the second theme of no3.
At 15:37, first bar. Can someone tell me what this star under quater note means? Tkanks :)
It's a footnote in the score, which says: "The editor prefers the lower fingering".
tomekkobialka How do you know that? :O
I am psychic.
It is generally written at the bottom of the page, hence 'footnote'. You just can't see it because the score is cropped.
@Roman Bastoni It's actully quite handy for some people. You can either play with upper fingering: 1 & 2 fingers play the melody and 432 play C#, or with lower fingering: as sheets show hands separated. But it's also awkward for me so I also prefer the upper fingering.
That No. 15...
I weirdly rather have a version that he bangs more the notes, because that personificates the fury, the agressivity you must have to play the piece. But great work as always
1:16:41 the last metre.......😱😜
Bravo
Where you found this?
01:57:58 - wait what? Insane speed.
Geez, those 64th notes in glissando
❤ 48:00
Where is the Spain rhapsody composed by Liszt? Didn't you say it's complete version of Liszt hungarian rhapsody?
I only did the Hungarian rhapsodies. Anyway there's a perfectly good video of the Spanish Rhapsody played by Hough here: th-cam.com/video/KhHVTeuW5zI/w-d-xo.html
The ending of n°17 is so peculiar than any other rhapsodies... in b-flat minior??
i think it ends unresolved. The rhapsody is tonally unstable, it reflects the late composing style of liszt.
@@thanasis_milios hm, you're right, I thought it ended too early, it had to be more developed a little
My favorite part of Liszt’s 6th Hungarian rhapsody 39:37-41:28
Liszt danced on the edge of having broken fingers
That's a good comment. Historic writing say he explored as far as possible in athletic pianism and broke pianos with his fingers, and women fainted at his concerts, he must have
been quite a show of force, velocity and vigor all with the transcendental execution.
Not modern pianos but still. I can only think of Rachmaninov after him as a composer who developed pianism further but Liszt probably went the furthest in force, power and madness.
Sir Franz is the best!
1:40:40 The only part i can play! 😂
LOL
10:48 if i'm not wrong, tom once played this in one of the episodes of tom and jerry. at the piano episode.
yep, and bugs bunny, daffy duck, et al...tom was the best though!
Hideyoshi Nagachika 永近 英良 the cat concert
Hideyoshi Nagachika 永近 英良 HIDE YOU'RE ALIVE ;-; KANEKI MISSED YOU BUDDY
Hideyoshi Nagachika 永近 英良 HE WALKED SO MUCH CARRYING YOU AT THE END THOUGH
@@hectorlopez1942 ?
1:44:20
Liszt was so crazy 🤪🤣
1:44:55 is like a mad witch and roaring thunder
Truly it is. Liszt's insane
Are there beginner's versions?
1-6 are my favourites
The Cziffra recordings are different from the ones I've heard, and actually, I think he does a little worse with these than what I'm used to hearing. Interesting, thanks for sharing this, but I think I'll stick to the ones I know and love, which are a little more polished than these.
Which are those
@@bozzigmupp510 it's part of a big collection from EMI. www.discogs.com/Liszt-Georges-Cziffra-Oeuvres-Pour-Piano/master/1133407
I am learning no6
Wish me good luck~
rip
How is It going?
@@liam5075 finished learning yup it was ok
@@clvsidy congrats
me too, I'm finish the presto part
I love 7,2,6,15😍😍😍
To me, the third rhapsody sounds like your at the cross roads about to sell your soul.😳
#8 is the best sounding in my opinion
No.1 tho, That friska is amazing, an underrated piece perhaps?
wich is your favourite? my is hungarian rhapsody no 9
mine is 6 , but I played 3-6,8,10,and 16
No. 6 =)
15
4,9,10,14,15
18😂
Cziffras best omg the speed of hes hands
Cool
This is how genius spend their 2 hours
офигет
26:35
53:00_1:50:50
I like snails very much
Which is the easiest Hungarian rhapsody?
I think, No. 6 is not so long and has technically not so many difficulties to get along with. The Nos. 16-18 are - in the version I had on CD (Szidon, not Cziffra) described as not so hard to play (less fast, not so many difficult musical specials and figures but with interesting mood).
Perhaps the third or the forth rhapsody is learnable for relatively normal piano players and I think they are also beautiful. The long and rather slow fifth rhapsody seems to be possible as well. But if You want to try a spectacular and not too dificult Liszt-Rhaosody, I think No. 6 could be a good choice (that's why I suggested it first off all).
@@haukesievers7909In my opinion, I think hung 6 is very hard, with fast octaves at the end
It is really fast at the end, the repititon is so hard, one could play it more slowly 😗 or might be better to try no. 3.
@@jansontang2094 not particularly, i had it up to performance level in about 4 or so weeks
39:21
i like the friskas
La rapsodia de campo.
best ones: no2, no6, no13, no15.
Ayo I'm learning hungarian rhapsody no 6 and i've just been wondering which one of them is the easiest and hardest.
The easiest rhapsody is probably no 3 because it's not too fast or as technical as the others. It's a little bit more simple with less polyphonic passages. The hardest one is probably no. 2 (not completely sure). The cadenza is hard but that depends if you are willing to play Hamelin's cadenza. But just because no.3 is the easiest, doesn't mean it's easy. Good luck with learning no. 6.
@@LisztEtude6 thanks
@@LisztEtude6 hardest is 9 imo
@@LisztEtude6 hardest 14
umm.. i want to know Recording years.. please..
I want to say mid 60s?...
know l The recordings by Cziffra are from 1974-75 . He had also recorded Rhapsody 1-15 in 1956-58 together with Spanish Rhapsody.
VVait, arent there 20 rhapsodies ?
50:49-50:51 Hungarian Rhapsody 2 Cadenza :0
quite fast for 1&2. but it's fabulous at all!!!!
in rousseaus hr2 jerry appears somewhere around 16:21 of this, and 6:31 of his.
It says published (erschienen) 1851. Thank goodness metallurgy had advanced enough that strings were available for the piano and a Liszt could do what he did. Sorry, but I think of stuff like that!
16:28 sounds like la campanella
Not even close.
@@p-y8210 sure fine but you do agree that both songs are really..........
trilly?
@@nathanaelhsu8631 both pieces are trilly yes but la campanella is an paganini transcription.
1:01:10
The second rhapsody sounds so different to the performance I usually listen to. It's not bad, but it doesn't sound right to me
Rhapsody 17 also known as "tantrum" 😂😂
I love 17th Rhapsody lol
@@Whaijorhujishkomunyk Do you actually think this is a Rhapsody? I love the piece as well, but if you look at it structurally and expressively it doesn't fit the general architecture and structure of the other Rhapsodies. Also, Liszt himself did not include this in the Rhapsodies. This was added to the series, along with 18 and 19, by one of his pupils (I think Golerich but I'm not sure) after Liszt's death.
@@kpokpojiji ik, always i love it
@@kpokpojiji Good observation on your part! HR17 and 18 do sound like Rhapsodies to me but is distinctively darker, and definitely of more nationalistic flavor (17 in d minor? not a single time does HR17 feature a strong cadence on d minor). You do have clear Lassan and Friska sections in HR17 (though the Lassan is particularly short and the Friska doesn't sound quite as cheerful/happy/energetic as say, HR2's Friska), and for HR18 as well (though the Friska in HR18 seems to have this Presto, water droplets-like introduction to it...)
Given Liszt composed these at a late stage of his life, it makes sense that they are tainted in what would become impressionism - I believe these works, Nuages Gris, Jeux d'eaux dans la villa d'Este and maybe the Legendes as well are really impressionistic avant-garde pieces. But HR17 and 18 are fully hungarian rhapsodies to me.