Liszt uses the same quartal chord progression he used later in Prometheus. Radically innovative, from very early in his compositional career and even in his more juvenile works. The piece itself is a proof that Liszt didn’t wait to get old in order to expirement with techniques that were still considered new in the 20th century (for example the petrushka effect here and multiple uses of the octatonic scale).
Yes... in the opening cadenza we have clashing chords for which Prokofiev would later become famous (eg coda of Sonata 8) but how many years before? Liszt an innovator and ground breaker, still not appreciated to this day.
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him. John 3:16 Romans 3:23❤😊❤❤
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him. John 3:16 Romans 3:23❤😊❤❤
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him. John 3:16 Romans 3:23❤😊❤❤
Quel génie, déjà !! Quelle audace !! Introduction : 1ère note : UN FA BÉCARRE, en mi mineur, avec un fa# à la clef !! 😦😛 Un peu + loin : passage carrément dans ce que + tard l'on appellera le 2 ème mode à transposition limitée (Olivier MESSIAEN) !!! et superposition des 2 thèmes à la fin... 🥂 👏 🤗🦸♂️🧚♂️👌🧗♂️✌️🤹♂️👍🧜♂️💪 Sans oublier les enchaînements harmoniques inédits !
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him. John 3:16 Romans 3:23❤😊❤❤
Liszt Ferenc:Malédiction 1. Quasi moderato - Sostenuto 00:00 2. Vivo - Sempre di piú moderato 05:32 3. Recitativo:Patetico senza tempo - Andante lacrimoso 09:29 4. Molto animato,quasi presto 12:54 Jorge Bolet-zongora Londoni Filharmonikus Zenekar
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him. John 3:16 Romans 3:23❤😊❤❤
So, we get the usual Borelet treatment, slow (limit of pedestrian!), tempi, a ghastly Baldwin (or is it Bechstein at that time in the USA?), pinging rather than singing, but for once, it doesn't do too much harm to the music! The strings -who are they.....?? ....are excellent and give plenty of weight and color. This fantastic work (who composed the first bars - Schoenberg..?), gets a considered performance overall, so thank you for posting it, even if i think the orch and conductor should get a mention.
Really amusing to read how fascinating but "unattractive" and not "particularly accomplished" is the piece, and how "capable" is the performance but lacking in fire and madness and whatever. What would such brilliant minds do without YT and other (un)social networks on which to vent their profound opinions?
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him. John 3:16 Romans 3:23😊❤❤
So, Alexander, I come across you again, albeit 4 years later, and at a Liszt post, naturally. I hope you're well. I have always loved this piece. Experimental, unconventional, nonconforming, sure. But that's who/what Liszt was....the greatest experimental pioneer of his age. And for those poor souls who demean this piece for not conforming to the 'norm' or proper musical structure or whatever... I say, "Being normal negates innovation." and "Yielding to convention yields nothing new." Their loss.
0:36 - Faust Symphony. This is no doubt influenced by the radical harmonic language utilized by Berlioz at the time. This isn't a particularly accomplished piece but a very fascinating one, no less and I find myself coming back to it from time to time. I view it as a kind of 'experimental' piece - a set of distinct musical ideas in a liberal sonata form that had to get out of young Liszt's head at the time. He obviously didn't dare to play this in public or publish it or else he would have been ridiculed. It's very strange, it is like the youthful and the elderly Liszt meeting and improvising together (some parts remind me very strongly of the Valses Oubliées as well as the general sonority of his late compositions). It's like a strange phase when the romantic language used by Liszt was invented already but not really perfected and polished.
I must say Bolet's rendition is not my favourite, he lacks a little colour and takes a pretty slow tempo at the vivo section (5:51) which builds the excitement off. Jando does a far better job imo.
Some good ideas in the piece and plenty of effective piano writing, but it doesn't quite come together as a composition, these musicians' efforts notwithstanding.
This piece has been published posthumously under this title, I don't think it had a decisive title, but I assume it is inspired by a poem by Victor Hugo. The essence of romantiscism is not only Träumerei, but also "Frankenstein"! Your final line, is it a joke? Stalin loved Mozart's Piano Concerti, is Mozart then evil? Or was Stalin a nice guy?
Liszt uses the same quartal chord progression he used later in Prometheus. Radically innovative, from very early in his compositional career and even in his more juvenile works. The piece itself is a proof that Liszt didn’t wait to get old in order to expirement with techniques that were still considered new in the 20th century (for example the petrushka effect here and multiple uses of the octatonic scale).
Yes... in the opening cadenza we have clashing chords for which Prokofiev would later become famous (eg coda of Sonata 8) but how many years before? Liszt an innovator and ground breaker, still not appreciated to this day.
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23❤😊❤❤
If u tell me this was written in 1933, i believe it
So young, so romantic, amazing
Lizst is so underrated
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23❤😊❤❤
0:28 Petrushka´s Chord XD
Fantastic composition!
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23❤😊❤❤
Quel génie, déjà !!
Quelle audace !!
Introduction : 1ère note : UN FA BÉCARRE, en mi mineur, avec un fa# à la clef !! 😦😛
Un peu + loin : passage carrément dans ce que + tard l'on appellera le 2 ème mode à transposition limitée (Olivier MESSIAEN) !!!
et superposition des 2 thèmes à la fin...
🥂 👏 🤗🦸♂️🧚♂️👌🧗♂️✌️🤹♂️👍🧜♂️💪
Sans oublier les enchaînements harmoniques inédits !
Second degré baissé. Classique, mais utilisé de façon inhabituelle
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23❤😊❤❤
Liszt Ferenc:Malédiction
1. Quasi moderato - Sostenuto 00:00
2. Vivo - Sempre di piú moderato 05:32
3. Recitativo:Patetico senza tempo - Andante lacrimoso 09:29
4. Molto animato,quasi presto 12:54
Jorge Bolet-zongora
Londoni Filharmonikus Zenekar
Köszönöm az értékelést
Köszönöm az értékelést
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23❤😊❤❤
So, we get the usual Borelet treatment, slow (limit of pedestrian!), tempi, a ghastly Baldwin (or is it Bechstein at that time in the USA?), pinging rather than singing, but for once, it doesn't do too much harm to the music! The strings -who are they.....?? ....are excellent and give plenty of weight and color. This fantastic work (who composed the first bars - Schoenberg..?), gets a considered performance overall, so thank you for posting it, even if i think the orch and conductor should get a mention.
13:55 Jazz
Opus of an already young genius! Jim Penning
Is this the earliest example of a 1/4 time signature?
Really amusing to read how fascinating but "unattractive" and not "particularly accomplished" is the piece, and how "capable" is the performance but lacking in fire and madness and whatever. What would such brilliant minds do without YT and other (un)social networks on which to vent their profound opinions?
Repent and trust in Jesus. He's the only way. We deserve Hell because we've sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23😊❤❤
So, Alexander, I come across you again, albeit 4 years later, and at a Liszt post, naturally. I hope you're well. I have always loved this piece. Experimental, unconventional, nonconforming, sure. But that's who/what Liszt was....the greatest experimental pioneer of his age. And for those poor souls who demean this piece for not conforming to the 'norm' or proper musical structure or whatever... I say, "Being normal negates innovation." and "Yielding to convention yields nothing new." Their loss.
This was written six years after Beethoven's death
Why it's not complete???? It hurted so much when it stopped!!
0:36 - Faust Symphony. This is no doubt influenced by the radical harmonic language utilized by Berlioz at the time. This isn't a particularly accomplished piece but a very fascinating one, no less and I find myself coming back to it from time to time. I view it as a kind of 'experimental' piece - a set of distinct musical ideas in a liberal sonata form that had to get out of young Liszt's head at the time. He obviously didn't dare to play this in public or publish it or else he would have been ridiculed. It's very strange, it is like the youthful and the elderly Liszt meeting and improvising together (some parts remind me very strongly of the Valses Oubliées as well as the general sonority of his late compositions). It's like a strange phase when the romantic language used by Liszt was invented already but not really perfected and polished.
Do I hear "Dies Irae" In there?
I must say Bolet's rendition is not my favourite, he lacks a little colour and takes a pretty slow tempo at the vivo section (5:51) which builds the excitement off. Jando does a far better job imo.
First one to comment
too cool, mate.
Uda man!
Nice
@OLIVIER MESSIAN IS REAL 100% ok
Some good ideas in the piece and plenty of effective piano writing, but it doesn't quite come together as a composition, these musicians' efforts notwithstanding.
Sonata form, secondary theme at 3:00, development at 8:00, re-cap at 10:28.
Thanks for clarifying the form, but even the most well devised formal structure can't redeem an unattractive piece.
This piece has been published posthumously under this title, I don't think it had a decisive title, but I assume it is inspired by a poem by Victor Hugo. The essence of romantiscism is not only Träumerei, but also "Frankenstein"! Your final line, is it a joke? Stalin loved Mozart's Piano Concerti, is Mozart then evil? Or was Stalin a nice guy?
try listening to Brendel's version. There is more drive.
@@ruramikael Literally what the FUCK are you on about you absolute dingus?
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