Fascinating to hear the difference in quality between the composers. The inspiration of Liszt and Chopin really shines through against the awkward 'music-by-numbers' approach of Thalberg and Czerny.
@@arlenehathaway3076 This is actually a collaboration between various composers including Thalberg, Czerny, Chopin, other composers whom I can't recall. Liszt organized the structure of the piece, but it is essentially theme and variations, and each composer added a variation to Liszt's original theme
@@stefanbernhard2710 You're correct. Original theme was composed by Bellini, and Liszt organized the overall structure, and everybody else involved composed their own variation
@@chutdigadut The original theme is the "March of the Puritans" from I Puritani by Bellini. The Hexameron is a collaboration with variations by Liszt, Chopin, Czerny, Herz, Pixis, and Thalberg. Liszt wrote the intro, interludes and finale. Someone commented below that Liszt somehow dissed Czerny in the composition, when in fact quite the opposite was true. Czerny was the elder of the group, and the piece was written coinciding with a very rare visit by Czerny to Paris, and Liszt was excited about inviting his old teacher to participate. It was commissioned for a charity concert by Princess Cristina Belgiojoso on March 31, 1837 to raise money for children orphaned by some massive floods in Italy, if memory serves.
Very grateful for your response to my question about contributors to the Hexameron and Liszt’s invitation to join him at Weimar. Would that have been 1843 or 1848?
Great performance, huge technique on display. I just love the way Liszt rudely interrupts the Czerny variation, as if giving the finger (10 of them) to his old teacher! Didn't Raymond Lewenthal record this back in 70s? I used to have the LP and thought it was brilliant.
Some extremely low notes from the last moment (18:02) is A0, but if Bösendorfer Imperial 290 had been available, he would've played A♭0. Maybe, similar to his étude No. 12, he was trying to play octaved A flat major, but because of the limitation of keys I think he substituted it with A0.
In this performance, Hamelin certainly plays A♭0 at the end. This means his piano has more than 88 keys. Substituting A0 would have sounded horrible; he would have played A♭1 if the piano only had 88 keys.
chopin implements the style often heard in his preludes or in his piano concertos. must be absolutely enjoyable after having played all the other varaitions in highspeed
Nice how Hamelin doesn't choose to play it safe on this one - makes the piece sound much more spontaneous rather than other slower performances, where the pianist sounds like they are just doing scale and arpeggio exercises etc.
Yet another reason why this guy is my favorite living pianist. He brings out so much more than the Lewenthal recording. Although, hands down, Lewenthal plays the Herz section much more lyrically than MAH. (but that's about it!)
Perhaps it was that Liszt was afraid of giving Alkan too much attention, if he would get to contribute aswell.. Could be a theory, as Liszt was afraid of Alkans superior technique.
nicke1126 I've now come to the thought that it was because Alkan was a Jew, and antisemitism was rising in France during his lifetime. But maybe the answer is more simple - that in 1837, Liszt didn't know Alkan well enough to ask him.
Peter Bird This is what it says on wikipedia: "At the height of his fame in the 1830s and 1840s Alkan was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading virtuoso pianists in Paris, a city in which he spent virtually his entire life." Sounds as they knew each other very well at the time.. It could have such a simple answear as that Alkan was working on a project of his own, and not willing to spend time on something like that, maybe he thought it wasen´t worth his time back then. Or perhaps he thought his music and writing was too personal for him to work with others maybe, there could be a lot of theorys.
@andreybeci Okay, I can live with that you like Horowitz's performance better, you have right to it. I don't really like it, though, he plays many parts way too fast, and if you listen to Herz's variation, there is no comparison as far as elegance and subtlety goes. But do not say that this one is messy, because it is NOT. Everything is elaborately played, with utmost fineness and jaw-dropping technical pyrotechnics (just listen to the finale). Over and above, the piece is very amusing I think.
19th century romanticism at its most vulgar.Piano technique exploited to the maximum. Awesome display of virtuosity and power.This piece was heavy metal before electricity. Give a listen ..you will be blown off your feet. ..
the CZERNY VARIATION IS INSANE, IT WAS ALSO DELIBERATELY MADE TO SUCH A HORRENDOUS DIFFICULT DEGREE TO EVEN MAKE LISZT HIMSELF (CZERNY'S PUPIL) SWEAT A BIT.
I heard the same thing. I had a piano teacher once who performed Hexameron while I was studying under her. She told me that Czerny's variation introduced the most technically difficult demands. I don't disagree when I look at the score and consider what must be done!
Yes, I read something on a forum about that that recording was not from Horowitz at all, but it was one by Lewenthal... Well, I didn't do a research myself, so I don't know (albeit I don't think I saw that recording either in Horowitz's disco- or concertograhy)... Do you have any tips about the player, then? I wonder.
@Sorcerer88 That's a good question if it's worth to learn this piece. Well, of course Hexameron is a wonderful work, but it's a bit too flamboyant - it's an immense fun for the audience, but I'd say that mortal pianists should deal with Norma Fantasy instead (albeit that's horrendously difficult, too). If only Alkan had been invited to contribute in this piece, I'm sure that would've increased the musical value of the piece! Btw, I don't really hear La Danza at that part o.O
This piece fulfills its function as an audience-enthralling entertainment brilliantly. The Norma Fantasy aims for, and achieves, something more profound: re-creating on the piano the effect on an audience of Bellini's operatic masterpiece, with incredibly imaginative interweaving of the original musical material.
@madlovba3 haha, compare what i think is the second theme of Hamelin's etude d'après Rossini (0:13 in patricioapez' video of hamelin's performance). Well, if Alkan had participated it might have hurt his reputation even more ;) but yes, Norma Fantasy might be 'more musical', my teacher likes it a lot (he is an expert on Liszt).
What a virtuoso piece, in the cliché-Liszt-sense. The technical difficulty must be immense, but of course Hamelin masters it. I wonder if it's worth the effort for mortal pianists though, if there is enough of musicality in it, on top of the chopin variation, but it's definitely interesting historically and fun to listen to. By the way, is 16:06 a quote of rossini's la danza or just a chance similiarity?
@@Medtszkowski Well, you're responding to an 11 year old comment, I'd probably phrase it differently now. But yes, I didn't find much musical worth in this. Good for you if you appreciate it!
@@kpokpojiji thats Leslie Howard with speed up,the recording used to be here on YT but not anymore and you could hear the same dynamics and details, just slower. When Horowitz was in his 30's or 40's he did had the technique to play something like this with that much power, but have you heard a recording of him in the 30's or 40's with that kind of sound and quality? Hexameron was never a part of his repertoire to start with. Besides, this doesn't sound like a Horowitz piano either.
I think you have to take into account that it was a charity fund raiser for people caught in internal wars in Italy and that the composers had to be cajoled by Liszt to produce something. Patrons of Salons in those days would want to get value for their donations so the more notes, the more value…..
@@peterbird971 I think the piece is great, I apologize for not explaining my comment further...his virtuosity was deemed Vulgar by many of his peers probably because they couldn't perform at his level anyway...nonetheless a great show piece with a purpose that did good things for others according to your statement
@@douglassmith7750 Not a problem, Douglas, and to a certain extent I agree Liszt was guilty of "note spinning" in order to wow an audience - just as Thalberg would write for his thumbs to carry the melody. Just the times they lived in, I guess. Personally I'm an Alkan fan. He rarely indulged in note spinning and generally there was little rubato or lyricism in his work; his "style sévère" cut a lonely furrow in the salons. I much admire Marc-André Hamelin's recordings of Allan which are the standard which has never been bettered.
@@peterbird971 I have a couple of recordings of Alkan and a Dover collection for reference...very difficult and physically demanding music...I avoid at this point 🙂...but intriguing nonetheless
@@douglassmith7750 There aren't so many pianists playing Alkan and his repertoire rarely turns up in recitals because it is high risk being so difficult. Much loved by music examiners, though! The early rounds of "Young musician of the year" usually have an Alkan lurking in there somewhere. There have been faint signs of a re-evaluation of Alkan's works which was spearheaded by the late great Ronald Smith, and M-A Hamelin carries on this noble mission. Back in the mists of early recording history, it was Egon Petrie who kept the flame alight and Raymond Lowenthal in the US did sterling work too. I believe Busoni played the Alkan version of Beethoven Piano concerto No 3 with Alkan's own cadenza in Berlin and was booed off the stage. Think of it, a French jew daring to write a cadenza when Beethoven had already written one himself! The cheek of it! It won't have escaped your notice that Petrie was a pupil of Busoni....
Is there a recording on TH-cam? I would love to hear anyone attempt a recording of Hexameron more exhilarating than this performance! (I am not a fan of Howard's Liszt in general and would be blown away of he indeed does a better rendition than MAH!)
The original music that all these variations are based on is the duetto 'Suoni La Tromba' from Bellini's 'I Puritani'.
Fascinating to hear the difference in quality between the composers. The inspiration of Liszt and Chopin really shines through against the awkward 'music-by-numbers' approach of Thalberg and Czerny.
I LOVE CHOPIN!!!! His variation is just so genuine and sincere! Such a great performance
Chopin? This is Liszt
@@arlenehathaway3076 This is actually a collaboration between various composers including Thalberg, Czerny, Chopin, other composers whom I can't recall. Liszt organized the structure of the piece, but it is essentially theme and variations, and each composer added a variation to Liszt's original theme
@@chutdigadut was it not based on a theme by Bellini?
@@stefanbernhard2710 You're correct. Original theme was composed by Bellini, and Liszt organized the overall structure, and everybody else involved composed their own variation
@@chutdigadut The original theme is the "March of the Puritans" from I Puritani by Bellini. The Hexameron is a collaboration with variations by Liszt, Chopin, Czerny, Herz, Pixis, and Thalberg. Liszt wrote the intro, interludes and finale. Someone commented below that Liszt somehow dissed Czerny in the composition, when in fact quite the opposite was true. Czerny was the elder of the group, and the piece was written coinciding with a very rare visit by Czerny to Paris, and Liszt was excited about inviting his old teacher to participate. It was commissioned for a charity concert by Princess Cristina Belgiojoso on March 31, 1837 to raise money for children orphaned by some massive floods in Italy, if memory serves.
Love the way Hamelin lets go, especially towards the finale. Very exciting performance.
Very grateful for your response to my question about contributors to the Hexameron and Liszt’s invitation to join him at Weimar. Would that have been 1843 or 1848?
Yes. He's never one to hold back!
He makes plenty of mistakes, but delivers it with real fire. Real tightrope stuff, great to see MAH taking chances like this.
Hamelin plays this so nicely- he isn't afraid to be a real Romantic pianist!
Exactly. He throws all the pedantic and academic norms the side. That's why he's one of the best 👌
Great performance, huge technique on display. I just love the way Liszt rudely interrupts the Czerny variation, as if giving the finger (10 of them) to his old teacher! Didn't Raymond Lewenthal record this back in 70s? I used to have the LP and thought it was brilliant.
I thought the same. Liszt's "hold my beer" moment. Hamelin brought that out perfectly.
Yes, I had the same LP - it was!
Some extremely low notes from the last moment (18:02) is A0, but if Bösendorfer Imperial 290 had been available, he would've played A♭0. Maybe, similar to his étude No. 12, he was trying to play octaved A flat major, but because of the limitation of keys I think he substituted it with A0.
That's nothing. I can play a C major scale in one octave right hand only.
In this performance, Hamelin certainly plays A♭0 at the end. This means his piano has more than 88 keys. Substituting A0 would have sounded horrible; he would have played A♭1 if the piano only had 88 keys.
Hamelin es un. gran pianista🎹👏👏👏👏👏
chopin implements the style often heard in his preludes or in his piano concertos.
must be absolutely enjoyable after having played all the other varaitions in highspeed
Nice how Hamelin doesn't choose to play it safe on this one - makes the piece sound much more spontaneous rather than other slower performances, where the pianist sounds like they are just doing scale and arpeggio exercises etc.
I don't know. As much as I love Hamelin's playing; I think he was having a bad when he was performing this piece.
@UCJZ2FPRRgHixf-wkQfMQmGQ he was having a bad
nice english faktard
Yet another reason why this guy is my favorite living pianist. He brings out so much more than the Lewenthal recording. Although, hands down, Lewenthal plays the Herz section much more lyrically than MAH. (but that's about it!)
Hamelin. 🎹😃. México .🇲🇽. 👏👏👏👏
Puzzle: why wasn't Alkan invited to contribute? Or was he and declined? This has always puzzled me.
He was very much a recluse......
Perhaps it was that Liszt was afraid of giving Alkan too much attention, if he would get to contribute aswell.. Could be a theory, as Liszt was afraid of Alkans superior technique.
nicke1126 I've now come to the thought that it was because Alkan was a Jew, and antisemitism was rising in France during his lifetime. But maybe the answer is more simple - that in 1837, Liszt didn't know Alkan well enough to ask him.
Peter Bird
This is what it says on wikipedia: "At the height of his fame in the 1830s and 1840s Alkan was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading virtuoso pianists in Paris, a city in which he spent virtually his entire life." Sounds as they knew each other very well at the time.. It could have such a simple answear as that Alkan was working on a project of his own, and not willing to spend time on something like that, maybe he thought it wasen´t worth his time back then. Or perhaps he thought his music and writing was too personal for him to work with others maybe, there could be a lot of theorys.
Peter Bird Maybe he was but as the theme is so poor perhaps he turned it down. Only Chopin could do something interesting with it.
@andreybeci Okay, I can live with that you like Horowitz's performance better, you have right to it. I don't really like it, though, he plays many parts way too fast, and if you listen to Herz's variation, there is no comparison as far as elegance and subtlety goes. But do not say that this one is messy, because it is NOT. Everything is elaborately played, with utmost fineness and jaw-dropping technical pyrotechnics (just listen to the finale). Over and above, the piece is very amusing I think.
I agree, but that isn't horowitz In the other recording
19th century romanticism at its most vulgar.Piano technique exploited to the maximum. Awesome display of virtuosity and power.This piece was heavy metal before electricity. Give a listen ..you will be blown off your feet. ..
Outhet Goenardi attempted many times..would learn sections..never could tie together
Outhet Goenardi liszt was given most credit...essentially the top 6 pianists of the 1830s throwing in their variations
Are we sure about the Horowitz version? The one on youtube does not seem, to be genuine....
내 추억의 곡...
11:24 is the best.
Agreed. What an awesome entrance.
Liszt dissed Czerny pretty hard....11:32
Charles Cxgo not really
the pupil dissind the master lol
He really did. What an awesome and dismissive entrance.
the CZERNY VARIATION IS INSANE, IT WAS ALSO DELIBERATELY MADE TO SUCH A HORRENDOUS DIFFICULT DEGREE TO EVEN MAKE LISZT HIMSELF (CZERNY'S PUPIL) SWEAT A BIT.
Never!
I heard the same thing. I had a piano teacher once who performed Hexameron while I was studying under her. She told me that Czerny's variation introduced the most technically difficult demands. I don't disagree when I look at the score and consider what must be done!
Yes. But it sounds rather pedestrian next to that turbo charged liszt variation.
Ugh, these comments. Please make them stop.
Yes, I read something on a forum about that that recording was not from Horowitz at all, but it was one by Lewenthal... Well, I didn't do a research myself, so I don't know (albeit I don't think I saw that recording either in Horowitz's disco- or concertograhy)... Do you have any tips about the player, then? I wonder.
@Sorcerer88 That's a good question if it's worth to learn this piece. Well, of course Hexameron is a wonderful work, but it's a bit too flamboyant - it's an immense fun for the audience, but I'd say that mortal pianists should deal with Norma Fantasy instead (albeit that's horrendously difficult, too). If only Alkan had been invited to contribute in this piece, I'm sure that would've increased the musical value of the piece! Btw, I don't really hear La Danza at that part o.O
Then it would be called heptameron instead
This piece fulfills its function as an audience-enthralling entertainment brilliantly. The Norma Fantasy aims for, and achieves, something more profound: re-creating on the piano the effect on an audience of Bellini's operatic masterpiece, with incredibly imaginative interweaving of the original musical material.
Variations ranked:
Chopin>Liszt (Finale)>Pixis>Thalberg>Herz>Czerny
@Enescu No, I was clearly giving an objective ranking, you stupid fuck.
Y este es algun pianista.
my fav is the pixis one!!!!
Where did you find this recording?
No fue de mi epoca Lesli. Ni se que fuera pianista. Tienes una foto?
Esta imajen esta bien..o este retrato SI es. Chopin. ❤
@madlovba3 haha, compare what i think is the second theme of Hamelin's etude d'après Rossini (0:13 in patricioapez' video of hamelin's performance). Well, if Alkan had participated it might have hurt his reputation even more ;) but yes, Norma Fantasy might be 'more musical', my teacher likes it a lot (he is an expert on Liszt).
What a virtuoso piece, in the cliché-Liszt-sense. The technical difficulty must be immense, but of course Hamelin masters it. I wonder if it's worth the effort for mortal pianists though, if there is enough of musicality in it, on top of the chopin variation, but it's definitely interesting historically and fun to listen to. By the way, is 16:06 a quote of rossini's la danza or just a chance similiarity?
How tf is liszt cliché???? Every single note he put in this has a purpose
@@Medtszkowski Well, you're responding to an 11 year old comment, I'd probably phrase it differently now. But yes, I didn't find much musical worth in this. Good for you if you appreciate it!
@@SimonPiano42 dang 11 years later is crazy
Chopin's style sounds different in his other composition..
Idk I hear a bit of his raindrop prelude in the double forte part.
Agreed, this sounds like he's doing a bit of self parody here.
Hmmm, not bad! :D I'm not at home now, but I'll make a comparison as soon as possible. And yeah, Howard's playing is really quite "mediocre" indeed ;)
6:55 0 typical of great Liszt
Liszt was the man
20. ,..24. Exelfente. 🇲🇽. 👏👏👏👏🕣
I feel he was rushing a bit and hence made a few mistakes. He plays the piece well, but I definitely heard better recordings.
please share better recording by which player .
No one comes even close
strange, hexamoron is the term for the six days when god create earth
En las bilgrafias para. niños. era mas guapo. ❤. 😂
Fantastc, but isn't Horowitz's hexameron
Well, Horowitz never played Hexameron as far as I know
@@nicolasramirez3456 th-cam.com/video/fQXUElMMOnE/w-d-xo.html
@@kpokpojiji thats Leslie Howard with speed up,the recording used to be here on YT but not anymore and you could hear the same dynamics and details, just slower. When Horowitz was in his 30's or 40's he did had the technique to play something like this with that much power, but have you heard a recording of him in the 30's or 40's with that kind of sound and quality? Hexameron was never a part of his repertoire to start with.
Besides, this doesn't sound like a Horowitz piano either.
@@nicolasramirez3456 dafuq?
La anterior es el retrato de Lizst.
Me gusta pero no suelta el 😄edal.
19 th century Romanticism ...vulgar virtuosity in this piece
I think you have to take into account that it was a charity fund raiser for people caught in internal wars in Italy and that the composers had to be cajoled by Liszt to produce something. Patrons of Salons in those days would want to get value for their donations so the more notes, the more value…..
@@peterbird971 I think the piece is great, I apologize for not explaining my comment further...his virtuosity was deemed Vulgar by many of his peers probably because they couldn't perform at his level anyway...nonetheless a great show piece with a purpose that did good things for others according to your statement
@@douglassmith7750 Not a problem, Douglas, and to a certain extent I agree Liszt was guilty of "note spinning" in order to wow an audience - just as Thalberg would write for his thumbs to carry the melody. Just the times they lived in, I guess. Personally I'm an Alkan fan. He rarely indulged in note spinning and generally there was little rubato or lyricism in his work; his "style sévère" cut a lonely furrow in the salons. I much admire Marc-André Hamelin's recordings of Allan which are the standard which has never been bettered.
@@peterbird971 I have a couple of recordings of Alkan and a Dover collection for reference...very difficult and physically demanding music...I avoid at this point 🙂...but intriguing nonetheless
@@douglassmith7750 There aren't so many pianists playing Alkan and his repertoire rarely turns up in recitals because it is high risk being so difficult. Much loved by music examiners, though! The early rounds of "Young musician of the year" usually have an Alkan lurking in there somewhere. There have been faint signs of a re-evaluation of Alkan's works which was spearheaded by the late great Ronald Smith, and M-A Hamelin carries on this noble mission. Back in the mists of early recording history, it was Egon Petrie who kept the flame alight and Raymond Lowenthal in the US did sterling work too. I believe Busoni played the Alkan version of Beethoven Piano concerto No 3 with Alkan's own cadenza in Berlin and was booed off the stage. Think of it, a French jew daring to write a cadenza when Beethoven had already written one himself! The cheek of it! It won't have escaped your notice that Petrie was a pupil of Busoni....
Leslie Howard plays this much better.
Is there a recording on TH-cam? I would love to hear anyone attempt a recording of Hexameron more exhilarating than this performance! (I am not a fan of Howard's Liszt in general and would be blown away of he indeed does a better rendition than MAH!)
Unfortunately, there isn’t 😕
@@joshualevine9488 search for Horowitz Hexameron, that's actually Leslie Howard with speed up
@@joshualevine9488 th-cam.com/video/fQXUElMMOnE/w-d-xo.html
@@nicolasramirez3456 dafuq?
way too much pedal