Liszt: Mephisto Waltz No.1, S.514 (Montero, Grynyuk, Goerner)
ฝัง
- เผยแพร่เมื่อ 14 พ.ค. 2024
- Liszt’s first Mephisto Waltz has become regarded as just a (admittedly dazzling) showpiece, when it’s a wildly creative and technically extremely sophisticated work. (It ought to be celebrated as much as Chopin’s 1st or 4th ballades, it really is that good.) Start with the work’s structure - it’s extremely tightly knit, and follows an A-B-A’-Coda form in which the B section is essentially a theme and variations, and almost every bar in the A’ section engages in some drastic thematic transformation of material already heard before. Most of the work, therefore, consists of continuous development. The efficiency with which material is used is remarkable: the middle section melody (3:08), for instance, generates the passages at m.676 (7:41), m.737 (8:22), m.764 (8:43), m.792 (9:05), and so on. On a more granular level, the colours/harmonies/textures Liszt deploys here are extraordinary. Most famously, the work begins with a pileup of 5ths that sneakily introduces the rhythmic shape of the work’s first real theme. But there’s lots of other wonderful things too: the care Liszt takes to write out the sparkling 32nd notes at m.149 (1:17) & similar, instead of using staccato chords or grace notes; the syncopation & yearning non-harmonic tones (especially the flattened 6th, which becomes its own motif and helps to unsettle major-key passages) which give the middle section an untethered, seductive effect; the way the flattened Bb comes to life in the C section, taking over the role of the dominant & giving the section its double harmonic major colour; the birds at 4:58 and the languorous nightingale in the Coda.
A SECTION
00:00 - Introduction/tuning section. Quintal (and in the unison passages, implied quartal) harmonies. It feels to me like we’re in E dorian at m.14, when Liszt avoids the G# (so stopping this from becoming a usual dominant prolongation), with a Bm7/E harmony entering with the D. At 0:33 rising sequence of fourths, in octaves. Culminates in a huge C# min climax, which then pauses (0:46) as if it has made a mistake, before correcting itself into an implied Esus4. (Note that the bass like of the whole introduction outlines an E-C#-A descent, which explains the rather surprising C# min chord).
00:57 - Theme 1 = T.1, basically just an elaborated A major chord. Note how the opening rhythm of T.1’s first 3 notes is already heard at m.17 + 93.
01:11 - Transition
01:15 - T.2
01:24 - T.3
01:46 - T.1/2/3 presented again, before being capped off at 2:35 by a restatement of T.1
B SECTION
03:08 - T.4, in Db, built from 3 important motifs. Motif 4.1 = (4.1) is the first 4 melody notes you hear starting from m.339. (4.2) is the next 4 notes you hear the melody - a single note (flattened 6th) repeated thrice (or four times), before dipping by a semitone. You first hear it at 3:14, but it’s everywhere, even in the next section of the melody: 3:42, 3:47, etc. (4.3) is the sighing RH followed by an upward run at 4:06. (Note also how the melody starting from m.389 mirrors the shape of T.1.)
04:58 - T.5. Birds, perhaps? Mehistopheles’ laughter? A nice recurring motif, anyway.
05:10 - T.4, Variation 1, in E. (4.1) in syncopated duplets, (4.2) in LH decorated with upward run in RH.
05:42 - T.5
06:03 - T.4, Variation 2, in Db.
C SECTION
07:19 - T.1, sotto voce, in Bb.
07:41 - T.4 developed. (4.1) + (4.2) in bass, beneath arpeggios
08:00 - T.1, now in a frantic, desperate variation.
08:21 - (4.3) developed.
08:43 - T.4 developed. (4.1) in faintly absurd octave leaps, (4.2) transformed into a spasm.
09:04 - (4.2) turns into a kind of heady, glittering cataclysm. Cadenza in double harmonic major at 9:25, the Bb and A clashing violently, before diminishing into a trembling in the middle of the keyboard over which there enters
09:42 - T.5
CODA
09:59 - The Nightingale. A recitative variant of T.4, repeated thrice in ever-higher registers. Even the B-C-Eb-B-C-F# figure at m. 852 (10:39) is based on (4.1).
11:08 - Final flourish, but even this is based on (4.2), grinding away in the bass. The flattened 6ths so prominent in the rest of the work reappear, as does a reference to Bb harmony. The final octave run is based on the double harmonic major scale (flattened 2nd and 6th scale degrees). - เพลง
![[TH]FFWS SEA Spring 2024 Knockout Stage - Day 18](http://i.ytimg.com/vi/IfsyX-nCiZQ/mqdefault.jpg)
(20:07. Like bumpers on a pinball machine.
)
00:00 - Montero
11:34 - Grynyuk
22:41 - Goerner
Montero has an exuberant, improvisatory approach to this piece. There is a lot of rhythmic bending, some nice textural touches (bass staccato at 7:01), and even a clever little addition to the score (the lengthened anticipatory drumroll at 7:19). Grynyuk plays with possessed mania - his textures are the most extreme, his leggiero passages ridiculously light, his outbursts volcanic (20:26). Goerner has a long-form, narrative approach to the work that produces the most waltz-like of all three performances (30:39). He’s got a luxuriant sound that generates some lovely impressionistic effects in the middle section, and pays scrupulous attention to the score (listen to the detail in the scale at 30:19, and the dynamic shading in the passage after).
Protected by Grammarly.
Montero gives this piece a shockingly new flavor that I have never heard of before
Montero should play this one lol th-cam.com/video/SHKfu69rSsQ/w-d-xo.html
Though I do believe I've surpassed Liszt in the difficulty of the composition 🤯😬
@@JoshuavanderVeen th-cam.com/video/e-XtfYTLi2Y/w-d-xo.html
@@p-y8210 Wow lol! I wanna learn that one some time XD
Brief afternote: this work is explicitly programmatic - Liszt inserts the following program note (from Lenau’s Faust) in the score:
“There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song.”
It's not so hard to figure out how the music follows this outline. Commentators are always a bit coy about saying this (bless their twee souls), but the middle section basically represents sex. And re: the coda, the “Dance at the Village Inn” episode from Lenau’s Faust ends with “...the sea of ecstasy devours them with a roar”.
I played this when I was much younger (and naive), and I had no idea it was about partying and sex! Was it all a lie?!
Grynyuk’s octaves at 20:07 are absolutely insane, but for some reason 20:20 is even more impressive to me. I’ve never heard anyone play repeated chords that fast, they literally sound like ricochets.
I had to check to make sure I hadn't accidentally sped up my video. Just unbelievable playing, wow.
@@christian_florezunbelievable playing combined with a very well-regulated piano 😅
Thank you for the upload! Such a beautiful and intoxicating piece.
Thank you for sharing this, Ashish. I think this piece, like so much of Liszt, is criminally underrated because people can't see past how flashy they are. This one is full of fantastic textures and great storytelling. I love how, starting with the beginning of the B section, each repeat of the melody just gets progressively more over the top, starting with a soothing romantic section and culminating in those octave leaps. Then, when you finally can't see it getting any more ridiculous, it explodes into the arpeggios (which are, to my hands, easier than the previous couple of minutes, not that I ever played this even halfway decently).
I found Grynuk's performance to be a sheer delight.
Goerner absolutely nails it! The consistent waltz feel and intuitive sense of structure projects the innovation in the piece like I've never heard before. Just as good as Laplante, if not better. Thanks for the upload.
Thanks for the upload.....I first heard this piece on cassette tape by the legendary Van Cliburn, then a few years later by Horowitz.....just another amazing Liszt piece
Cant wait to spend the coming few hours listening to this on repeat while reading your commentary :)
Michael Yeung same
The timing of this upload couldn't be better: I just started playing this!! Thanks Ashish!
Ps. I'm surprised you didn't use Kissin's recording. I think it's absolutely superb, mostly because of the intensity of his playing, which suits this piece perfectly. What do you think of his recording?
@@jurriepurrie bro u gotta watch nicolas economu, andre laplante and alexei sultanovs recordings. in my opinion they have more expression and more freenes than these but theese are also great.
@@jurriepurrie EDIT: i didnt realize this was 5 years ago lmaooo
I've never heard such a powerful rendition of this piece as Grynyuk, goddamn
Damn, I'm loving Montero's recording! Such a fresh and original performance...
Ashish usually tries to show off less well known pianists.
Breathtaking performance from Gabriela Montero. It's insane how she's not a massive star.
I like that little pause at 5:52.
8:43 c'mon, Franz. Why you gotta do me like this
9:05 always destroys my mind
To be honest I often find myself cursing the composer at the piano. Thank God I haven't tried this piece yet.
@@Clay_Rose This part is one of the most ridiculous things, but also the most beautiful. It just makes you fly without the wings when listening.
And even more when playing xD
Niccolo Paganini yes it’s certainly an epic moment :) always makes me feel invincible!
@@Clay_Rose the arpeggios at 9:05 fit under the hand reasonably well...but 8:43 makes me flame out
Genius.
When I saw this was uploaded, I %100 expected to see Laplante's name somewhere.
What about Laplante's recording? Arguably the finest of this piece.
Love your profile picture and user name
There’s already a video with Laplante’s recording online...
AXK generally seeks to promote lesser-known performers or recordings. Likely he believes that Kissin and Richter and Gould are fabulous pianists, but Kovacevich and Crossley are more likely to be found.
Fidel Castro Laplante’s is he highest viewed version of the piece.
Y’all should check Economou. He has the best interpretation of Mephisto Waltz: Very demonic, vigorous, and a clear understanding of the narrative spirit of the piece.
4:59 so beautiful 😍
Grynyuk is amazing!!
Grynyuk actually plays probably the most leggerio on the infamous leaping section I've ever heard...
Have you ever heard Economou's? He's not a very well-known pianist and died very young, but I've never heard a recording of this that comes close to his.
Wow, some of the tempos they took in places were mind-blowing, especially with the accuracy they were still able to get! Do you know Nicolas Economou? He's been my favorite on this piece for a while. He truly seems to get possessed while playing it. Ha! Here's a live video of him playing it. The camera work majorly sucks! But when he is in view, he's pretty amazing to watch! th-cam.com/video/CmIolZU5PRw/w-d-xo.html
nice
What could the relation be between the passage at 04:58 and the trademark "fairy music" that Mendelssohn used so often? Can it be a direct hommage?
For those interested I recommend Katsaris take on this piece, it's very... different... but interesting nonetheless.
Замечательный пианист!
I really wish Liszt had used the alternate quiet ending for the transcription, which (subjectively) feels more in the tone of the piece.
8:22
19:50
18:55-21:04
30:40
31:03
Why not MW1, MW2, MW3, MW4 and bagatelle sans tonalité into the same videograph? MW5 for orchestra?
What do you think og Grieg, Ashish?
I always hear so much Berlioz in this Mephisto Waltz
Highly recommend Stephen Hough's recording of this, it's fantastic!
TheGreenPianist yes！！
Oh yes.
@@AndreiAnghelLiszt Hey man! Where have you been?
Hey Mr. Ashish. I make music and i was wondering if, as the composer, i am supposed to know about all the intricacies and theory that goes behind making the music (such as the ones you talk about in your wonderful descriptions). It’d be great if you could get back to me, thanks!
Knowing theory can’t hurt, but you shouldn’t be thinking too much about the theory when composing
Can someone tell me what is the story telling of this piece? Thanks
8:42
20:07
The first interpretation sounds spastic.
I always liked Horowitz’s version. It’s totally insane.
It is lol
it's the best!
The Milstein transcription is as good as this
졸좋 +_+/
What's the name of Montero?
Gabriela Montero: en.wikipedia.org/wiki/Gabriela_Montero
7:38
I get why people like this - it's eclectic, virtuoso and I'm sure there are some really neat things Listz is doing. But I can hum some of the melodies from all 4 of Chopin's ballades which you compare this to for celebration, I doubt even upon listening to this a dozen times I would be able to do the same a few minutes after listening to it. Listz was an amazing pianist and wrote some cool stuff, but to me this is just not as good musically.
All that said thanks for uploading, I'm still enjoying it.
Melody is only one (not especially important) aspect of music, and you really shouldn't be judging music by "hummability"! Some of Chopin's best works are basically un-hummable.
@@AshishXiangyiKumar I don't wish to argue, wasn't my intention. I simply feel like comparing this piece to Chopin's ballades is a little like comparing apples to oranges - but that's just my opinion. I just think this work is simply not to my tastes, maybe that'll change on repeated listen, I'll try.
@@trutwijd I can hum portions of the piece lol, like the middle section, but a lot of the piece *is* 'unhumable'...
*Liszt
I don't think "hummable" is a very good indicator whether something is musical or not. Personally many parts of this piece gets stuck in my head.
Different interpretations are always fantastic and I love comparing the little nuances between them. But it's a shame no interpretation has ever been made that attempts to faithfully follow the score as much as possible. A lot of what goes into interpretation seems to be either pedalling where it is not marked to pedal, or not pedalling where it is marked to pedal, or occasionally, playing forte where it is written piano and vice versa. And these certainly have their place. But still, it's so weird to think that the most unique interpretation of not only this piece but many other pieces will be one that just follows what the composer has written.
I think in some instances in this piece it must be impossible to be faithful to the score... the little flourishes from 4:58 for example: I have never ever heard them being played pianississimo (or anywhere near "very quiet" anyway), which makes me suspect that it can't be done. Triple piano, tre corde AND presto - maybe Liszt was able to pull it off, but who knows, it might just be something that the piano version inherited from the orchestral original more as an allusion than an actual performance direction.
@@gergelykiss Even then, it's certain that many pianists have at least tried to play those passages quietly, and therefore tried to be faithful in that respect. But they go no further because then you never hear pedal in these passages, even though all the markings are right there, in front of them. Everyone insists on making the staccato heard, even though the score says not to do so--it would only call for a certain attack on the keyboard which is indeed necessary anyways to play presto. Consider the opening to the piece. There is a continuous pedal until bar 15, but nobody plays it like that! And I have literally only heard two pianists who do so, Daniil Trifonov and Leslie Howard. Surely Liszt was on to something here. Surely he meant to create dissonance by pedalling the grace note accidentals. And surely this has something to do with Mephisto. And then consider the theme. Have you ever heard it pedalled? And so on. Interpretation is more than a musician's direct defiance of what the composer tells them to do or not do. And when it so happens that everybody ends up 'interpreting' in exactly the same way, I feel it inappropriate to call it interpretation. More like dogma.
@@16vt1 I agree with you that when it comes to romantic music the performances tend to be rather similar to one another. Whether that is a conscious or unconscious attempt by pianists to try to recreate classic performances they have heard live or recorded is up for debate I think. Do you reckon they do it consciously? (I do find Grynyuk's recording to be quite unique - the level of passion and energy I think is quite special even if he generally adheres to established interpretative choices.) Regarding the use of the pedal I think the most common argument in favour of disregarding them for 19th century music is that pianos in those times were a lot less reverberant instruments than modern concert grands, so today's players have to use the pedal in such pieces much more cautiously. I think even Leslie Howard - who indeed more often than not argues for following the score faithfully - makes this argument when it comes to the first theme of the Dante Sonata. I wish I was able to play these pieces to try out all the different sonorities one can get by playing everything as it is written...
As for the passage at 4:58 - it is true that Montero plays that without pedal, but when it comes back at 5:42 I believe he does use the pedal! :) (Only here and there, admittedly, but still.) Grynyuk and Goerner both play without pedal - and interestingly they both pedal the flourish that comes before the reapparance of the passage, even though it is written without pedal.
Ashish, just wondering, are you a pianist yourself? You've demonstrated countless times your knowledge of all things music and your piano uploads leave nothing to be desired.
ive read from a comment of his under the 7th prokofiev sonata that he did actually play it, though badly according to him
Also he write under his video of the Tempest Sonata by Beethoven that he played it.
Oh? Snakely, really!...
While I love this piece, I find the claim that this should be celebrated as much as Chopin's 4th Ballade...kind of ridiculous.
Sincerelly , but i consider Laplante the best performer of this forever . I do not like how do these pianists use rubato in that piece and it sounds so unnatural .
Talking about rubato, Stéphane Blet is for example making the "sex scene" mor explicit :P ... But indeed Laplante ismy favorite too ...
Laplante is standard - no fantasy - no demonic love waltz
A “waltz” that isn’t in 3/4? Okay Mr. Liszt.
Lol try scriabin's