Liszt/Beethoven Symphony No. 7, explained by Frederic Chiu
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- เผยแพร่เมื่อ 8 พ.ค. 2018
- Pianist Frederic Chiu talks about the importance of Liszt’s Beethoven transcriptions by analysing his Seventh Symphony. A must-see lecture for all pianists and music lovers, offered by the Liszt Competition. www.liszt.nl.
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This composition was staggering in it's brilliance second to none. Thanks for this awesome analysis; it was so enlightening for a novice classical music lover.
Ouah! Quelle belle leçon de musique et de piano !!! Splendide !!! MERCI !!!
Great masterclass
Thank you Profesor. You are a real genius. Your talk Is very well received by me, a Liszt permanent student.
I don’t know much about Mr. Chiu but from the few videos I have seen, it is obvious he is an absolute genius. Not only his playing, but his methods of explaining are amazing, he really should be more recognized.
I'm transcribing this for classical guitar right now and wow, this is amazingly helpful. Thank you for your deep insight, Frederic!
Wow! Did you manage to do it?
My interest in classical music is fairly new, but Beethoven’s 7th symphony is by far my favourite ... Schubert’s 9th a close second. This explanation of Liszt’s interpretation has opened my eyes (and ears!) to a whole new level of appreciation and I’m very grateful
Definately good choices. My father introduced me to this kind of music, basically from infancy onwards. Your examples have always been early favourites of mine. I would even go so far to say that the Beethoven 7th is the best piece of music ever written. It never gets old.
@@Quotenwagnerianer ...do consider
K.550 & K.551 by Mozart...and not only these two!
@@vittoriomarano8230 probaly not really - Mozart is nice. But Beethoven is just different, its more emotional and its easier to connect to. Its also more complex.
Same
This kind of analysis will appeal to a small section of the public - BUT - all musicians, let alone a pianists would benefit from paying close attention to it. The sincerity and love of music and the appreciation of two geniuses - Beethoven and Liszt - shine through. I know many of the Liszt transcriptions - he was tirelessly selfless in his efforts to promote the music of other composers, past and present, - but after watching this presentation shall revisit all of them with renewed enthusiasm and with renewed insight. Thank you so much!
Thanks!
Beautiful talk, beautiful mind.
Excellent exposition .Mr Chiu is a great asset for piano artist and their path of discovery of new expressions in music .
I'd love to hear a recording of Maestro Chiu conducting the Beethoven Symphonies. That would be really interesting.
Amazing. Thanks for prodigious musicians like mr Chu and geniuses like Beethoven and Liszt
The richness of music, as explained by Mr. Chieu, brought some theological connections in my mind. A real gift in explaining it in simple yet very meaningful way.
OMG! I have to buy all your recordings, Mr. Chiu.
The silence between the phrases and passages are noticeably present in most of Schubert’s work especially in his symphonies. Wonder if some of these silence were embellished by Liszt as well. Painting canvas was interesting analogy to the layers of music. Although Schubert’s canvas may have looked bleak as he was obsessed with death most of his young life.
Great, many thanks!
All of the points on the line after Lizst's interpretation are everyone else in the world disagreeing with Beethoven about that grace note (including myself). Having that fa on the downbeat does make the harmonic rhythm consistent, but that re just sounds so much juicier (re:pop). But kudos to you for talking about this, I had no idea it was meant to be played like that. Cool to know.
Wonderful video! I learned a lot and really want to hear more from him.
Wonderful, as expected
Wonderful. Thank you for taking the time.
Beautifully explained..some knowledge can enhance,as in this guy's fascinating viewpoint.
Makes me have these kind of "Ah Ha !.." moments when musical bells start to ring.Great Stuff.
Some of the notation is probably not to create an effect, but to clarify the actual notation. Generally, a note without anything (dot, tenuto, etc) is about 75% of the actual note value. Whether Liszt wanted to exaggerate it or, as the notation changed during the romantic era, might have wanted to point out that it's not a full quarter note is not necessarily as obvious pointed out here...
Great presentation. Good to hear about the grace notes in the slow movement, played on or before the beat, sounds so much better. A similar case could be made for the grace notes in the second subject of the finale of Mozart's piano concerto 23
To me it’s that so much of Beethoven’s later music was about buildings moments of discomfort and release.....an ever present tension...in listeners. When the notes are slow and on the beat, it’s fine and pleasant sure, but the grace notes instead disrupt that peace strategically for an overall richer effect.
Wow! This was great, can we have more videos with Frederic? 🙏
hopefully next year!!
Thanks for helping me understand the rhythm of Beethoven
wonderful insight
I will definitely go look for more of these programs.
in his letter from 1863 in Rome Liszt agrees with Chiu:
By the title of Pianoforte score (which must be kept, and translated into German by Clavier-Partitur or Pianoforte- Partitur?) I wish to indicate my intention of associating the spirit of the performer with the orchestral effects, and to render apparent, in the narrow limits of the piano, sonorous sounds and different nuances. With this in view I have frequently noted down the names of the instruments: oboe, clarinet, kettle- drums, etc., as well as the contrasts of strings and wind instruments. It would certainly be highly ridiculous to pretend that these designations suffice to transplant the magic of the orchestra to the piano; nevertheless I don't consider them superfluous. Apart from some little use they have as instruction, pianists of some intelligence may make them a help in accentuating and grouping the subjects, bringing out the chief ones, keeping the secondary ones in the background, and-in a word-regulating themselves by the standard of the orchestra.
There is a publication which suggests Beethoven and the young Liszt never actually met let alone get a kiss on his head. This is a very minor thing in retrospect however Liszt I believe held Beethoven in the highest esteem regardless
We can't be any more sure that Liszt didn't meet Beethoven than that he did. :) Liszt himself had told a couple of his friends about a meeting at Beethoven's home, which was facilitated by Czerny (Liszt's teacher and Beethoven's pupil). Leaving aside Liszt's own words, I would be surprised if Czerny hadn't organized such an occasion to be honest: Liszt and Beethoven both lived in Vienna for 4-5 years in 1820-1825-ish... and Czerny was very close to the two of them - but there is no way of knowing for sure.
Chiu, você ótimo I Love seus vídeos
Enlightening regarding historical and purely musical aspects of this great piece! Exciting also to see (and hear) how you build such a beautiful and profound piano sound. Thank you ! A little frustration though: why are the 3 last minutes soundless?
14:36 my fav part
Thank you! Now I have to play it! :))
The 2nd movement is one of my favorite pieces of music from this period. Mr.Chiu is a great piano player and has a great mind for music. But I must disagree with him, the guitar is another instrument where you can play two things at once!! I believe Beethoven once said the guitar is like a miniature orchestra!!!
Image and imagery juxtaposed at 36:45
The recordings of the 7th symphony by Kleiber seem to show that he himself intended the grace note to be played before the beat, so I'm a bit confused. Great video nonetheless.
Correct. Kleiber plays the two grace notes _before_ the beat. Frederic must have confused him with another conductor.
His awesome argument for the human condition from 19:50 to 21:30. Yep.
Gould's version is to die for.
Maestro I prefer the final note of the frase where the note is full...that is cantabile. The staccato is not nice to me. In the variation that Beethoven writes show how important a whole quarter note is, each note is fermamente (closely) legato. Thank you.
Where do you have the notes from?
A guitar can do many things in music simultaneously as well. It is even better at defining sonority than the piano. A violin and cello perhaps also as demonstrated by Bach.
Sure, but I’ve never come across a symphony transcription for violin? On cello, well, I’d love to hear that attempted.
Sgtee totally... a violin and cello cannot present an orchestra but a piano with two hands can...reason why
thnk you for your knowledge
#tyfyk ?
Does Liszt’s dot come with a pedal mark? It might be a question of an orchestra’s sound versus a 19th C piano
Not a piano player so I first then wonder when pedal marks were commonly added to sheet music? Would Beethoven and Liszt have written them, or were they only added by later generations?
👍👍👍
I disagree that Liszt's staccato quarter note means you should play a staccato 1/16 note. I think that it just means :"No pedal AT ALL.:" Abrupt silence AFTER a quarter note of sound.
Almost certainly. But even then ut means una corda
How accurate is Glenn Goulds version? I think he's a little more "measured" right??
He plays it in "version 2" (on the beat, but quicker than 16ths, a grace note after the beat). IMO the best version of the three; playing the grace notes as 16ths doesn't let the melody come out as well, but playing before hurts the rest's impact.
@@williambintzer8128 "We can state this with reasonable assurance because Gould’s secretary, Ray Roberts, has clarified that Gould never played Beethoven’s 7th Symphony in the Liszt transcription. He once considered doing all nine Beethoven symphonies but changed his mind after recording the fifth (Columbia) and sixth (First movement, Columbia & Full Symphony, CBC)."
slippedisc.com/2018/05/fake-news-hits-glenn-gould/
@@igiovanniscoto I believe it. I was more referring to the style in which the grace notes sounded when he played them, irrelevant of the Liszt aspect. As in, in his recording, was it before or after the beat (after) and how quickly did he play the grace notes (at about 1/32 speed, as opposed to 1/16)
Since there's no slah I'd say the grace notes must be played on the beat, not before the beat.
36:46 how do you spell that name? :)
This video as a whole was absolutely amazing!!!
en.wikipedia.org/wiki/René_Magritte
Lizst did not "know" Beethoven. Yes, he met Beethoven as a child and was tutored by Carl Czerny (Beethoven pupil/associate) but when Lizst the child met Beethoven -- sometime in the 1820s -- Beethoven was unapproachable, near deaf, and busy working on his last monumental compositions. But I get what Chu is trying to say -- Lizst was temporally "close" to the spirit of the maestro.
Chiu claims that the piano is the only instrument in which more than one tone, rhythm, attack, dynamic, and duration at a time but wouldn't this be true of any stringed instrument from Cello to viola to Harp?
"they played the second movement and there was so much applause they had to encore right away" APPLAUSE BETWEEN MOVEMENTS? I am DEEPLY offended at those SAVAGES
What piano is he playing ??? with these strange curved edges at the side of the keyboard? This is not a Steinway ... or is it?
Beautiful Yamaha CFX Concert Grand!
2nd movement too fast
“the piano is the only instrument that can do more than one thing at a time.”......needs accordion lessons.
The statement continues, "...where each note can have its own dynamic, attack, duration, color. And which is backed by 400 years of amazing repertoire that is all performable today." By that, I'm ruling out accordion, harpsichord as well as organ, neither of which have independent volume control of simultaneous notes.
@@FredericChiu, thank you for this amazing video and lessons, and I will absolutely check out your album of these symphonies, but as to that statement, great accordionists can do that, or at least the perception of it. Check out for instance Alexandr Hrustevich’s Vivaldi Summer.
Dont use big terms Liszt is a total fraud and imposter If Liszt was a true composer he would mind his business AND NOT LAY EGGS IN OTHERS NEST i wonder which music he composed its his
Have you ever heard of “transcriptions?” You could not even approach his mastery and genius in this field. Nor have you heard his original works - such as his b minor sonata and transcendental etudes. Lizst is one of the greats.
Have i heard? you must be kidding i listened all the works of Liszt he got few pieces with high views the rest you name it its 100k views and less. he is a piano performer but as a musician he is a total failure no themes no motifs no melody to elaborate all his mastery is out of context. Running faster than Messi dosnt make you a better football player
@@vincentedelmonte4980 liszt was actually an important composer, not only is his b minor sonata one of the greatest and important after beethoven, he also had a lot of influence on composers like ravel and debussy.
Take a look at his "jeux d'eau à la villa d'este" and tell me he is not capable of writing good melodies, also the texture in this piece foreshadows impressonistic music.
There is also a piece called something like "la gondola lugubre" that is an early form of atonal music.
Transcribing is a separate art in itself. What the original composer does with multiple instruments, is done by the transcriber on the piano. The transcriber is limited only to the piano. So transcription is as difficult as composition. The skills required to do neither of the two is to be underestimated. If you wish to say you don't like Liszt, say, "I don't like Liszt as much as others," or, "I prefer other composers to Liszt." What you're wrote there is biased.
You always get some 'rotten eggs' critics that likes to show his ignorance..well done, you've done it!