Repent and trust in Jesus. we deserve Hell for our sins. For example lying, lusing, saying God's name as a cuss word and stealing our just some examples of sin which we can all admit to doing at least one of those. For our sin we deserve death and Hell, but there is a way out. Repent anf trust in Jesus and you will be saved. Repentence is turning from sin. So repent and trust in Jesus. He will save you from Hell, and instead give you eternal life in Heaven. John 3:16 Romans 3:23❤😊❤❤
@@marcorvalbreak it down and concentrate on the hard parts. I sight read for three days. The fingering is most important to make it sound like it's supposed to
Listening to this recording is like one listening to the young Liszt himself play it. Over time, my appreciation of Fiorentino's masterful rendition has increased; and so has my outlook toward the piece. Though said to be criticised during its premiere, I consider it to be one of Liszt's most exhilirating show-pieces and one of the most virtuosic piano solo works of the Romantic era. To appreciate it one must see it as it is; a virtuoso work, designed to take one off the edge of their seat.
Repent and trust in Jesus. we deserve Hell for our sins. For example lying, lusing, saying God's name as a cuss word and stealing our just some examples of sin which we can all admit to doing at least one of those. For our sin we deserve death and Hell, but there is a way out. Repent anf trust in Jesus and you will be saved. Repentence is turning from sin. So repent and trust in Jesus. He will save you from Hell, and instead give you eternal life in Heaven. John 3:16 Romans 3:23❤😊❤
idk , why i saw ppl saying , that this one has less musicality in it but what i can see in the structure of this piece is that liszt is trynna test the musicality of the pianist in sections like 0:00- 2:41 nd from 10:28 - 12:19 nd the rest is pure virtuosity ( typicall liszt making this piece inhuman to play) nd i like this structure ( kinda old fashioned bravura structure) but its hell of a gem easily my fav liszt fantacy
BRAVO. Fantastic playing of a fabulously difficult piece, said to be one of Liszt's hardest.. and he was only about 22 when he wrote it FFS!!!! Barely anyone plays this because it's just too damn difficult, and especially in the "actual difficulty vs. audience perception of difficulty" quotient. In other words it is difficult AF and you will sacrifice your life, to be underappreciated except by a few aficionados.
@@ciararespect4296 I'm impressed without even hearing you play it! :) If you even got to the end without just throwing your hands in the air and saying "whatever, Franz" then bravo.
Grazie per l'eccellente sincronizzazione del cambio pagina. È stato un piacere seguire la partitura, in alcuni casi non mi ero neanche accorto di star leggendo la pagina successiva. Pezzo cattivissimo, con una delle peggiori difficoltà nelle ultime misure, quando il pianista è, giustamente, stremato (non Fiorentino evidentemente, che un pezzo così l'avrebbe eseguito come bis dopo il Rach 3!)
....No I practice 1 hour per day and am learning this. I have played the piano for 10 years. I am no prodigy. Trust me, if you just persist, nothing is impossible.
@@freshlyherbs7068 I've been really busy with other things (school + drivers ed). Playing the piano is just a hobby, so I haven't been working on it that much.
Lucias The Goose I was scrolling to see who else would mention it. Funi numbur lol XD “I bought the whole piano, I’m going to use the whole piano” [1 Billion Comment Likes And A Creator Heart] Asian kids relly goood
what is going on with la campanella? I first thought it was a piano etude written by liszt. then I learned tat paganini 'also' made it and I was confused. then I learned that paganini was the first one who wrote it, and soon after that I learned that it was from a concerto. and now THIS!? I mean... can someone explain me just why this piece is one individual etude, but also being here?
Paganini wrote this melody as the third, or rondo, movement of his violin concerto. Many composers adapted this melody, including Liszt. This piece, the La Clochette (little bell) Fantasy, is Liszt's first use of the theme as a virtuosic piano arrangement. 'La Clochette' had an interesting history. Liszt was only a teen when he first wrote this, and at that time he studied intensely the techniques Paganini did on the violin, trying to reproduce them on the piano. This was after he watched Paganini perform which helped him out of his depression caused by his father's demise and the breakup with Caroline, his first sweetheart (courtesy of her father's decision). So, Liszt would practise all sorts of exercises four to five hours a day, according to his letter. This piece is the result of this obsession Liszt had with Paganini. Evidently, it's one of the most virtuosic pieces Liszt ever composed, but when he performed it, it's said it was criticised, likely due to 'not being musical enough'. Seven years later, in 1838, we hear again the La Campanella theme in the third of his Transcendental Paganini Etudes. This version is much shorter and more compact than this Fantasy. In 1851, it was again revised and made to be less challenging (but probably more musical) as the famous La Campanella everyone knows and plays.
@@Santosificationable He couldn't have wrote it in his teens after hearing Paganini because Liszt heard Paganini in his early 20s. And to me I hear this theme more in his 2nd Transcendental Etude. And personally, I think the other version of this, the 3rd Etude d'execution transcendante d'apres Paganini (sorry I don't have all the correct marks over the letters) is more musical than the 1851 more popular version. But just my opinion, don't mind me. :)
it's definetley sped up. i played this piece, and 13:25 is imposibble. you cant jump from octave H (with A) to octave C# (with A) this fast. you can do it from the opposite direction (from C# to H), but you cant do it this way, because c# is an elevated black key. there are many weird, inhumanly fast passages in this recording, but the mentioned section is impossible. Even Cziffra was unable to play it. :)
I never knew yhe already difficult Campanella had a a more ludicrously complicated variation. It doesnt make sense how one can learn to play this in a single lifetime.
@ֺ this song was used in a videogame i was playing, and i decided to look it up for myself. Thus, i am only hear because of "tennis ace" (the name of the videogame)
Liszt wrote this when he was 20. This piece is an embarrassing trainwreck but the 2nd and third movements make a lot more musical sense. His later works such as Liebestraume and Un Sospiro go to lengths to show how much Franz Liszt has learned since he wrote this piece.
I would say that his transcription works are great though not the best of his output. Even when he was a teen Liszt's original (not those arranged over a pre-existing melody) works were very interesting. For example, the Twelve Exercises, written when he was 14, served as the model for his famous Transcendental Etudes. The Apparitions. The Benediction. And so forth.
We shouldn't confuse the intentions of the composer with the abilities of the pianist. I think it's only embarrassing because nobody can play it the way it is meant to be played. Unfortunately we will never hear Liszt but I'd bet he could make music out of it.
"garbage"? This brilliant showpiece pays homage to the talents of Paganini as a violin virtuoso. Liszt capitalizes on the difficulties of the source music by harnessing its virtuosity and brilliance for the keyboard, via deft writing that imparts new colors and dazzling acrobatics which might have drawn the attention of Paganini himself. This work is part of Liszt's continual search for the "ne plus ultra" of all piano techniques, it is historically significant. It's ok to not like this work but to not understand the purpose, context and importance of this work is very telling of your musicianship.
Andrei Cristian Anghel it sounds like a lot of fluff there's an occasional lyrical melody thrown in but it just sounds like virtuosity for the sake of virtuosity. Yes I understand he's paying homage to Paganini here but I think some parts of this come across as overly technical dense writing. The transcendental version of la Campanella I view in a much higher regard. I used to like this piece a lot when I listened to it before I saw the sheets then I realized it seems just way too capricious and overdone with needless technical acrobatics. I'm not trying to bash Liszt he's certainly my favorite composer but this is just redundant in my opinion.
Kalen1457 I love the piano for my opinion but I think Liszt wanted to experiment on the piano so he made this lol and also this is where la Campanella was made :)
@@Santosificationable (Now I'm just being somewhat of a wiseacre, you don't have take this comment seriously), it's just disturbingly difficult to look at, and I suspect that obscured my initial opinion of the piece. He simplified a lot of stuff that still sounds just as impressive like the grand galop chromatique, the Paganini studies or the numerous "facile" ossias he has in so many of his pieces. My first comment was probably too extreme, I shouldn't used the word "garbage" especially for it's historical and theoretical value, (as Andrei pointed out)however the coda to "God Save the Queen" is quite redundant and almost ridiculous, pure noise...just my opinion please don't feel offended.
I didn't know Liszt wrote beginner pieces! Discovered this on day 3 of simplypiano
lmao
lol
Underrated comment 🤣🤣🤣
bruh 😂😂
Repent and trust in Jesus. we deserve Hell for our sins. For example lying, lusing, saying God's name as a cuss word and stealing our just some examples of sin which we can all admit to doing at least one of those. For our sin we deserve death and Hell, but there is a way out. Repent anf trust in Jesus and you will be saved. Repentence is turning from sin. So repent and trust in Jesus. He will save you from Hell, and instead give you eternal life in Heaven.
John 3:16
Romans 3:23❤😊❤❤
0:01 - It's an easy piece, I can play it.
2:34 - Maybe no.
3:25 - Definitely, I can't play this.
3:25 is certainly hell. I've been practising it for months and am nowhere near performance level.
@@marcorvalbreak it down and concentrate on the hard parts. I sight read for three days. The fingering is most important to make it sound like it's supposed to
Listening to this recording is like one listening to the young Liszt himself play it. Over time, my appreciation of Fiorentino's masterful rendition has increased; and so has my outlook toward the piece. Though said to be criticised during its premiere, I consider it to be one of Liszt's most exhilirating show-pieces and one of the most virtuosic piano solo works of the Romantic era. To appreciate it one must see it as it is; a virtuoso work, designed to take one off the edge of their seat.
Why was it criticised?
@@micoveliki8729 imagine playing metal in the 16th century
@@freshlyherbs7068 he was 19 century composer and I guess yeah he was to hard for them 😁
Repent and trust in Jesus. we deserve Hell for our sins. For example lying, lusing, saying God's name as a cuss word and stealing our just some examples of sin which we can all admit to doing at least one of those. For our sin we deserve death and Hell, but there is a way out. Repent anf trust in Jesus and you will be saved. Repentence is turning from sin. So repent and trust in Jesus. He will save you from Hell, and instead give you eternal life in Heaven.
John 3:16
Romans 3:23❤😊❤
Brain *:* got it?
eyes *:* I see ya
hand *:* wtf?????
Me any time I see a poly rhythm of any kind.
I have seen this kind of comment for the 1000th time, but it's still funny
I don't understand how playing like this is even physically possible.
I love the opening theme Liszt wrote before launching into the Paganini theme.
Andrei Anghel uploaded this piece but it was taken down for copyright >:( Thank you for uploading this video to TH-cam!
do you still remember the performer in his video?
@@Liszthesis Pasini
@@TheModicaLiszt okay thanks :)
Qafar Quluzade Pasini’s recording is copyrighted by Naxos
Qafar Quluzade xD
idk , why i saw ppl saying
, that this one has less musicality in it but what i can see in the structure of this piece is that liszt is trynna test the musicality of the pianist in sections like 0:00- 2:41 nd from 10:28 - 12:19
nd the rest is pure virtuosity ( typicall liszt making this piece inhuman to play)
nd i like this structure ( kinda old fashioned bravura structure) but its hell of a gem
easily my fav liszt fantacy
another piece by Liszt that possible for human confirmed.
It's the best recoring IMO followed by Ogdon.
@@melonica90 I like Ivan Linns the most
@Schoenberg is my daddy hello It's been a long time
@Schoenberg is my daddy Hi:D
@@that1guy910 Hello there.
grande Maestro.
sergio fiorentino! unico
I think this is probably the hardest piece he wrote... Bravo Fiorentino!! Can you play some Alkan for us :)))))
Actually. His hardest should be Beethovens ninth symphony but for solo piano. But don’t worry. This is also among Liszts hardest
@@jessgames536spanish fantasy>>>
Interpretazione magistrale? Straordinario Maestro Sergio Fiorentino! ... l'unico altro pianista....
3:43
가장 쉬운부분 13:54
@I STILL HATE MINIONS SO MUCH :D
@I STILL HATE MINIONS SO MUCH idk
wow familiar peoples
M
BRAVO. Fantastic playing of a fabulously difficult piece, said to be one of Liszt's hardest.. and he was only about 22 when he wrote it FFS!!!! Barely anyone plays this because it's just too damn difficult, and especially in the "actual difficulty vs. audience perception of difficulty" quotient. In other words it is difficult AF and you will sacrifice your life, to be underappreciated except by a few aficionados.
Totally agree i played it at my school. Nobody appreciated how difficult it is 😢
@@ciararespect4296 I'm impressed without even hearing you play it! :) If you even got to the end without just throwing your hands in the air and saying "whatever, Franz" then bravo.
@@RandomButBeautiful thank you I'll play it again and upload
Bravo brilliance super music grandiose virtuoso
Grazie per l'eccellente sincronizzazione del cambio pagina. È stato un piacere seguire la partitura, in alcuni casi non mi ero neanche accorto di star leggendo la pagina successiva.
Pezzo cattivissimo, con una delle peggiori difficoltà nelle ultime misure, quando il pianista è, giustamente, stremato (non Fiorentino evidentemente, che un pezzo così l'avrebbe eseguito come bis dopo il Rach 3!)
*WARNING*: Before even dreaming of learning this, note that 40 hours of practice is required.
....No I practice 1 hour per day and am learning this. I have played the piano for 10 years. I am no prodigy. Trust me, if you just persist, nothing is impossible.
Very true, I'm working on Reminiscences de Lucrezia Borgia.
@@luciferlyset7543 hows ur borgia
@@freshlyherbs7068 I've been really busy with other things (school + drivers ed). Playing the piano is just a hobby, so I haven't been working on it that much.
@@zswu31416 It's a joke from TwoSetViolin about practising 40 hours a day
nd dude who is this pianist , kudos to him or her , just played something impossibly hard
Sergio Fiorentino, "the only other pianist", as Michelangeli once said about him.
Seriously nobody is gonna comment on the S.420?
apart from being virtually impossible for almost every pianist ever, we got weed in here lmfaooo
Lucias The Goose I was scrolling to see who else would mention it.
Funi numbur lol XD “I bought the whole piano, I’m going to use the whole piano” [1 Billion Comment Likes And A Creator Heart] Asian kids relly goood
E 🅱️ I C
It's the S.420 because it's La Campanella on drugs
Schoenberg is my daddy If I removed the irony, it would get 1K likes
The octaves sounds out of tune at some parts, like 8:22
Fun Fact: This is the original of La Campanella
what is going on with la campanella? I first thought it was a piano etude written by liszt. then I learned tat paganini 'also' made it and I was confused. then I learned that paganini was the first one who wrote it, and soon after that I learned that it was from a concerto. and now THIS!? I mean... can someone explain me just why this piece is one individual etude, but also being here?
Paganini wrote this melody as the third, or rondo, movement of his violin concerto. Many composers adapted this melody, including Liszt. This piece, the La Clochette (little bell) Fantasy, is Liszt's first use of the theme as a virtuosic piano arrangement.
'La Clochette' had an interesting history. Liszt was only a teen when he first wrote this, and at that time he studied intensely the techniques Paganini did on the violin, trying to reproduce them on the piano. This was after he watched Paganini perform which helped him out of his depression caused by his father's demise and the breakup with Caroline, his first sweetheart (courtesy of her father's decision).
So, Liszt would practise all sorts of exercises four to five hours a day, according to his letter. This piece is the result of this obsession Liszt had with Paganini. Evidently, it's one of the most virtuosic pieces Liszt ever composed, but when he performed it, it's said it was criticised, likely due to 'not being musical enough'.
Seven years later, in 1838, we hear again the La Campanella theme in the third of his Transcendental Paganini Etudes. This version is much shorter and more compact than this Fantasy. In 1851, it was again revised and made to be less challenging (but probably more musical) as the famous La Campanella everyone knows and plays.
@@Santosificationable He couldn't have wrote it in his teens after hearing Paganini because Liszt heard Paganini in his early 20s. And to me I hear this theme more in his 2nd Transcendental Etude. And personally, I think the other version of this, the 3rd Etude d'execution transcendante d'apres Paganini (sorry I don't have all the correct marks over the letters) is more musical than the 1851 more popular version. But just my opinion, don't mind me. :)
This piece was composed in 1832-34.
Chi suona è bravissimo 🎉
Per forza, è Sergio Fiorentino
I think he or she who perform this piece is not human.
Hang on, 13:30 what happened there...?
Right okay thanks, I worried that some of it may have been sped up!
it's definetley sped up. i played this piece, and 13:25 is imposibble. you cant jump from octave H (with A) to octave C# (with A) this fast. you can do it from the opposite direction (from C# to H), but you cant do it this way, because c# is an elevated black key. there are many weird, inhumanly fast passages in this recording, but the mentioned section is impossible. Even Cziffra was unable to play it. :)
Dávid Mihályi Sounds like he cheated or fuzzled it a little, but I don’t think it’s sped up. Just doesn’t sound clean.
@@TheModicaLiszt im talking about 13:25 not 13:30
Dávid Mihályi I know. Fingering of 135 - 134 works fine for me. He just fudged it a little.
this is la campanella if its high on drugs
6:18
An elusive little wink to modern music ;)
Ohh my mum always played that song on flute for me to fall asleep
I never knew yhe already difficult Campanella had a a more ludicrously complicated variation.
It doesnt make sense how one can learn to play this in a single lifetime.
awesome
9:35 El Contrabandista??
We have a fellow liszt fan here!
13:02 Don Juan 😎
one melody made two pieces
Way more than that.
5 or something
im also composing a virtuoso fantasy based on la campanella by paganini
I distinctly remember S.420 being the Totentanz (piano arrangement). How weird.
Totentanz is S. 525
noice
I like the end of this piece the most. Most of the rest is crude, ostentatious, and outright bombastic; somewhat of a feat to listen to.
this is star clock from piano tiles...
7:50 OMG
12:35
literally only here because of tennis ace VN
Vulnerable Ninny?
WHAT THE FUC- I thought I was the only one. Now that I saw your comment I think that nothing is impossible, that's for sure
Same HAHA
@ֺ this song was used in a videogame i was playing, and i decided to look it up for myself. Thus, i am only hear because of "tennis ace" (the name of the videogame)
@ֺ you wanted to know
Liszt wrote this when he was 20. This piece is an embarrassing trainwreck but the 2nd and third movements make a lot more musical sense. His later works such as Liebestraume and Un Sospiro go to lengths to show how much Franz Liszt has learned since he wrote this piece.
I would say that his transcription works are great though not the best of his output. Even when he was a teen Liszt's original (not those arranged over a pre-existing melody) works were very interesting. For example, the Twelve Exercises, written when he was 14, served as the model for his famous Transcendental Etudes. The Apparitions. The Benediction. And so forth.
yea this piece is just trash
We shouldn't confuse the intentions of the composer with the abilities of the pianist. I think it's only embarrassing because nobody can play it the way it is meant to be played. Unfortunately we will never hear Liszt but I'd bet he could make music out of it.
Is this recording really by fiorentino, or was it one of those "fake" fiorentino recordings?
i think you're talking about claudio colombo, who i think speeds up some recordings. i don't think fiorentino made any sped up or "edited" recordings.
Too much rubato. (Its just my personal opinion)
The correct statement is 'too much rubato'
@@tommylee10 Thank you for correcting my spelling mistake. Have a nice day.
hell gate 7:14 ㅗ^^ㅗ
La campanella on steroids (not my original comment) 😅
Great piece. However, I find that the attempt of virtuosity, respecting difficulty, ultimately taints the musicality of this piece.
패기보소 리스트찡😡😡😡😡
ㅎㅇ
@@Jamric-gr8gr 흥! ㅡㅡ
İts sounds like la campanella 😲
It is La Campanella. This is Liszt's first version
La clochette is actually La campanella in French, I believe.
La Campanella = little bell in Italian, la clochette = little bell in French
Its a older and more difficult version of campanella
pretty sure the original commenter was joking XD
what the f...
I like *most* Liszt pieces but this is just too over the top and vulgar. It's garbage in my opinion.
"garbage"? This brilliant showpiece pays homage to the talents of Paganini as a violin virtuoso. Liszt capitalizes on the difficulties of the source music by harnessing its virtuosity and brilliance for the keyboard, via deft writing that imparts new colors and dazzling acrobatics which might have drawn the attention of Paganini himself. This work is part of Liszt's continual search for the "ne plus ultra" of all piano techniques, it is historically significant. It's ok to not like this work but to not understand the purpose, context and importance of this work is very telling of your musicianship.
Andrei Cristian Anghel it sounds like a lot of fluff there's an occasional lyrical melody thrown in but it just sounds like virtuosity for the sake of virtuosity. Yes I understand he's paying homage to Paganini here but I think some parts of this come across as overly technical dense writing. The transcendental version of la Campanella I view in a much higher regard. I used to like this piece a lot when I listened to it before I saw the sheets then I realized it seems just way too capricious and overdone with needless technical acrobatics. I'm not trying to bash Liszt he's certainly my favorite composer but this is just redundant in my opinion.
Kalen1457 I love the piano for my opinion but I think Liszt wanted to experiment on the piano so he made this lol and also this is where la Campanella was made :)
@@Kalen1457 If you liked the music without the sheets, then that just means you like it. One doesn't have to associate music with paper.
@@Santosificationable (Now I'm just being somewhat of a wiseacre, you don't have take this comment seriously), it's just disturbingly difficult to look at, and I suspect that obscured my initial opinion of the piece. He simplified a lot of stuff that still sounds just as impressive like the grand galop chromatique, the Paganini studies or the numerous "facile" ossias he has in so many of his pieces. My first comment was probably too extreme, I shouldn't used the word "garbage" especially for it's historical and theoretical value, (as Andrei pointed out)however the coda to "God Save the Queen" is quite redundant and almost ridiculous, pure noise...just my opinion please don't feel offended.
5:21
hummmmmmmmmm
look to my atonal fugue
How come people put these sorts of time stamps to piano videos?
9:46
7:14
@A SEVENTH? NO? You'll see why soon
@A SEVENTH? NO? Do you know why now
@@calebhu6383 top 100 h
3:43
3:43
7:14