Liszt - Fantaisie sur des motifs favoris de l'opéra 'La sonnambula', S393i (Han Chen)
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- เผยแพร่เมื่อ 1 พ.ย. 2018
- Liszt had no rivals when it came to operatic paraphrases, fantasies and transcriptions. He was able to transform a series of well-known and recognisable sections of an opera into a memorable, cleverly structured pianistic tour-de-force which stood on its own. Other composers who attempted this art were only able to produce a piano reduction of operatic excerpts. In Liszt's hands (and mind) the piano was always able to transform an operatic spectacle into a cohesive, pianistic experience; listeners familiar with the themes of the opera could always find their favorite arias and melodies woven expertly by Liszt into the fabric of his extravaganzas.
Such is the case with the marvellous paraphrase of Liszt's ‘favourite motifs’ from Bellini's ‘La sonnambula’; the work is constructed about five themes from Bellini’s opera, and really presents the drama in miniature by concentrating upon the principal story-line of the sleep-walking Amina who is presumed to be unfaithful to her betrothed Elvino, her rejection by him, her narrow escape from death by drowning whilst sleep-walking, her vindication, and the lovers’ reconciliation. Liszt captures the whole spirit of the piece in what amounts to a three-movements-in-one form whose last section, based on the triumphant ‘Ah! non giunge’, deftly draws all the elements together. It is altogether one of his best fantasies, conveying the whole spirit of the drama in the comparatively microcosmic world of a single piano piece, and is long overdue for revival in the concert hall.
Han Chen demonstrates a great understanding of how to balance exuberance with sensitivity and thoughtfulness; his assured, elegant, and totally effortless technique combined with his idiomatic flair and his use of color and touch to convey character has produced one of the finest CDs from Naxos’ survey of Liszt’s piano music. If you’re a fan of Liszt and the highest order of transcendental virtuosity, grab Volume 41 of their (not yet) complete Liszt project right away.
Please check out Han Chen's TH-cam channel: / hankop771
and website: hanchenpiano.com 😊 - เพลง
![แฟนแนวใด๋ - ยูริ โตเกียวมิวสิค [OFFICIAL MUSIC VIDEO ]](http://i.ytimg.com/vi/4_XVMuhhbsU/mqdefault.jpg)
![อาจารย์ยอด : สวยกินคน [ผี]](http://i.ytimg.com/vi/_-TIJOwkRA4/mqdefault.jpg)
This is so underrated wtf
Sigismond Thalberg, a rival of Liszt at the time, also wrote a paraphrase *"Grande caprice sur des motifs de La Sonnambula, Op. 46"* on the same opera. I'd heard Thalberg's version many times, and this is the first time I've had the chance to listen to Liszt's version. I adore the one by Thalberg but man... Liszt's version is just an... _absolute beast_ of a composition!
Thalberg's version for those interested: th-cam.com/video/dJFipjixfFI/w-d-xo.html
10:36 until the end is pure perfection.
I couldn't agree more, that's the part I always skip to when I want to listen to this piece.
@@szilike_10 very emotional is it?
@@norixsynth Yes, very emotional and dramatic. I could also say heroic in a way. Liszt was magical, even if it was based on Bellini's opera, I think the sheer greatness and genius in this guy's mind and his heart is often underrated.
I always enjoy that octave passage very much very pleasant and the ending just beautiful
@@sebastian9445 I feel sad when I listen to that part, because of success.
3:54 The Andante part is one of most beautiful melodies I have listened to so far in my life
that was definitely great
That's the tenor part :) I love listening to it sung by Florez in the Met production
Tutto è sciolto:
Più per me non v'ha conforto.
Il mio cor per sempre è morto
Alla gioia ed all'amor
Pasci il guardo e appaga l'alma
Dell'eccesso de' miei mali:
Il più triste de' mortali
Sono, o cruda, e il son per te.
Tutto è sciolto (act 2)
Thank you very much. Such a rarely played or recorded piece. Liszt at his most maniacal - throwing in everything, including the kitchen sink. To me, even better than 5:06 are the sections at 8:15 and 9:42 which must be so difficult to bring out all the "voices". This version is exceptional in so many ways! In addition to stratospheric virtuosity, it must take laser focus and concentration to keep this "unruly" piece from turning into a big jumble of notes.
You should try listening to Lewin's rendition as well. Admittedly less fiery and less ferocious than Chen's, yet more refined and cleaner in character imo.
Chord at 5:35 is remarkably beautiful and wasn’t expecting that from the romantic era
Not sure I understand which chord you're referring to: that's just a G major harmony at 5:35, functioning at that moment as IV in D major.
@@nicholasfox966 Maybe he's referring to the surprise D7 chord just before that the A7 in the previous bar resolves onto, which is what you call a secondary dominant, and his time was a bit out. But the romantic era was full of those kinds of surprises - and so was the music of great pre-romantic composers for that matter, like Schubert and even Bach.
@@simonr6553 haven't seen that in bach tho
@@pleasecontactme4274 you'd see such a modulation in about any Bach piece through, last few bars in his famous C major prelude does just that for example.
I think Varun might have meant the D-C#-C line against D pedal before resolving into G major could have a "modern" sound since it features in alot of pop music, but I don't know ¯\_(ツ)_/¯
@@pleasecontactme4274 Have you listened to much Bach?
Thank you so much for these breathtaking, amazing virtuoso masterpieces by Franz Liszt. Oh My! And Han Chen... Wow!
10:46 this melody :(
11:00 This part 😩 is PERFECT
Astounding performance, and i'm glad to see that Liszt didn't throw really much virtuosic phrasing for this one.
Buuuh
@@DavidVVvvhr Cuuuh
How the f is there no virtuosic phrasing?
The themes used are:
@ 0:00 Osservate, l'uscio è aperto
@ 3:26 Tutto è sciolto (vedi, o madre, è afflitto e mesto)
@ 4:35 Pasci il guardo ed appaga l'anima
@ 5:05 Tutto è sciolto + Pasci il guardo ed appaga l'anima (at the end)
@ 6:07 Osservate, l'uscio è aperto
@ 6:55 Ah, non giunge
@ 7:21 Ah, non giunge + Ah, perché non posso odiarti
@ 8:12 Ah, non giunge + Ah, perché non posso odiarti
@ 8:52 Osservate, l'uscio è aperto + ah, non giunge
@ 9:43 Ah, non giunge + ah, perché non posso odiarti
@ 11:02 D'un pensiero e d'un accento
After the big cadenza, starting with Amina’s (soprano) cabaletta “ah! non giunge” and in the next page switching it to Elvino aria’s second part: “ah! Perché non posso odiarti” is simply fantastic! Love it! Btw I’d recommend you all to listen to this opera. It’s an incredibly rich opera, full of stunningly beautiful melodies! And Liszt here gives us a free tour on his spaceship and feeding us with beauty and craziness! Love it! 🔥
BEAUTIFUL!!! Thank you Andrei!!
This is brilliant and is unmistakeably a Liszt masterpiece. The textures and the runs and the energy were just incredible; but I think Thalberg's version is better in overall form, aesthetic and nuanced emotion. It's definitely not as "edgy" and pyrotechnic as Liszt's, here, but the first half has moved me to tears.
This may be turning into my favourite Liszt operatic fantasy - it has everything that makes the best of them so great, drama, lyricism, voluptuous harmonies and textures complementing those sensuous Italian melodies that Liszt had such an affinity with and rhythmic impetus (the catchy introduction reminds me of the much earlier Grande fantaisie sur des motifs de Niobe).
Unfortunately, this is the second and not the first version - IMSLP don't help matters by having second edition scores under both S.393/1 and S.393/2. Those exploring Liszt's complete works like me might want to know this!
say did you ever find a recording of the first version?
(or even a midi)
@@pleasecontactme4274 'Fraid not, I searched Spotify and TH-cam pretty thoroughly. It's track 4 of CD 1 of Vol. 54 of Leslie Howard's complete Liszt piano works (www.hyperion-records.co.uk/dc.asp?dc=D_CDA67406/7) but like all Hyperion tracks that isn't available to listen to in full for free online.
@@simonr6553 :(
La Fantaisie sur la Somnambule de Bellini par F Liszt est brillantissime plus aboutie que celle de S Thalberg merveilleusement restituée par ce virtuose asiatique.
I like it better, too.
1:15-1:28/2:55-3:05 I like those sequences.
So do I but it's circle of fifths and used very often since baroque till romantic music.
0:16 also has circle of fifths btw
Bravo bravo bravo bravo brilliance music virtuoso and grandiose
3:26 Vedi, o madre, è afflitto e mesto
6:55 Ah! non giunge
8:13 Ah! perchè non posso odiarti
Thank you for uploading!
I came here for the ending. Virtuosic and Romantic
This channel is underrated
8:14.. arpeggio, two themes, trill.
This was amazing
In all honesty, that was amazing.
Thank you !
Wow🤩
8:36 this part is pretty much the best yet I find no one mentioning this
really tho liszt's transcriptions are too good! the only one as good as these was agosti's firebird transcription
The Firebird transcription conveys the essence of the orchestra, but is, in my opinion, inferior to Liszt's orchestrally-oriented adaptations for solo piano.
@@amerrylittlemonarch i get that intense feel and the effects feel like as that of an orchestra's, that's why i feel the danse infernale theme of the firebird transcriptions is just as good or even better. Btw I'm basing this off what i hear and feel about it instead of doing a more proper analysis
@@pleasecontactme4274 Quite understandable. Though you are entitled to your opinion, I disagree with your aforementioned assertion that the Agosti/Stravinsky transcription is superior to Liszt's symphonic/orchestral adaptations.
@@amerrylittlemonarch no im not really saying 'superior' it's more of a thing like i feel it is better than few of liszt's...but some liszt transcriptions are better for sure. so kinda like it's on par with liszt's ig
@@pleasecontactme4274 I understand where you are coming from. Of course, there are gems by Liszt, and there are others which aren't. In regards to the latter, it is quite plausible that Agosti's transcription is indeed superior.
0:40 reminds me of Debussy
5:06, 11:02
I think this is not obviously the easest first version. Cannot find it back on ytube, unfortunately.Somebody could help me?thx
3:26 8:52 5:07
1:05 last bar- when a cockroach falls on the sheet music lmfao
Nice
so beautiful.. but.. the problem is technically and emotionally very difficult to play...
this one more of the emotionally difficult types, and they seem harder to me that technicality lol
@@pleasecontactme4274 So this doesn't seem technically difficult to you???
@@amerrylittlemonarch no, i mean how usually the technical difficultly ends up being harder to deal with than the musicality, but in this case making it musical and emotional seems way harder. just a comparison between technicality and musicality, not about them specifically
@@pleasecontactme4274 I see what you are referring to. Although I disagree that technicality regarding this piece is not as difficult as musicality (musicality is still difficult, however), subjectivity is extremely prevalent. Additionally, I believe that musicality is difficult to achieve for any given piece, especially those that require extreme technical skills...as a result of this, I feel that musicality is not as significant of a measurement of success as technicality, as the former is expected. What I mean by this is that musicality is essentially expected for all pieces, and that specifically comparing a single piece's technicality to its pertinent expected musicality is not the best way to create effective contrast.
@@amerrylittlemonarch okay that makes sense, but i just feel like this piece requires much more attention to all the markings and interpreting than other pieces at the same technical level
I recently uploaded the arrangement for piano and orchestra of this piece for my orchestration practice.
Great job! I enjoyed your orchestration very much!
10:50
3:38
Reminds me of liszt's norma arr
What makes u remind of Liszt norma arr?
Tuning: 0c: A4 = 440Hz
5:07
@A SEVENTH? NO? You'll see why soon
Top 100 h
How difficult would you say this is compared to other operatic transcriptions?
@@gyorgycziffra2477very difficult indeed
1:00-1:27
4:58
3:28 you're welcome.
4:35, 7:39, 10:30
6:50 Sounds a bit like Thai anthem
3:26 5:07
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