You can hear and see Chopin's influence in this, almost exclusively, and is has several direct references to Chopin's ballades. How touching, especially knowing that they admired one another. The first ballade is practically an ode to Chopin's ballades.
The second Ballade is tremendously clever structurally. My guess is that Liszt started with the final theme and then worked his way towards it via distorted versions, making the final consummatory statements of the theme so powerful. The piece has many elements common to other great Liszt works; parts are like the Legends, parts are like the Transcendental Etudes, and parts are like Harmonies Religieuse et Poetique, particularly the last, with its ‘luminous’ elements.
I had never heard, or if I did, I didn't recognize Liszt's first Balade...though I did recognize his second one; will never forget the time when I first heard it; was a long, long time ago, now, about 2003, I want to say, when American Pianist Max Levenson played it live at Symphony Hall in Boston...I was obsessed with classical piano back then to the point where my parents seriously had to limit how often I could listen to piano music on the bus on the way to school, for god's sake, so you can see how extatic I was when he played it and I wanted nothing more than to do the same. Either way, I met the guy about four or five years later, and told him how I was there back at that concert in '03. We talked about that for a bit...to this day, I remember that performance like it was yesterday.
Poor performance selection of the pure masterpieces. There are several wrong notes that frowns at every important moment in No.1, and what the hell happened at 16:33 and 17:56 ??
If you really wanted to present the Liszt “Complete “ Ballades, why didn’t you choice a complete recording of the second Ballade, for example Arrau,Bolet,Andsnes ,Cziffra etc.
@@tarikeld11 PiúAnimato is supposed to indicate a more lively “animated” - I like to think, performance. The ending was just botched. It never called for a dull ending and slower tempo.
@@tarikeld11 same here, but I can see where the rest of the subcomments were coming from. With that said, I think the ending was a perfectly valid interpretation on the pianist's behalf. Judging from the playing, I seriously doubt it was due to some technical shortcoming of Kato imo
Repent and trust in Jesus. We deserve Hell for our sin. Lying, lusting, etc, but God sent his son Jesus to die on the cross and ride from the grave to free us from sin. If you repent and trust in him youll be saved. Romans 3:23 John 3:16❤😊❤😊
![Franz Liszt | 3 Ballades (D-flat major, B minor, Ballade "d'Ukraine") [rec. by Various Pianists]](http://i.ytimg.com/vi/5AULBfVhGRQ/mqdefault.jpg)
You can hear and see Chopin's influence in this, almost exclusively, and is has several direct references to Chopin's ballades. How touching, especially knowing that they admired one another. The first ballade is practically an ode to Chopin's ballades.
Can we hear Liszt's influence in Chopin's music too?
In the op 10 exudes you can
Man the feeling of this little phrase and its harmony is stunning 6:27
The theme rapresented here is called jota aragonesa which is shown here and in both the spanish fantasy and the spanish rhapsody
and thus I prefer the second balled being more "original"
But they're truly great
@@CarloGinexnot really jota aragonesa
@@GUILLOM still spanish stuff
The second Ballade is tremendously clever structurally. My guess is that Liszt started with the final theme and then worked his way towards it via distorted versions, making the final consummatory statements of the theme so powerful. The piece has many elements common to other great Liszt works; parts are like the Legends, parts are like the Transcendental Etudes, and parts are like Harmonies Religieuse et Poetique, particularly the last, with its ‘luminous’ elements.
I had never heard, or if I did, I didn't recognize Liszt's first Balade...though I did recognize his second one; will never forget the time when I first heard it; was a long, long time ago, now, about 2003, I want to say, when American Pianist Max Levenson played it live at Symphony Hall in Boston...I was obsessed with classical piano back then to the point where my parents seriously had to limit how often I could listen to piano music on the bus on the way to school, for god's sake, so you can see how extatic I was when he played it and I wanted nothing more than to do the same. Either way, I met the guy about four or five years later, and told him how I was there back at that concert in '03. We talked about that for a bit...to this day, I remember that performance like it was yesterday.
This is the most goodiest thing I’ve seen in a long time
Oh thank you very much. I need this video
The two complete masterpieces.
Poor performance selection of the pure masterpieces. There are several wrong notes that frowns at every important moment in No.1, and what the hell happened at 16:33 and 17:56 ??
Shit happens in live performance
06:27
08:40
10:10
18:16
16:35 why did Friere not play that part? Both performances are great nevertheless!
I like the first i feel like he didn’t write enough themes for it, theres alot of repeating lol
yeah lol, even for the second theres like 3 melodies (i think)
If you really wanted to present the Liszt “Complete “ Ballades, why didn’t you choice a complete recording of the second Ballade, for example Arrau,Bolet,Andsnes ,Cziffra etc.
This piece was played magnificently until 7:23. The ending isn’t at all lively or convincing.
Agreed. All the preparation before leads to a strong coda, but it was played kinda scherzo and slow instead
Hearing this piece for the first time now, doesn't sound wrong to me
@@tarikeld11 It isn't wrong, but it isn't perfect as the rest of the performance
@@tarikeld11 PiúAnimato is supposed to indicate a more lively “animated” - I like to think, performance. The ending was just botched. It never called for a dull ending and slower tempo.
@@tarikeld11 same here, but I can see where the rest of the subcomments were coming from. With that said, I think the ending was a perfectly valid interpretation on the pianist's behalf. Judging from the playing, I seriously doubt it was due to some technical shortcoming of Kato imo
Repent and trust in Jesus. We deserve Hell for our sin. Lying, lusting, etc, but God sent his son Jesus to die on the cross and ride from the grave to free us from sin. If you repent and trust in him youll be saved.
Romans 3:23
John 3:16❤😊❤😊