Liszt was known to transcribe music on the spot. Wagner once gave him an orchestral piece he'd written. Liszt put it up on the stand and started playing, transcribing all the different voices for the piano while giving Wagner a running commentary on it. Wagner, amazed, later said Liszt's sight-reading transcription was superior to the orchestral version!
@@Dageka I want to note that, while Liszt was incredibly exceptional at it, it's something that composers and conductors are generally trained to do, to an extent. I had to do it in college with small excerpts of Brahms and Mahler, though my piano skills suck, so it wasn't really sight reading... or good.
@@jefftam4044 I'm not sure what you mean by "improvisational sight-reading"? Are you talking about transcribing music by ear, transcribing by reading the score, sight-reading regular piano repertoire, or actual improvisation? I could say more about each of these individually, but they all definitely begin with you becoming comfortable with your instrument and listening to a lot of music to train your ear.
Liszt roars out lion-music: this creator opening up, even here and now, the vast possibilities of the piano. The shock of what Liszt does is all the greater because of the how the simple transcription of the opening minutes transforms in an essay on pianistic possibility, requiring mountain-height control by the pianist, which Ignaz Friedman brilliantly, triumphantly achieves. Thank you musicanth, and bravo maestro!
This has to be one of Liszt's most difficult works to perform, probably more difficult than any of the 12 transcendental etudes. I can't imagine the endurance required. The risk of injury seems quite real.
@@bigdick3228 Yes, I have, hopefully will upload a Feux Follets video in the next couple of months. Tannhauser is all about endurance and physical technique. Feux Follets is physically easier but the finger independence required is on a completely different level.
@@calebhu6383 Would you agree that Cziffra‘s rendition is superior to Friedmann‘s? Not to take away from the latter, of course, but I have yet to hear a single pianist render that finale even remotely to Cziffra‘s playing.
This seems to be up there with like the top 5 of hardest Liszt pieces ever, with the S. 253, Beethoven 9, Berlioz transcription, and Lucrezia Borgia fantasy - and that makes this the hardest single-movement work of Liszt. There's a story I read that Liszt himself had trouble playing this without breaks!
@@calebhu6383 The list is sorely inaccurate. For example ranking HR2 along with HR6, William Tell transcription and Wilde Jagd is simply ridiculous. But having Ave Maria and Ständchen transcriptions at the same level, literally next to each other, that really deprives this list of any credibility at all.
@@calebhu6383 Wow that list! However why would one rank the Feux Follets alongside the Sonata in b minor? I mean it is difficult yes but I'd imagine it would take much longer to master the Sonata. And does the TPE6 not ought to be ranked above TPE3 (La Campanella)? Also El Contrabandista seems missing on the list...I wonder where it ought to be there. Just curious, I mean it seems like you made the list, so of course difficulty will differ from person to person, but I just wanted someone's opinion on it.
@@Santosificationable You'd be surprised. Much of the Sonata is vquite manageable but none of Feux Follets is-the Sonata is long but mostly straightforward.
@@calebhu6383 Thanks for your reply. Are we talking strictly technical difficulties here though? I would imagine a monster like Hamelin could probably sightread it at close to tempo...but one wouldn't perform a piece just because he can hit the right notes. When assessing difficulty I often think of the end result, anyways my question roughly translates to "if you had to perform the Sonata and Feux Follets in concert, which would take more time to prepare?" Also where would El Contrabandista be? Or did I miss reading it? There was a comment by Sergey Belyavsky (who has done both it and thr Scherzo) that he finds it to be harder than Don Juan and the Scherzo.
It is crazy, how high teh precision of the artist's expression is with these piano rolls. Great. Franz also did a great job with the transcription, everything is nice in this video.
I always loved this piece(both original orchestral & piano version) ever since I heard it in CD more than ten years ago. But I'm a violinist and never actuallyheard the liszt version with the music sheets together. This Video is absolutely great. Thank you so much for putting this up, musicanth :)
Interesting that Liszt considered the reclusive Alkan to be the one with the greater technique although this, and similar Liszt compositions/transcriptions, seem to belie the possibility of that. Even as an old man Liszt could breeze through arduous pieces on the spot that he'd never seen/heard before.
+T. Berneiser That's funny. Yeah, I have no reason to doubt that. This piece doesn't seem to want to let up very much once it gets into gear does it? I was reminded of the account of a young composer who brought his orchestral piece to the elder Liszt for him to look over and Liszt broke it down on the fly and having played through it simply got right up or something like that as though he hadn't done much of anything. Of course, that would have been without any flashy ornaments which would have been impractical. The younger composer was apparently quite impressed and assumed that anybody else would have been exhausted by the end but Liszt was not. I don't know who the younger composer was. You might be familiar with it. It's probably easy to dig up.
It was Edvard Grieg who was introducing his now-ultra-famous piano concerto to Liszt who according to legend tore through it at sight, and reportedly shouted out at the climax of the final movement, "AH, the SOUND of the NORTH!" or something very like that. Whether he shouted it in French, German or his native Hungarian I do not know. I doubt if Liszt knew Norwegian, but in that brilliant circle in such a rarefied atmosphere anything might have been possible.
This has interesting moments (many actually) and wow on the runs! Jorge Bolet's version has great beauty and the bravura is curtailed so sublime may come forth
Yes, Bolet's performance does come close, but no cigar when you compare his performance with Friedman. Friedman's recording brings out the orchestral instrumentation that sometimes gets swallowed up by the brass and strings.
@@AndreiAnghelLiszt agree. My favourite together with Isolde death. Liszt is the best ever in transcriptions (better, paraphrases). And his Wagner stuff is best of the best. And his Tannhäuser is cubic best. It completes Wagner job. I can't imagine one without the other. Nonetheless this recording quality has gotten rooms for improvement and interpretation is not outstanding (especially the Venusberg portion is definitely poor, without nuances). Anyhow "hands off Liszt", I'd say to whom disliked this milestone masterpiece that carves out whole orchestra from a keyboard.
@@paeffill9428 You clearly know nothing about Liszt, and your attempt at "criticism" is shallow and illiterate at best. Often in the fantasias Liszt adopted an improvisatory compositional technique btw (the most greatly prized ability in a pianist was, in Liszt's day, skill in improvisation); the main vehicle for concert-improvisation was popular operatic melodies, and an extempore arrangement of these often formed the basis of a published fantasia. Nevertheless, there is broad motivic continuity in Reminiscences de Norma (which contains by all counts one of the most ingenious and sublime passages ever written for piano, the B-major section "Qual cor tradisti"), there is genius harmonic subtlety in the Aida Paraphrase and as far as thematic transformation is concerned, the Lucrezia Borgia Fantasia shows the development of accompaniment figures out of main melodic material and the complex motivic manipulation associated with the Sonata in B-minor, composed several years later. The Freischütz fantasy also demonstrates brilliant thematic transformation and combination, and the handling of key relationships and of overall structure is masterly, as is Liszt's use of the instrument to create a myriad of effects and textures, and the thematic combinations of Reminiscences de Robert le Diable play an important structural role, and they had their influence on Liszt's initial ideas for the Sonata (for the recapitulation the manuscript shows the original plan was to combine the "grandiose" second subject with the angular main theme) and the effect of the fantasias is not only evident in Liszt's own music - echoes of Reminiscences de Robert can even be heard in Wagner's overture to Die Meistersinger. Also, listen to how rarely the Fantasias fall into routine, how skilfully they avoid the finished predictability of Thalberg's fantasias. If we listen to one Thalberg piece with pleasure, we are likely to listen to a second with boredom, but each Liszt fantasia offers potentially new and unique points of interest. Really, he had no rivals whatsoever when it came to operatic fantasias and transcriptions; he was consistently able to transform a series of well-known and recognisable sections of an opera into memorable, cleverly structured pianistic tour-de-forces which stood on their own; other composers who attempted this art were only able to produce piano reductions of operatic excerpts. His particular achievement in the case of the operatic fantasias and transcriptions was to elevate a despised branch of composition to unimagined heights, and raise a vehicle for virtuosity to the realm of true art. This is the basis underlying the claim that he invented, perfected, and was the best at operatic arrangements for piano, and in his finest works he substantiated that claim magnificently. I'll happily wait for any sort of meaningful critique from your thickheaded self to my aforementioned points.
musicanth--Thanks so much for this transcription. Doubly more enjoyable and rewarding to see the almost impossible score along with such magical playing.
@roland gumpp Artistic crap!!? You are not a composer your just a listener of beautiful common harmonic pieces such plebeian in nature music is more that beautiful sounding or nicely constructed ... You misunderstood the intetion of the transcription... Liszt always treats the piano as an orchestra not a singular instrument... Notice the markings of the piece you'll see how he imitates the orchestral effects with outmost respect to the original... The concept is simple breaking the limits of the instrument where new composers can explore and consider it as a universal instrument it's limitless of subtleties like a real orchestra...
@@rolandgumpp4490 i think he was trying to say, that if the piece was less complex the melody and the music itself could have been heard better, letting it be much nicer to ear for what may compare a chopin type art... Or maybe i am wrong... but why the hostality
@@rolandgumpp4490 it's fine that you don't like it, everyone's different, but I don't see the point of you spewing out the same thing all over this comment section.
Amazing performance!! It's no wonder that Ignaz Friedman was Liszt's favorite pupil, as well as his secretary... it's as if he understood Liszt well through his music.
It is indeed an amazing performance! I believe you're thinking of Arthur Friedheim, who was Liszt's secretary and also has some interesting recordings such as one of Feux Follets, which he plays with more emphasis on the melodic left-hand than is usual, making for a refreshing interpretation. th-cam.com/video/_YoNM55ui3o/w-d-xo.html
For me there seems to be an annoying slight lack of sync between left and right hands when playing a single chord - the one just before the other; a deh-deh instead of a single deh sound Could it be something to do with being a piano roll recording?
I actually would like to know whether he just played it freely at some times or whether he had another version. He doesn't always play exactly what we see. But it's really amazing
Taking liberties with the score was perfectly normal for pianists of the time, depending on the style; it would have even been a matter of pride to have the technical and musical skill to add variations. So there's no reason to assume that he had a different version on paper.
Some idiosynchrasies, but, phenomenal playing. For me the key is to start slowish, and slowly accelerate and accentuate until the whole piece boils over with the double octaves...
I have NEVER EVER heard this transcription played with such brilliance!! Most pianists tend to shy away from this piece, even at a slower tempo, due to the insane technical requirements. Even if the pianist can get the technical requirements down, they have a difficult time with producing consistent resonance of sound, requiring those inner voices to be heard, along with the profound bass chords with the melody. This is just an unbelievable, almost supernatural rendering of one of Liszt's most demanding transcriptions. Liszt's etudes are relatively mediocre in contrast.
I'm sorry but l cannot agree with your crass dismissive remark about Richter. I and I'm sure countless others would attest to his extraordinary imagination and insight, not to mention his peerless command of the instrument.
+Marcel Mombeek Horowitz said Hofmann was a first-class pianist but a third-class musician; likewise, Richter said the same thing about Horowitz. Compare them, and you will find who is the better musician AND pianist. Every musician has different interpretation and people have right to express differently. Richter, has fidelity to music, but mostly he is a butcher besides having some musicality. In some music, his head and thinking were fixed in his own mode and lost some objectivity.
I'm aghast at your highly disparaging put down of Richter, one of the most iconic musicians of the 20th Century. My reason for saying ''I would have loved to have heard Richter'' playing the Liszt transcription of Tannhauser is because of his many live recorded Liszt performances from early in his career. For me he brought such dramatic and poetical intensity to these recitals, albeit with some technical splashes at times in the heat of the moment. Richter brought new and persuasive insights to familiar works, not that one was always convinced by some of his conceptions. He nevertheless brought huge commitment and integrity to everything he played.
Technically brilliant, but I suspect some corrections were made in the production process. Musically however it is Liszt showing off in cramming as many notes in as possible, to the detriment of melodic development. But those were the days of virtuosity to the max (Liszt was the only pianist known to play Chopin's études "à prima vista") Maybe Valentina Lisitsa feels challenged by this piece?
Friedman obviously carries this off. Let’s remember that some really powerful, great pianists like Gary Graffman suffered overuse syndromes that ended their careers. (Now also including Lang Lang). This was fun to listen to. I could work on parts of it and actually play parts, so studied. But SERIOUSLY! Working on it regularly would KILL my equipment. It’s not worth it folks! This is a dangerous work. Don’t even consider it if you want a career. (As a note, I am a retired surgeon). Sanjosemike (no longer in CA)
What you say is true. it does take a fair amount of technique to play this piece. However, It is people like you and I that perhaps never understand that memory can be a issue. This must be because it comes so naturally and without effort that we don't think about it, we think that everyone has the same capacity to memorize a 30 page piano piece. Unfortunately not everyone is like that, it took me a few years to realize that.
Is it just me or isn't this interpretation a bit weird? In some parts it feels as if he's just grinding through the notes in tempos that doesn't make sense (to me).
Le tudta vetkőzni zsidó létére a Wagner gyűlöletet. Ez önmagában is szép. Nekem darabos,és szakadozottnak tűnő a darab,de ebben a régi felvétel is közrejátszik.
I remember this as a child, I listened with my father, Sleep peacefully, Ted my hero of Bomber Command, as I will one day soon. Unfortunately I heard it on the BBC those reprehensible bastards. I Love my country but I detest my leaders and their propaganda machine.
when you imagine this pianist who did love wagner had to flee from europe to australia to avoid being a victime of the holocaust.... Ignaz Friedman was a fantastic pianist and a good composer too. He wrote a lot of pianoworks. He studied piano with Leschetitzky in Vienna. Leschetitzky did teach in russia later too and formed many pianists. The result of this school was Sofronitzky and Maria Yudina !!!! Vienna lost a fabulous pianist he was born in austria hungarian empire occupied Poland.
il est des commentaires dignes d'idiots ! Friedman fut un magnifique pianiste ,mort en ....1948,enregistrement venant de rouleaux de cire de approx 1921 ...Alors le "comparer" à Richter,c'est vraiment stupide !Madame Meredith Foster, vous confondez les genres ! D'autant qu'à l'époque ,les enregistrement s n'étaient pas truqués !!!! Pontcarral quelque peu pianiste depuis ....70 ans !!!!
virtuosity for the funfaire but artistically gruesome ! you can`t hear anything because of the noise ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, the means become an end in itself and there is no relation to the content anymore . the only artistic goal seems to be : higher ,further, faster ! welcome to the fields of sports !
Liszt was known to transcribe music on the spot. Wagner once gave him an orchestral piece he'd written. Liszt put it up on the stand and started playing, transcribing all the different voices for the piano while giving Wagner a running commentary on it. Wagner, amazed, later said Liszt's sight-reading transcription was superior to the orchestral version!
@Ashley Wang This hasn't anything to do with perfect pitch, it's a different and much rarer kind of talent that he had
I've only heard about Liszt's sight-reading stories with Grieg
@@Dageka I want to note that, while Liszt was incredibly exceptional at it, it's something that composers and conductors are generally trained to do, to an extent. I had to do it in college with small excerpts of Brahms and Mahler, though my piano skills suck, so it wasn't really sight reading... or good.
@@karlpoppins I can play piano okay but I am not good at improvisational sight-reading, how do one go about to train that?
@@jefftam4044 I'm not sure what you mean by "improvisational sight-reading"? Are you talking about transcribing music by ear, transcribing by reading the score, sight-reading regular piano repertoire, or actual improvisation? I could say more about each of these individually, but they all definitely begin with you becoming comfortable with your instrument and listening to a lot of music to train your ear.
Unmatchable. Liszt had the golden touch for paraphrases and Friedman is a category of his own.
Louis Brooksiefan i il
i can`t hear any paraphrases whatsoever . only dreadful noise !
@@rolandgumpp4490 I see the last part of your username matches your personality quite well, fellow!
Liszt roars out lion-music: this creator opening up, even here and now, the vast possibilities of the piano. The shock of what Liszt does is all the greater because of the how the simple transcription of the opening minutes transforms in an essay on pianistic possibility, requiring mountain-height control by the pianist, which Ignaz Friedman brilliantly, triumphantly achieves. Thank you musicanth, and bravo maestro!
WONDERFUL INTERPRETATION ! UNFORGETTABLE FRIEDMAN
Some truly astonishing pianism here! The whole performance is completely captivating. Thank you so much for posting!
This has to be one of Liszt's most difficult works to perform, probably more difficult than any of the 12 transcendental etudes. I can't imagine the endurance required. The risk of injury seems quite real.
Very difficult piece but not harder than Feux Follets
It's definitely up there with pretty much all of his operatic fantasies.
@@calebhu6383 not harder than feux follets? Have you performed both and so have come to form this conclusion reliably? I need to know...
@@bigdick3228 Yes, I have, hopefully will upload a Feux Follets video in the next couple of months. Tannhauser is all about endurance and physical technique. Feux Follets is physically easier but the finger independence required is on a completely different level.
@@calebhu6383
Would you agree that Cziffra‘s rendition is superior to Friedmann‘s?
Not to take away from the latter, of course, but I have yet to hear a single pianist render that finale even remotely to Cziffra‘s playing.
This seems to be up there with like the top 5 of hardest Liszt pieces ever, with the S. 253, Beethoven 9, Berlioz transcription, and Lucrezia Borgia fantasy - and that makes this the hardest single-movement work of Liszt. There's a story I read that Liszt himself had trouble playing this without breaks!
Nah. Tannhauser is mid-S tier while the others you mentioned are S+.
www.reddit.com/r/piano/comments/dbmbic/liszt_piano_solo_ranking_liszt/
@@calebhu6383 The list is sorely inaccurate. For example ranking HR2 along with HR6, William Tell transcription and Wilde Jagd is simply ridiculous. But having Ave Maria and Ständchen transcriptions at the same level, literally next to each other, that really deprives this list of any credibility at all.
@@calebhu6383 Wow that list! However why would one rank the Feux Follets alongside the Sonata in b minor? I mean it is difficult yes but I'd imagine it would take much longer to master the Sonata.
And does the TPE6 not ought to be ranked above TPE3 (La Campanella)?
Also El Contrabandista seems missing on the list...I wonder where it ought to be there.
Just curious, I mean it seems like you made the list, so of course difficulty will differ from person to person, but I just wanted someone's opinion on it.
@@Santosificationable You'd be surprised. Much of the Sonata is vquite manageable but none of Feux Follets is-the Sonata is long but mostly straightforward.
@@calebhu6383 Thanks for your reply. Are we talking strictly technical difficulties here though? I would imagine a monster like Hamelin could probably sightread it at close to tempo...but one wouldn't perform a piece just because he can hit the right notes. When assessing difficulty I often think of the end result, anyways my question roughly translates to "if you had to perform the Sonata and Feux Follets in concert, which would take more time to prepare?"
Also where would El Contrabandista be? Or did I miss reading it? There was a comment by Sergey Belyavsky (who has done both it and thr Scherzo) that he finds it to be harder than Don Juan and the Scherzo.
What I would give to see him play this.
may i give you a piece of advice ?! visit the next olympic games ! there you can see and admire
a bunch of such people !
@Dr. K. The Olympic games are for goons, circuses for communist dictatorships ...
@@angelodiragusa4770 based
@@stacia6678 ?
@@cadenzalien4554 based
It is crazy, how high teh precision of the artist's expression is with these piano rolls. Great. Franz also did a great job with the transcription, everything is nice in this video.
It almost seems to listen a full orchestra played by a single instrument.
5:00 the best feeling in the universe
dear god this music is near impossible, liszt said something about being surprised if two people were alive at one time who could play it correctly.
I always loved this piece(both original orchestral & piano version) ever since I heard it in CD more than ten years ago. But I'm a violinist and never actuallyheard the liszt version with the music sheets together. This Video is absolutely great. Thank you so much for putting this up, musicanth :)
Incroyable cette musique enregistrée il y a bientôt cent ans, quelle énergie, quelle poésie!
This composition is hazardous to the pianist's physical and mental health. I think Liszt intended this piece to be played by an octopus.
maybe it was even composed by an octopus ………………… ( you never know)……………………………...
only if yi overdo it,well no such thing.If yi want to play it,yi find a way to yea ,I did
@@rolandgumpp4490
Friedman had a third (secret) hand ...
There is a story that Liszt himself once had to stop for a break in the middle of performing this piece - must tell us something
HOLY CRAP! That was some incredible playing.
Magnificent performance
That was stupendous, insane, magnificent...
Interesting that Liszt considered the reclusive Alkan to be the one with the greater technique although this, and similar Liszt compositions/transcriptions, seem to belie the possibility of that. Even as an old man Liszt could breeze through arduous pieces on the spot that he'd never seen/heard before.
+Joshua Manley von Bülow said once that Liszt himself had trouble playing this piece.
+T. Berneiser That's funny. Yeah, I have no reason to doubt that. This piece doesn't seem to want to let up very much once it gets into gear does it? I was reminded of the account of a young composer who brought his orchestral piece to the elder Liszt for him to look over and Liszt broke it down on the fly and having played through it simply got right up or something like that as though he hadn't done much of anything. Of course, that would have been without any flashy ornaments which would have been impractical. The younger composer was apparently quite impressed and assumed that anybody else would have been exhausted by the end but Liszt was not. I don't know who the younger composer was. You might be familiar with it. It's probably easy to dig up.
It was Edvard Grieg who was introducing his now-ultra-famous piano concerto to Liszt who according to legend tore through it at sight, and reportedly shouted out at the climax of the final movement, "AH, the SOUND of the NORTH!" or something very like that. Whether he shouted it in French, German or his native Hungarian I do not know. I doubt if Liszt knew Norwegian, but in that brilliant circle in such a rarefied atmosphere anything might have been possible.
You may read "alkan, the man, the music", it gives better view on Alkan's brilliance. Also, dont forget that a lot of his works had been lost.
+Hyramess Hiramess Thank you.
This has interesting moments (many actually) and wow on the runs! Jorge Bolet's version has great beauty and the bravura is curtailed so sublime may come forth
Yes, Bolet's performance does come close, but no cigar when you compare his performance with Friedman. Friedman's recording brings out the orchestral instrumentation that sometimes gets swallowed up by the brass and strings.
Terrific I would say ! This piece is rarely played by the pianist, lucky to find an amazing one
The most beautiful thing Wagner ever wrote
agreed ! wagner wrote it ! and liszt destroyed it !
@@AndreiAnghelLiszt agree. My favourite together with Isolde death. Liszt is the best ever in transcriptions (better, paraphrases). And his Wagner stuff is best of the best. And his Tannhäuser is cubic best. It completes Wagner job. I can't imagine one without the other.
Nonetheless this recording quality has gotten rooms for improvement and interpretation is not outstanding (especially the Venusberg portion is definitely poor, without nuances).
Anyhow "hands off Liszt", I'd say to whom disliked this milestone masterpiece that carves out whole orchestra from a keyboard.
@@paeffill9428 Ok illiterate. That's why he is considered the best transcriber for piano ever in classical music.
@@paeffill9428 You clearly know nothing about Liszt, and your attempt at "criticism" is shallow and illiterate at best. Often in the fantasias Liszt adopted an
improvisatory compositional technique btw (the most greatly prized ability in a pianist was, in
Liszt's day, skill in improvisation); the main vehicle for concert-improvisation was popular operatic melodies, and an extempore arrangement of these often formed the basis of a published fantasia. Nevertheless, there is broad motivic continuity in Reminiscences de Norma (which contains by all counts one of the most ingenious and sublime passages ever written for piano, the B-major section "Qual cor tradisti"), there is genius harmonic subtlety in the Aida Paraphrase and as far as thematic transformation is concerned, the Lucrezia Borgia Fantasia shows the development of accompaniment figures out of main melodic material and the complex motivic manipulation associated with the Sonata in B-minor, composed several years later. The Freischütz fantasy also demonstrates brilliant thematic
transformation and combination, and the handling of key relationships and of overall structure is masterly, as is Liszt's use of the instrument to create a myriad of effects and textures, and the thematic combinations of Reminiscences de Robert le Diable play an important structural role, and they had their influence on Liszt's initial ideas for the Sonata (for the recapitulation the manuscript shows the original plan was to combine the "grandiose" second subject with the angular main theme) and the effect of the fantasias is not only evident in Liszt's own music - echoes of Reminiscences de Robert can even be heard in Wagner's overture to Die Meistersinger. Also, listen to how rarely the Fantasias fall into routine, how skilfully they avoid the finished predictability of Thalberg's fantasias. If we listen to one Thalberg piece with pleasure, we are likely to listen to a second with boredom, but each Liszt fantasia offers potentially new and unique points of interest. Really, he had no rivals whatsoever when it came to operatic fantasias and transcriptions; he was consistently able to transform a series of well-known and recognisable sections of an opera into memorable, cleverly structured pianistic tour-de-forces which stood on their own; other composers who attempted this art were only able to produce piano reductions of operatic excerpts. His particular achievement in the case of
the operatic fantasias and transcriptions was to elevate a despised branch of composition to unimagined heights, and raise a vehicle for virtuosity to the realm of true art. This is the basis underlying the claim that he invented, perfected, and was the best at operatic arrangements for piano, and in his finest works he substantiated that claim magnificently. I'll happily wait for any sort of meaningful critique from your
thickheaded self to my aforementioned points.
@@rolandgumpp4490 you are everywhere in the comments section, and every time you act like you are drugged
Absolutely amazing!
This is the first time I've felt exhausted after listening to a piece of music.
musicanth--Thanks so much for this transcription. Doubly more enjoyable and rewarding to see the almost impossible score along with such magical playing.
Very enriching; thank you.
Liszt got so caught up in whether he could he didn't stop to think whether he should.
i couldn`t put it better ! to put it in my words: it`s artistic crap !
Or maybe either you're a shit piano player (assuming you even play the piano) or you're just a terrible listener. Maybe both.
@roland gumpp Artistic crap!!? You are not a composer your just a listener of beautiful common harmonic pieces such plebeian in nature music is more that beautiful sounding or nicely constructed ... You misunderstood the intetion of the transcription... Liszt always treats the piano as an orchestra not a singular instrument... Notice the markings of the piece you'll see how he imitates the orchestral effects with outmost respect to the original... The concept is simple breaking the limits of the instrument where new composers can explore and consider it as a universal instrument it's limitless of subtleties like a real orchestra...
@@rolandgumpp4490 i think he was trying to say, that if the piece was less complex the melody and the music itself could have been heard better, letting it be much nicer to ear for what may compare a chopin type art...
Or maybe i am wrong... but why the hostality
@@rolandgumpp4490 it's fine that you don't like it, everyone's different, but I don't see the point of you spewing out the same thing all over this comment section.
This is incredible. How can a human being write music like this?
a very personal interpretation, love it!
BRAVO!!!!!!
Браво блестяще сыграл виртуозно и гениально
Excellent and a m a z i n g !!!
Amazing performance!! It's no wonder that Ignaz Friedman was Liszt's favorite pupil, as well as his secretary... it's as if he understood Liszt well through his music.
It is indeed an amazing performance! I believe you're thinking of Arthur Friedheim, who was Liszt's secretary and also has some interesting recordings such as one of Feux Follets, which he plays with more emphasis on the melodic left-hand than is usual, making for a refreshing interpretation.
th-cam.com/video/_YoNM55ui3o/w-d-xo.html
I couldn’t even begin to play this.
I was lucky enough to see this live, performed by Alvin Moisey, absolutely amazing display of technical skill, the music speaks for itself
did you see that in imperial college?
Indeed!
I was there as well!! He showed me how he managed it afterwards
Such a wondeful music
For me there seems to be an annoying slight lack of sync between left and right hands when playing a single chord - the one just before the other; a deh-deh instead of a single deh sound Could it be something to do with being a piano roll recording?
I just saw David Syme perform this piece. It was wonderful!!!
Comment est-il humainement possible :
1/ de transcrire comme cela pour le piano ?
2/ de le jouer ??!!?!?!?!
No
Yes.
Well, that was definitely worth listening to. HAIL FRIEDMAN! HAIL!
Just looking at the sheet music is painful. I can't imagine what playing it would be like.
@SuperDivinemusic Memory is the very least of the problems learning this piece! :)
Prodigioso pianista!!!!!!!!
Why this D# in the first bar ??
I actually would like to know whether he just played it freely at some times or whether he had another version. He doesn't always play exactly what we see. But it's really amazing
Taking liberties with the score was perfectly normal for pianists of the time, depending on the style; it would have even been a matter of pride to have the technical and musical skill to add variations. So there's no reason to assume that he had a different version on paper.
Superb 🍾🍾🍾🍾🍾🍾🍸🍸🍸🍸🍸
fantastic
was this whole piece on one roll?
oh my god. liszt does wagner fanfic. i almost died.
Awesome
Prodigious!
What an adventure
Some idiosynchrasies, but, phenomenal playing. For me the key is to start slowish, and slowly accelerate and accentuate until the whole piece boils over with the double octaves...
Franchement à écouter de la de 1846, un fou de l'époque où nous n'y étions pas...
Hi there, dear friend. Can you please tell me which exact edition that you have used for the video. It is the Peters I assume ?
リストはピアノ一台でオーケストラを表現するに足りる。と言った。
実際にリストがピアノ編曲したこのタンホイザー序曲でそれを証明した。😊
Was this produced from a single continuous performance?
I have NEVER EVER heard this transcription played with such brilliance!! Most pianists tend to shy away from this piece, even at a slower tempo, due to the insane technical requirements. Even if the pianist can get the technical requirements down, they have a difficult time with producing consistent resonance of sound, requiring those inner voices to be heard, along with the profound bass chords with the melody. This is just an unbelievable, almost supernatural rendering of one of Liszt's most demanding transcriptions. Liszt's etudes are relatively mediocre in contrast.
I love and much prefer the orchestral version, but the mastery of this piano version is amazing
where did you get the sheet?
Which editor has produced this please (David) ?
WOW 👍
Liszt- Tanhauser overture By Wagner for Orchestra.rar
Jaw dropping!
Please, raise for his Majesty, the Pianoforte!
I happen to like this pace. The rest is immaterial.
Thank you very much for this video, sheet included. Is like a masters´ piano class.
Luis García
Manizales
Colombia
Thanks Tempo Good
did Kentner record this piece?
No
Would love to have heard Richter play this.
I assume you're joking!.
I'm sorry but l cannot agree with your crass dismissive remark about Richter. I and I'm sure countless others would attest to his extraordinary imagination and insight, not to mention his peerless command of the instrument.
+Marcel Mombeek Horowitz said Hofmann was a first-class pianist but a third-class musician; likewise, Richter said the same thing about Horowitz. Compare them, and you will find who is the better musician AND pianist. Every musician has different interpretation and people have right to express differently. Richter, has fidelity to music, but mostly he is a butcher besides having some musicality. In some music, his head and thinking were fixed in his own mode and lost some objectivity.
I'm aghast at your highly disparaging put down of Richter, one of the most iconic musicians of the 20th Century.
My reason for saying ''I would have loved to have heard Richter'' playing the Liszt transcription of Tannhauser is because of his many live recorded Liszt performances from early in his career. For me he brought such dramatic and poetical intensity to these recitals, albeit with some technical splashes at times in the heat of the moment.
Richter brought new and persuasive insights to familiar works, not that one was always convinced by some of his conceptions. He nevertheless brought huge commitment and integrity to everything he played.
Comparisons never cease to be odious.
Technically brilliant, but I suspect some corrections were made in the production process. Musically however it is Liszt showing off in cramming as many notes in as possible, to the detriment of melodic development. But those were the days of virtuosity to the max (Liszt was the only pianist known to play Chopin's études "à prima vista") Maybe Valentina Lisitsa feels challenged by this piece?
sounds beethovenic af
It's... It's Wagner... He learned composition from reading Beethoven's scores....
Friedman obviously carries this off. Let’s remember that some really powerful, great pianists like Gary Graffman suffered overuse syndromes that ended their careers. (Now also including Lang Lang).
This was fun to listen to. I could work on parts of it and actually play parts, so studied.
But SERIOUSLY! Working on it regularly would KILL my equipment.
It’s not worth it folks! This is a dangerous work. Don’t even consider it if you want a career. (As a note, I am a retired surgeon).
Sanjosemike (no longer in CA)
You can t suffer anything if you learn to play correctly
and then think of how many songs they know!
Liszt feared this arrangement would give pianists some trouble, Friedman can get beyond the notes and bring out the spirit of the music.
Holy shit
What you say is true. it does take a fair amount of technique to play this piece. However, It is people like you and I that perhaps never understand that memory can be a issue. This must be because it comes so naturally and without effort that we don't think about it, we think that everyone has the same capacity to memorize a 30 page piano piece. Unfortunately not everyone is like that, it took me a few years to realize that.
Is it just me or isn't this interpretation a bit weird? In some parts it feels as if he's just grinding through the notes in tempos that doesn't make sense (to me).
The fault of the piano roll
Le tudta vetkőzni zsidó létére a Wagner gyűlöletet.
Ez önmagában is szép.
Nekem darabos,és szakadozottnak tűnő a darab,de ebben a régi felvétel is közrejátszik.
Does anybody else remember the Bugs Bunny episode with this piece of music?
ya
I don't know if it could be the piano roll but the two hands are barely ever in sync, especially in the opening chorale
Definitely the fault of the piano roll
I wonder the same thing!!!!!!!!!!
I remember this as a child, I listened with my father, Sleep peacefully, Ted my hero of Bomber Command, as I will one day soon. Unfortunately I heard it on the BBC those reprehensible bastards. I Love my country but I detest my leaders and their propaganda machine.
so irritatingly not together right from the first bar! Might be a piano roll problem?
newgeorge what is not together?
What the
6:30 ... what the fuck.
when you imagine this pianist who did love wagner had to flee from europe to australia to avoid being a victime of the holocaust.... Ignaz Friedman was a fantastic pianist and a good composer too. He wrote a lot of pianoworks.
He studied piano with Leschetitzky in Vienna. Leschetitzky did teach in russia later too and formed many pianists. The result of this school was Sofronitzky and Maria Yudina !!!! Vienna lost a fabulous pianist he was born in austria hungarian empire occupied Poland.
凄すぎる。。
Ой ой...
ik dacht dat er alleen maar Cziffra was maar blijkbaar meer dat is schrikken
Can someone tell me how 2 hands with 10 fingers can play this titanic music?!!
markie polo That's LIszt, the one who can accomplish everything on keyboard, imaginable or unimaginable.
They cannot
I think u are.
Listen to Cziffra play this! - he simply shows up everyone else’s mediocrity!
No thanks, Liszt...
B (E chord) E B (C#m chord) G#, (E chord) G# (A chord) A (E chord) B B (A chord) C# (E chord) B....
il est des commentaires dignes d'idiots ! Friedman fut un magnifique pianiste ,mort en ....1948,enregistrement venant de rouleaux de cire de approx 1921 ...Alors le "comparer" à Richter,c'est vraiment stupide !Madame Meredith Foster, vous confondez les genres ! D'autant qu'à l'époque ,les enregistrement s n'étaient pas truqués !!!!
Pontcarral quelque peu pianiste depuis ....70 ans !!!!
What fucking madness is this..............................................
virtuosity for the funfaire but artistically gruesome ! you can`t hear anything because of the noise ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
the means become an end in itself and there is no relation to the content anymore . the only artistic goal seems to be :
higher ,further, faster ! welcome to the fields of sports !
No.