A Unique Description of Franz Liszt Practicing : The Virtuoso we make of him today?
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- เผยแพร่เมื่อ 13 ก.พ. 2018
- No doubt Franz Liszt must have been a remarkable pianist, but the unique description the French virtuoso organist Charles-Marie Widor gave of him while attending a complete week of practice might change the view in which we look back at the great pianist.
In this video I will shed some light on aspects that for sure are rarely, if ever are mentioned before.
Did Liszt join the new fashion of more mechanical and rapid piano playing that started around 1840? Did he pioneer that movement?
Would the impressive recordings we still have of later generations give an impression of his playing? Or is there another facet that we might overlook and that is important to give him back the position in the piano landscape of the 19th century?
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Book on Charles-Marie widor:
"Charles Marie Widor, Vater der Orgelsymphonie"
Written by Ben van Oosten
Peter Ewers Verlag ISBN 3-928243-04-7 - เพลง
Thank you very much for the compliments, I thought everyone forgot about me laying in this grave
@Tuber Kinda cringey to be honest.
TheGregoryHD Nah it’ll get likes it was made4 days ago only reason
Hi, Mr. Liszt!
Hahahahaa hello mister franz
I need to write down a Chopin Liszt of such goofy YT comments.
(showing myself out now...)
One more proof:
"In a piano lesson with Liszt, a student was playing the famous A-flat Major Polonaise by Chopin. At the moment when the left hand begins its relentless march in octaves, Liszt burst out: "Do I care how fast you can play your octaves!? What I wish to hear is the canter of the horses of the Polish cavalry before they gather force and destroy the enemy!"
Vlad The Monster Nowadays we would just say, “you’re rushing.”
@@scarbo22 Liszt was an interpreter who saw through the notes. It's sad many still consider him a show-off.
Haha liszt was just jealous some dude unleashed octaves faster than him
@@datruzepp Liszt sweated a little then tackled it like a PRO. I heard of the Chopin étude played in octaves; that wasn't about speed. You gotta defend your crown when you're Liszt.
I heard Frederic Lamond say that when talking about his lessons with Liszt. He also said that Liszt said that it's not about interpreting the work as much as it is about recreating it.
well many of the greatest composers and pianists heard Liszt and were shocked. Grieg, the Schumanns, Mendelssohn, Chopin....and no one can argue with these guys. It's as if Da Vinci said that so-and-so was a great polymath. Clara Schumann cried because she 'felt like a little schoolgirl'. Chopin said: 'I'd love to play my music with his technique'. Smetana said: 'I want to compose like Mozart and play like Liszt'. Grieg said: 'I could not believe it. I laughed. I laughed like an idiot'. These instances are just like badges of honor. History speaks for itself.
Liszt sight read an violin concerto by grieg and his cadenza from piano concerto
It blows your mind thinking there was a level of utmost supreme virtuosity .....and Liszt was the level above that
@@inazuma3gou Hurt his hand. Not broken.
Yes Luigi all true. Liszt was in a league of his own. At 16 he was so inspired by violinist Paganini that he wanted to be the "Paganini of the piano". Grieg also was overwhelmed when Liszt transcribed and played his Concerto orchestral score by sight!! He cried.
Liszt was by all regards the greatest sight reader of all time. Saint-Saens was very close.
@@inazuma3gou When you say broken, most people think BONE.
Liszt could sight read almost anything, he improvised frequently and is a noteworthy composer himself, and revolutionized solo piano music that still stands to this day. There is no doubt he would still marvel today, and would help to show that musicianship and improvisation go hand in hand, instead of primarily associated with jazz.
I must quote this (from Anton Strelezki's 'Personal Recollections of Chats with Liszt', published London 1893) because in late March or early April of 1840, Liszt travelled from Dresden to Leipzig with Robert Schumann, and there, in a private performance, played Schumann's C Major Fantasie, Op.17, often considered as the greatest large-scale Romantic piano work after Beethoven. In 1869, Liszt recalled: "I remember the first time I played it to the great composer; he remained perfectly silent in his chair at the close of the first movement, which rather disappointed me. So I asked him what impressioin my rendering of the work had made upon him, and what improvements he could suggest, being anxious to hear the composer's ideas as to the reading of so noble a composition. He asked me to proceed with the 'March', after which he would give me his criticism. I played the second movement, and with such effect that Schumann jumped out of the chair, flung his arms around me, and with tears in his eyes, cried 'Göttlich! Our ideas are absolutely identical as regards the rendering of these movements, only you with your magic fingers have carried my ideas to a realisation that I never dreamt of !' " Perhaps we can take the accuracy of Liszt's recollection with a pinch of salt, but at that time in the early 1840s, both Robert and Clara Schumann deeply admired Liszt, for his pianism, learning, inexhaustible generosity, and open-mindedness. I have taken this information from the Alan Walker biography of Liszt. Thanks.
I'm surprised everybody thought Liszt played overly fast because the later generation did. That was never my impression. He was too great for that nonsense. He needed to prove nothing. If he wanted to he would have blown them all away but since that is not musical he wouldn't have done it.
I wanted to find out how Liszt practiced not if he played fast or not.
Thank you for the video but please consider doing a video on Liszt's practice routine and methods. That would be fun and enlightening.
Regards.
A lot of the time, when travelling, I had a silent, portable, weighted piano keyboard that I would drill over and over certain techniques or passages of my repertoire 'between gigs', on trains, in carriages etc. If there was a part of a piece that I found annoying I would sometimes experiment with other approaches to execution (fingering mainly) to achieve the same result.
@@franzliszt4302 what did you think of Chopin. I heard you guys had a falling out over George Sand
"... we better leave the speed to the taxi drivers" "...it's false virtuosity, that belongs in the circus and not on stage"
damn some concert pianists should read these quotes
absolutely right!!!
Paul Hindemith said, "It is the curse of virtuosity that it can beget nothing but virtuosity. A civilization that demands virtuosity for virtuosity's sake and neglects all higher aspects of musical activity is doomed sooner or later to produce a nation-wide musical dementia, an effect similar to that of a universal and excessive use of narcotics."
karlakor also part of music too
Totally agree!
@@karlakor The point it is not the "speed" its how you´ll use it. For example op31n2 3th movement ALLEGRETTO, but most pianist plays faster! yes it's in 3/8 BUT speed un UNDER the expression and music. On the other hand op57 3th movement the tempo is "ALLEGRO, MA NON TROPPO" 2/4 but at the end, he ask for "PRESTO" rigth THERE you have to use speed, when the composer ask you, and remember the op27,2 3th movemet "PRESTO AGITATO" it's so important the speed as the mood. Again speed is not the problem except ir you use it to impress (with a lot of practice nowadays anybody can reach very fast play) we are talking about music, Mozart wrote "the fuges should be played not too fast, to take the time for the ears to listen to the voices".
I read once about Chopin chastising Liszt about tampering with a piece of his, saying to play it exactly as written or don't play it at all. Liszt, being well known for taking great liberties with others music, told Chopin to play it himself then. Chopin played the piece and at its conclusion Liszt embraced Chopin in a hug (the two were close friends) and said "music such as yours should not be tampered with"...I wish I could remember the piece. I think it was one of the Ballades or Scherzos
it was a nocturne I think..
it was a nocturne for sure! i'm not sure but i think it is op9 no 2
Ive heard the story of Chopin taking issue with Liszt embellishing a piece of his, but I didn't know about the rest. I love the respect the two held for each other and the way these two monumental geniuses brought each other up.
@@DamianVarnum I am not sure about the respect. I heard that Chopin saying to Liszt: "Get your pigs out of my garden".
Probably nocturnes. His miniatures are his greatest compositions imo.
What convinced me that equating 19th century virtuosity with superfast playing is wrong, was the description Czerny gave of his first meeting with the 8 year old Franz Liszt. To summarize: 'terrible technique, but an amazing talent'. Czerny obviously wasn't talking about technique, but about HOW Liszt played the music. With lots of expression and feeling, I image.
Liszt loved Hungarian gypsy music. That's not particularly fast, but (as Herman Krebbers said it) has lots of 'goulash'. Lots of feeling, that in the best way can throw an audience into a state of what Flamenco artists call duende. I've experienced it in a shoddy pub in Granada with a guitarist that wasn't anywhere near as fast as Paco de Lucia. But this guy was 'magic'. That's what real music is all about. Not speed. '
Amen! Exactly right! Music and the interpretation of musical pieces is well done when it touches the heart and the soul of people.
Yes, but the thing is: does 'virtuosity' equal 'fast playing'? We often use them as synonyms but strictly speaking that is not correct. As a classical guitarist, I know plenty of pieces that are only mid tempo or even slow yet are difficult to play because of particular techniques, required phrasing or accentuation. So when Liszt is deemed a 'virtuoso' that doesn't mean that he played fast. In other words, although I liked this video, I wonder what Winters has proven here exactly.
So.... Play Liszt's music slower?
I think you should listen to Hungarian Gypsy Music before you comment on it. It is extremely fast and virtuosic when they are playing dance music while extremely slow and parlando/rubato in style when playing listening music (hallgató - magyar nóta). Part of the standard Hungarian gypsy performance practice is to have almost frenetic improvised solos as they play variations on the tune.
In tango it's called "mugre"
I think that "he never gave the impression of playing fast" could be interpreted as that he did play fast just in a manner which contributed to the music, using his virtuosity as a tool to enhance the expression. I do truly believe that Liszt was able to do whatever he could have wished at the piano however also always chose to use his abilities to service the music and not the other way around.
Thank you, this was very interesting. Through Covid-19, my son, a music major, has been reading his music history book to me as we also listen to corresponding compositions, and look at the scores while following the music. I am illiterate in music, yet with great patience, my son has opened his world, and love for music to me, teaching me. It is never too late to learn. I happened to find this video this morning. It ties in well with our little studies! Hope to listen to more! Blessings!
Wonderful!
Moments like those are why I love homeschooling my kids so much.
Alfred Brendel wrote: " You must take Liszt very serously or else you risk to make a fool of himself".
Sooo true!!!
I strongly believe virtuoso playing is not playing fast, but playing legère and with expression, and having nice piano sound in the fingers.
Virtuosity requires mastery at all tempi. The more expressively one plays slow melodic passages is the true indication of being a virtuosic master not how many notes one can play in rapid succession.
and vice versa
Interesting how we put him on top without hearing him. Some even thinking he made a deal with the devil. The story I heard and believe is that he was sitting watching Paganini and was so impressed with how technically accomplished and virtuoso perfect he was that he decided he would become as good on the piano as Paganini was on the violin. He became obsessed in fact that he went over and over his own music the bars of his ab irato the perfect etude again and again until it was perfect. He also ofcorse wrote an entire set of Paganini etudes this confirmed the story. Another sorce one of his students says he would pause in his playing to create a moment in time and it was amazing. As Liszt got older though he lost interest in performing and turned more toward composing and teaching although he was said to prefer to teach young women. Another of my favourite Liszt sources was his wife saying he would give his best in front of a few friends. We are very idealistic of liszt but the sources are there that he was amazing and confirm that he played as well as we hope 😄
Liszt became
Abbe Liszt.
That ain't a deal with the devil.
Nobody had recordings of him back then so I wonder if the word of mouth method of communication grew the legend so that even people who had never heard him 'knew' he was the greatest pianist who ever lived. Also the technical difficulty of some of his own compositions have just added to the mystique, even if some people believe he never actually played them but wrote them to intimidate lesser players.
Thanks for your talk, today's audiences don't realize that every (without exception) great musical artist who encountered Liszt and heard him play said he was in a class by himself (so it doesn't really matter what we think) Besides astonishing technical fluency, Liszt was often described as a seer, prophet, visionary, magician etc He was the ultimate artist - today we have plenty of competent musicians but few can realize the deep meaning in the Art.
Charles Blanchard That’s just not true. Liszt himself said at the time how he admired other pianists and wish he could play like them. He was an incredible player I’m sure, but what he have today is also incredible. I seriously doubt Liszt could rise above their talents.
@@slapmyfunkybass above who's talents?
This is so very right. Beautiful music happens when every note has time to be part of the music, and although very quick playing can excite, the most moving music is when the music communicates our deepest human feelings by singing to us. This may be fast or it may be slow, but it is always sincere.
Thank you!
To play Liszt without a sense of playing deep from the innermost parts of the soul, is just playing notes on a paper score. Whatever piece of Liszt's repertoire I play I "must" feel it as if it's coming from inside of me. I've played Chopin, Beethoven, Debussy and others, but I derive more satisfaction from Liszt's compositions and play them the way I interpret them and not the way someone else does. It's my way of giving to those who hear me what music really is.
@@SWGR9311 yes. I think to take it further, at it's highest level music is a feeling that through some neurological process reaches our fingers, enabling us to share it. I'm also always amazed at the different sounds my students make while playing the same music.
@@jamescorneliustaylor6997 What makes it so humbling is that I never seem to play anything the same way twice. However, if is bringing out satisfaction not only to me but to those listening, I'm happy. Perfection is not the end goal, but rather when played my best I'm complete with the performance. A few of my favorite's of Liszt's are Un Sospiro, Consolations No. 3 in Db and Liebestraum. Chopin's preludes are wonderful. Beethoven's Pathetique and Moonlight Sonatas never tire out.
@@SWGR9311 I'm sure I heard it said somewhere that Liszt himself never played the same way twice. Strangely though, if you play a piece in a particularly pleasing way, it is frequently almost impossible to reproduce the feeling of that performance a second time.
Thank you for this great analysis of the great Liszt ! Expression in music is the heart of the art !
thank you so much for your videos! they are so enlightening, and fun to watch and listen to!
This is great stuff. THANK YOU for your passion and your sharing of knowledge, and love of music.
Fascinating, and SO important: thank you so much for putting these vital sources together and sharing them.
Great to read John, thanks for watching!
Got to love your dedication and passion for the subject!
Fascinating, I love this THANK YOU!
Thanks so much, tremendous insight to musical values of the period. Your analysis is extemely helpful in understanding the spirits of the times in which the masterpieces were created. Something, that I personally think, would add depth to performances, beyond display of technical excellence or pursuit of most-accurate interpretations of surviving paperwork.
Fascinating insight as usual Wim. I am compelled to thank you from the bottom of my heart for the work you do on your channel, you've turned me on to so many sources that have truly nourished my growth and understanding of music. Hope you are well :)
Thank you so much James, so great to read!
A very illuminating video, thanks for uploading
THANK YOU SO MUCH FOR THE AWESOME CONTENT!
this is exactly how exploring a composer's pieces should be presented. thank you very much.
Very interesting talk. I feel you brought forward the important points and provided in-depth info in a lively way. Thanks!
Glad you enjoyed it!
I am learning a ton from this channel thank you so much for these videos..
Very fascinating video regarding tempi and Liszt's style of playing. Thank you very much and you've given me much to think about!
As a student, Lizst compositions remain outside of my scope at the moment. Interesting to hear the critique of piano gymnastics as though virtuosity became a sport. Actually, it's a relief to hear that. I understand however, that several pieces of piano music selected for students are geared toward well-rounded techniques for aspects which must include speed. Speed dominates a lot of it. The most impressive pieces I have come across for students come from the Anna Magdalena Notebook and Schubert. Schubert deserves special mention because I have come across a couple of his pieces and they are really customizable for students. Enjoyable to learn and they sound great.
Incredible!!!!!!! Thanks a zillion for sharing your amazing collection!❤💖💓💞💕😘💋🌹👏👏
Fantastic video once again Wim!
Thank you a lot for this amazingly interesting video.I have admired the figure liszt ever since I have heard his piano works.and your research work have had tremendous effect on the way I imagine him play now(for the best of course) and the way I play.Best of luck and health to you and your family
Thanks Popo!
I love your approach. Thank you!
I think Liszt wanted expressiveness over the speed itself, but that people can play fast and play expressive at the same time, rather than emphasizing speed over the musicality. Cziffra for example in my opinon had the amazing sense of the Hungarian feeling for the Hungarian Rhapsodies, and he often plays them very fast. I think it is possible to play anything fast but also expressive with the speed. Great video by the way.
Thank you. Much appreciated!
Thank you for this insight. If someone could run like the wind, it would be shockingly interesting, but if someone could sound like the wind it would be endlessly captivating.
Dank voor een inspirerende uiteenzetting!
Very good video. I liked the info about the double beat theory that really helped.
It's more a speculative guess than a theory. If it were a theory, with the evidence presented one would necessarily come to the same conclusion as mr. Winters. But in this case, one could as easily come to the exact opposite result: single beat theory, which is the practice of almost all performing artists for as long as we record music. So mr. Winters is merely offering a different point of view.
I enjoyed your post and this is a first time on your channel. This reminded me of my College days. I did study formally and I appreciate how you structured your approach. Just like a class! Thank you.
Welcome aboard!
Yes, he's a good heart and obviously loves music...
I'd like to thank you so much for making this inspiring video, which has drawn together many people. Thank you also to all those who have commented on your video as this like minded group feel makes me feel inspired to play.
Thank you too!
you shared with us wisdom, for free. im realley grateful to you.
As a History of Music lover this video is a gem. Thank you for your analysis.
Glad you enjoyed it!
Fantastic information.
Thank you ! Your videos are very interesting and educational!
Thank you!
Fascinating. An inspiring video. Thank you
Glad you enjoyed it!
Thanks You very much for your wonderful videos!!!
thank you very very very much, my friend!
I'm loving your channel thank you
What an amazing channel, this channel is what I have been searching for.
That's great to read! Welcome here!!
Totally agree!
I enjoyed listening to this very much.
Glad you enjoyed it
I was expecting to hear you name one main factor that make us think of Liszt as the greatest pianist in music history: his compositional work. One cant help to think only a superb pianist could conceive such technically demanding pieces as well as perfectly fitting for the instrument's idiom.
Terrific post !
I enjoyed this very much. Thank you!
Glad you enjoyed it!
Wonderful. Liszt was an amazingly humble genius, as all truly magnificent are. Beginning brash, ending wise. Thank you.
Glad you enjoyed it!
nice analysis!
Great description
In his book "Testimony", page 53, Shostakovich recalls Glazunov's account of Liszt playing Beethoven. Much in accordance with this video.
Thanks a lot!
yea, Lizst never played faster than quarter-note = 60 MM. That's why all the ladies swooned.
First sentence he says....
“one of the most ilLISZTrious pianists that history has known”
my favorite bit was the pronunciation of "Carnage-y Hall" LOL
He meant to say "the pianist at the top of the Liszt"
@@leandrusi4533 I once heard someone refer to that as "The "p-nis" on top of Liszt.".
Thank you very much for this excellent presentation! he historian has to weight evidence from multiple sources, and reason to plausible, if necessarily conditional, conclusions. You have done a brilliant exposition of this important topic. Bravo!
Glad you enjoyed it!
A nice video, also for me, to learn about Liszt and Widor.
Speaking about Lemmens I am lucky to posess his Erard concert piano, from 1857 ...
Great research
Intriguing.
This is really interesting!
I never knew that Tom Cruse is so into piano
THATS NEWS TO ME, I DIDNT KNOW IT EITHER UNTIL I JUST SAW YOUR COMMENT HERE.
Woooooow thank you so much.
Very good to bring a touch of the remarkable music times in the life times of the Romantics out to us in Australia
Very interesting and enjoyable Thankyou 🙏🏻🙏🏻🙏🏻
Glad you enjoyed it
@@AuthenticSound THANKYOU 🕊️🕊️🕊️
I actually went and listened (to a pianist), after listening what you mentioned in connection with playing speeds and listened to the same music you (above) played and compared it to (i just listened to a male pianist) and was utterly surprised. It sounded as if he was playing the music at breakneck speed! 6 Nov 2021
Thank you for a fascinating talk. The reports of Liszt's playing are so interesting, yet so frustrating: there is always such a sense of awe from other great composers and pianists, but we yearn for something more substantial that we cannot have.
Aside from Liszt, a summary of the point you want to make is that while reports of how pianists played described an increase in tempi, metronome markings went in the opposite direction, so either pianists were not playing faster and faster or the earlier metronome markings meant something different. Moreover, no recorded pianists have been able to match some of the earlier metronome markings, if read conventionally.
When my first husband was very young, he received a Master Class at the Paris Conservatory from Emil Sauer, a student of Franz Liszt, on "The Mephisto Waltz".
When he was playing it, Sauer stopped him and said he was playing it too fast. He said always remember it is a waltz. He taught him to play it a little slower (not slow!) and with more expression.
I wouldn't be surprised if "playing fast" back in Liszt's day wasn't quite so fast as they do today.
I love this channel!
Thanks!!
Liszt was always my favorite composer/musician/personality of that era.
Fascinating! It is such a pleasure to watch you in the process of discovery about these important points.
I had begun to think about Franz Liszt, after our exchange two days ago on your beautiful recording of the Bach Well Tempered Klavier selection, BWV850.
In some brief research on Liszt's performance history, the story I found was that after he heard an 1832 performance of Paganini, Liszt decided that he must practice more, and become a super-fast (“virtuosic”) player. Then, in the 1840s he became a sort of “rock star” of classical performance with ladies coming up after performance to pull out a lock of his hair, or touch his garments. This led Heine in 1842 to famously describe the phenomenon as “Lisztomania.” . . . This is the “modern” version one finds around the internet.
It is very nice to think that his virtuosity was not at all about warp-speed tempos, but something else, very much more important. Thank you for bringing your musical sensitivity and knowledge of musical history to bear on this question so dear to our hearts.
Thanks for sharing your thoughts here, Larry
Thank you Wim ..sorry ive not been on here in a while ..had a flu virus ..my Grandfather played Piano concerts all through Germany of Liszt works...i wish there were recordings ..Many thanks
What was your grandfather's name?
@@noblerkin Hi his name was Emile Grimm..:)
Bellissimo canale.
Son un pianista docente di conservatorio.
Mi complimento. Stupendo
So interesting.
I love your content.
Another NIce video on History :)
Great video!!!!!
Glad you enjoyed it
This is musicology at it's best. Greatly hearing about all these writings in context. Now if we were just able to nail down the tempi of "old school" vs. "new school" of a few classic pieces.
Thank you again for another very informative and interesting video! Just a thought, would you consider doing videos of book recommendations? It would be very interesting to see what some of your favorite sources are
That's planned for a long time, but the videos did not reach many, perhaps I'll try some more times. here are two older ones : th-cam.com/video/gze1YQBbYoI/w-d-xo.html and th-cam.com/video/yy3uuCwRyZA/w-d-xo.html
It may not be my place to comment but I feel that various people - the presenter of the video included - are mistaking speed with bravura. From what I gather Liszt played pieces at a tempo he thought was appropriate. So pieces like Beethoven's Hammerklavier he may well have played fast. What sets him apart from his contempories, I believe, is that he wasn't concerned with bravura for the sake of showing of (although he was a showman) he obsessed, instead, with technique (as is evident in playing any of his piano music) as a means of expressing the soul, the sublime. Let me know what you think if you get round to reading all this.
Always nice to read feedback and thoughts here, James! Well, my point was in fact to state that Liszt did not play as fast as we might think he would. Widor, Schindler, Moscheles give a bit of context here. All speaking conditionally of course!
There is a physiologic tempo, yes, not related to bravura. I had hoped for some theory why the metronome numbers (by Beethoven and sometimes by other composers) are terribly wrong and I think our presenter has a video on that. However we should evaluate tempi based on the physiological mechanism of pitch and harmony. Can't help laughing when Valentina Lisitsa recorded "Il Contrabandista" and mentioned that this piece had the most number of notes per second EVER, - and still, she made it into music!
@@dibaldgyfm9933 BTW, I think Lisitsa is seriously overrated. Her playing doesn't hold a candle to the (seemingly) effortless, extremely polished playing of Josef Lhevinne - who is, in my estimation, at a level that CANNOT be exceeded. (and this is the opinion of a 66 yr-old man with many decades of practicing virtuoso Liszt, Chopin and Rachmaninoff)
@@noblerkin :: Thank you for an interesting comment. I know of Lhevinne only from some piano-roll recordings, let me see ... Ampico Piano Rolls, and one piece I remember was Nocturne i B major (H-dur) by Chopin, such a beautiful rendering is hard to get today. Yes that can not be exceeded; - but piano playing, music, is not a contest, there is a level where you must accept that it is a valid expression. Having recorded music of same piece and comparing different renderings is fun and interesting, but it is futile (most of the time) to claim "this is better than ..."
Wow so you have played. I am 73, I am actually starting over because of impairment following chemo treatment, and I enjoy getting better to sight reading, but worse at "virtuoso pieces" (I was never a virtuoso, though ❤ )
Are you just giving us the highlights of your dissertation? These are top notch investigations in reconstructing the playing style of the 19th century. Very impressive work in understanding the the metronome markings of this period.
Thank you so much. Working hard on a new book on all of this together with Lorenz Gadient!
Like some of the younger guitar players, speed is a sort of goal. But I think a lot gets sacrificed along the way.
Awesome dissertation.
Glad you liked it
Liszt went into the Twilight of his life as
Abbe Liszt.
Needed the serenity of
The Monastery.
This is a great Channel.
Illuminating.
I'm still a bit confused regarding the tempo Franz Liszt played with.
I have no doubt Franz Liszt must have been one of the greatest pianists that ever lived and his way of playing very emotionally and with great technique must have been magnificient.
If however, as these sources indicate, Franz Liszt "never" played fast I would find that very saddening, as some of his incredibly difficult pieces just sound way better when played at a very fast tempo.
Liszt is reported to have been an incredible showman, I can very much imagine that he'd play at ridiculous speeds just to awe the audience, while also playing with an emotional understanding that's unparalleled.
If you just look at his etudes d'execution transcendante (especially the 4th one) it becomes apparent that he was a technical showoff.
I'd find it hard to believe he absolutely "never" played fast.
There is a difference between 'playing fast' and 'applying fast tempi'!
Is there? If you apply a fast tempo I would've thought you have to play fast to reach the tempo. This may just show my poor understanding of music theory
"Fuck you, it's break neck speed time"bpm. Normally.
@@AuthenticSound What is this difference ? What mean each ?
@@MathieuPrevot What I think he meant is that most of today's musicians tend to play "allegro movements" as a prestissimo (which literally makes no sense), at the expense of musical expression, accentuation and what the Germans call Agogik. If you play "like a taxi driver", you don't need to be musical, in fact it is often technically easier than applying "correct" tempos. By slowing down, you'll have to find new solutions to make the music attractive. Applying fast tempi just means applying the tempo the composer had in mind and not playing as fast humanly possible...
Listen to Claudio Arrau Liszt recordings.
He was a pupil of a liszt pupil.
Liebestraum is my favorite
And we still play like Arrau, like Paderewski, even like pianists of the sixties...? Exactly, it says absolutely nothing about how previous generations played.
His teacher was taught by Liszt
Beethoven heard him play as a child and was so impressed he lifted him up in the air. Liszt was great, Beethoven second. There are many great pianists.
I think this description of liszt is very telling given all the other quotes that talk about his technical brilliance, certainly they initially seem to condltradict each other but it can be illustrated otherwise with a simple analogy in our own time.
Growing up I learned the guitar because i was such a huge fan of jimi hendrix. And if you look at how people talked about jimi hendrix at the time (especially regarding sheer technical skill) everyone always says stuff like he played so fast and he was better than anyone else. I remeber a video i had of someone reminiscing about hendrix that he was the best guitarist in world and could play with his teeth better than most people could with their hands. Famously jeff beck after seeing jimi in london for the first time came home and said to his gf "I'm gonna give up playing because I've just seen the best guitarist I'm ever gonna see"
So from all this, if you reconstructed a historical idea of jimi hendrix playing guitar, you'd easily get someone who was infinitely better than anyone alive. Bordering on perfect at everything possible.
But we don't need to reconstruct it, we have tons and tons of video footage. And if you watch it knowing what the standard is today, jimi hendrix is pretty poor. If he came back and entered a guitar competition he wouldn't even place. He'd look like a poorly practiced amateur.
Now there are many good reasons why hendrix its still considered greatest and most important guitarist ever (certainly i do), but technicality by today's standards is not one of them. And that's with video footage from only 55 years ago. God knows what it was like to witness liszt play in the 1840s compared to now.
I suspect the same can be said of paganini. And it's why I'm convinced technical ability by the top top top virtuoso of any generation is at least on par if not better than the previous generation.
Speaking about Widor and Lemmens, I am Lucky to own Lemmens' Erard concert piano, big instrument from 1857 …
That... is fabulous !!
What a treasure! How did you acquire it? That must be a fascinating story!
Brilliant observation in study of the development of tempi, importantly with the masters and changing of the guard, so to speak from Beethoven to Listz...
The War of the Romantics, you had two factions of style, tradition, tempi. Liszt, Wagner, Grieg on one side, so to speak. Brahms on the other, but did reflect on one of his statements about Liszt, which was..."..if you haven't heard Liszt play you haven't heard the piano being played.." Other contemporaries such as Chopin. Grieg once remarked that no-one had the sensitivity in the tips of their fingers, as Liszt.
Merci.
Bach wrote his well-tempered clavier in a 4-octave register from C to c. In Mozart,s time the register was increased to 5 octaves F to f), Beethoven still use the 5-octaves until his Kreuzer sonata.Then in his 3rd concerto, the upper register was increase by 7 notes to C and in his 5th concerto, increased by further 5 notes to the highest F, and in his latest sonatas, the lower register was increased by 5 notes to the lowest C. In the early works of Liszt, we can see ossia for the 78-key piano, though the 88-key piano of modern scale has appeared. But even in the early 20 century, there are still some 85-key piano (only to the highest A) and this is such an example of 85-key piano.
You could make a video about your library and the most interesting and valuable musicology books you have. I would definitely watch it!
there are a few videos about the books!
@@AuthenticSound Alright, I'll search :)