"I'd just like to say a few words about Liszt's Transcendental Etudes..." - proceeds to go into a whole 80-minute discussion! lol Great video and great explanation by Mr. Howard, as always. As an avid lover of Liszt's music, I never stop getting inspired from his talks.
Transfixing. 1 hour 11 minutes? Felt like 20, it flew by and I am always so impressed with Howard's utmost discipline and attention to details. Phenomenal artist and we are so lucky to have him sharing his wisdom about Liszt and his music.
What a joy it must be to play any Liszt piece you desire. A true dream, from a lifetime of dedication! Love all these videos from Leslie Howard. Absolute gems for pianists.
This lovely lecture by Leslie Howard convinced me to listen to the 1837 Grandes Etudes he is refering too.I had no idea these existed since they were never put on records.Until Mr.howard did so.I bought the CD n°34 and listened to all of them.I adore the N°11(called Harmonies du soir in the 847 edition) and prefer it to the latest. modern edition.The middle section in E major is so romantically played. I can't get tired of listenig to it!
11:58 “…- actually nobody should play anything by Liszt if they just want to show off.” Boy, I sure wish every RUclips pianist overplaying La Campanella could hear this.
usually people that say liszt is just a show off and wasn't a serious composer have poor technique and instead of improving their skills they use this line as a coping technique to justify and normalize their inadequacies.
The "Mazeppa" is the most difficult of the 12 etudes in this bunch. I recognized why Liszt wanted the 4-2/2-4 fingering in the staccato double thirds in the opening measures of that D minor etude. Mazeppa rides his horse through a stormy environment according to Hugo's story, and I guess Liszt was portraying the hooves of Mazeppa's horse.
Leslie will likely go against you if you do not do that fingering already aforementioned, because Liszt intended to be played just like that, and he is still the expert.
"Mazeppa" = "playground for pianistic delinquents". Leslie has a brilliant way with words. Alas, how right he is about those delinquents, and not just in "Mazeppa"!
THE CONTRIBUTION TO MUSIC OVERALL AND LISZT SCHOLARSHIP BY MR. HOWARD IS ABSOLUTELY IMMEASURABLE AND EVERLASTING, THANK YOU TO MR. HOWARD FOR ALL OF HIS LIFETIME OF HARD WORK AND GIVING US SO MUCH GREATNESS !!!
Mr. Howard may not be the best Liszt interpreter around, there are many pianists who surpass his recordings in keyworks. But... To be able to play them ALL, more than adequately, quite often astonishingly beautiful and dazzling and then record them ALL for future generations being able to pick any piece and find a recording of it, that is an achievement that cannot be underestimated and not praised enough. I'm currently slowly making my way through his complete Liszt and there are so many fascinating gems to be found in there, it's mindboggling. Future pianists should thank him on their knees for what kind of valuble resource his work provides them.
@@thenotsookayguy Indeed. I admire him immensly, despite him not delivering the individually best performances of specific works in the Liszt catalogue. He doesn't need to be the best, with the rest of his achievements for this composer. No one else comes even close. And I really find his versatility admirable. He can have a softeness of touch in tender moments, which he shows wonderfully in the Schubert transcriptions, that you would not expect from someone who can muscle through pieces like "Niobe" like it's nothing.
Although in fact there are innumerable examples where LH's Liszt is the best version of a piece. Example: Mephisto Waltz 4, where the middle section has been written in according to the composer's sketches. Or the original Scherzo and Marsch (only released in last 3-5 years) which is a massively expanded and more difficult version but played better than even Jando's S&M. Or the Galop A minor, which although France Clidat plays faster (with huge variations in tempo), Howard gets through in strict tempo and with greater effect. Plus his renditions of the tiny album leaves, the major operatic fantasies, and the whole of the song transciptions (just take the many song cycles of Schubert for example) are incredibly songful and beautiful. Other versions may reach 100%, or even 110%. But Howard is always in the 90-100% range. Unbelievable!
@Quotenwagnerianer : for me Howard is not in first , for me two Lizst Cziffra ( transcendantal technic ) Clidat ( lyrical Lizst ) , however if l like Clidat not her Sonata , the best sonata is Argerich 1970 j don"'t find better ; choices are different for me j like great technic but also melody Chopin is melody no only music is melody Samson François said .
What a valuable video. I never noticed the similarities in the major B-sections of Etudes 4 and 8 to their minor counterparts before this vid. Fantastic video. No one pays more attention and respect to Liszt’s writing than Howard and Artur Cimirro, in my opinion.
23:45 Oh I KNEW it, I always played that first part with the left hand solo, the right hand is just so much on the way otherwise...! Thank you Leslie Howard for all these precious insight !
This is an incredible lesson/presentation. I'm not surprised that more people who'll benefit did not hit the to simply say, "Thank you". We live in WORLD of ingrates. I refuse to post a RUclips video and share my expertise (it would take me three lifetimes to play one Liszt piece), allowing thankless people to take credit for my generosity.
This is such a great insightful video. I've been watching it in parts for the past couple of days, and I'd have never known all these things had it not been for this video. I'm sincerely grateful that you uploaded this for all of us
As always Leslie is so willing to share his knowledge and insights into the music of the greatest pianist that has ever lived and annoyingly for the rest of us makes it look so easy, grrr. However I will take issue with him over the ending of Chasse-Neige, after all the swirling snow flurries to hear the storm die down to just a few flakes of snow is what happens in nature. The snow just evaporates at the end as Liszt so beautifully describes it in sound. I first heard Lazar Berman play it as Liszt composed it and it made a huge impression on me and since then I cannot hear the ending any other way. Read Pushkin over snowstorms and it will all become clear.
Amongst all the dross on RUclips there are absolute gems - and this is one of them. And Mr Howard has more - what treats in store - who needs television?!
Great, many thanks Leslie H.; great sound. I would add that the mid section of Mazeppa is a tempo, not slower (as too many are doing it), not all editions are marking the "a tempo". About Feux-follets, it's about "something" Faust (according to Liszt), after a certain moment of the book; and therefore goes well with Night Procession and the first Mephisto waltz. Also, Feux-follets starts with a mode of limited transposition (as formalized by Messiaen), excepted that Liszt used a fraction of the mode and transposed it over and over. I also prefer to see the fast double notes on the right hand on the way to polytonality or polymodality (as it is clearly already in the introduction), which is in the mindset of Liszt's innovation endeavor in both composition and piano playing. I would also not recommend to see the whole piece as a metric piece, with a "global unique tempo", but something more based on impressions; the introduction already sets a certain absence of metricity; the whole piece has overlapping of both {tonal scale + modal scale} and {danse + non metric wind or fire}. This coexistence of a wind and a metric danse appears also clearly in Chasse neige; and I believe that counting the notes of the wind part are not that relevant, it's merely an indication than something to count rigorously. I somewhat disagree with the pedaling pieces of advice, the reason is that Liszt's instrument was not as powerfull and resonating as the modern pianos we can access to, and therefore proposed a certain pedaling, which might need a certain update, but I believe it depends on the piano model and eventually the room; but what needs to be kept in mind is the mindset of the pedaling, and therefore I believe that there is no unique pedaling.
Hi great music schollar Mr.Leslie Howard.Truly excellent video yours.A solid reference for me. I wish a long and happy life to you! I now recomend you strongly to listen my ""Synergia Etüde für Klavier" that I edited in inedit 3:1 aspect visual ratio and I achieved recorded the true bass ressonance exysting in the lowest octave of the piano.You will enjoy I think.Sincerely Yan Ayrton young classical composer from XXI century.
About Mazeppa "In the earlier versions, Liszt’s marking for the B major section was actually un poco animato il tempo, and in the very few performances which respect thatmarking themomentumof themusic barely slackens. In the fourth version it is lo stesso tempo, and the contrast is heightened by a recomposition of the preceding bridge, so that there is less roomt o ‘let down’ the intensity." Dawson, The transcendental studies of Liszt, 2003.
Lazar Berman is often cited as the best version of these pieces. Vladimir Ovchinikov is another good recording as is Freddy Kempf. The young pianist Yunchan Lim gives a firey, riveting live performance at last year's Van Cliburn, available on RUclips. As we can see, it's impressive. But I always keep coming back to Dr. Howard's recording of these pieces, and it dawns on me that Howard's is not one of the best recordings of these pieces; it is THE best recording of these pieces. When I watch Yunchan Lim play Feux Follets (#5), I can hear Dr. Howard murmuring, "It's good that you can play it that fast; but, it's too fast." Dr. Howard recorded these etudes back in 1989 when he was 40 or 41 for the Hyperion label, and it stands as one of the greatest of all his 98 CDs of Liszt's complete piano music. He plays this music as it should be played. He knows just how many liberties to take without going beyond the music itself and getting wrapped up in the pyrotechnics of what can easily become a fire works display. Leslie Howard is one of the finest pianists around, and his recording of the Transcendental Etudes, in my opinion, eclipses even that of Lazar Berman (or anybody else). To sit next to him and listen to him lecture through these etudes is an even greater Gem.
Quite a few recordings of the set: I would rank as 1. Jando (Hungarian + digital), 2. Ovchinnikov (Russian + digital), 3. Kentner (flair and historical value), 4. Howard (most grounded in accompanying research and best recorded). But it's great to see and hear Leslie Howard presenting the works of this master of all masters on RUclips, there are many occasions where Leslie's version of a Liszt work is the best available. His complete set is unmatched by anyone and will almost certainly never be produced again by a single artist of insight and dedication.
Jeno Jando is quite good (also in the Sonata). He passed away just recently, too. But I keep coming back to Howard's recitations and marvel not only at his performance but also at the music itself.@@tomowenpianochannel
@@tomowenpianochannel Thank you for including Louis (Lajos) Kentner on your list! The only other recording I would like to throw in the mix is that by Bertrand Chamayou, like that of Yunchan Lim one made "live."
The first thing to do when approaching no.5 is to pray, pray, and pray because it is one hell of a challenge for sure. Good luck if you plan to perform it in public because you may well be embarrassed if you are not well prepared.
I now realize by possibly a subconscious aspect - that the "Chasse-Neige" - the final part of Liszt's Transcendental Etude series (no. 12 in Bb minor) - I think of this etude as not exactly "Snowplow", but, as a tremolo etude with stormy chromatic runs. So if I were a music editor, I could re-title this etude "La Tempete de Neige", or "Snowstorm".
Leslie Howard's videos are always so informative and intriguing! Does anyone know what edition he's using that has Liszt's other versions of the Etudes, is it edited by Howard himself? I'd love to get that one myself!
Hi Mr.Leslie Howard.Truly excellent video yours.A solid reference for me. I wish a long and happy life to you! For me Yoon-chan Is THE greatest discovery of the millennium ever sInce Galileo discovered the Earth revolves around the sun He captures masterfully the pulse,heart and soul of every piece he plays, He exudes confidence,character and charm The audience can connect to his warmth, humility and genuiness... What more can anyone want ? - Yan Ayrton, a YOUNG classical composer in development and evolution from the XXI century. .It is time to discovery me.A new world of musical art and significance will open to you. Yes , you Yoon-chanLim, deserves without delay a blue-ray (or even 4k) special edition produced with professionalism and care.. Great profits quickly turn it from worldwide. I think that Yuncham deserves full and solid financial independence to become little by little a legendary composer.Humanity waits for this I hope he soon record the remarkable Sonate in B minor from Liszt, the stupend and unique Hamerklavier Sonate from Beethoven , the piu bello 2nd Piano Concert from Rachmaninoff, and my " Awakening to Life" special piano solo composition that only lasts a minute but means a full lifetime. - Yan Ayrton , ein junge klassicher Komponist ”Music is the universal language of mankind.” ― Yan Ayrton , young classical composer .”To play a wrong note is insignificant; to play without passion is inexcusable.” ― Ludwig van Beethoven. .”No matter how fast and accurate your fingers move on the piano, your music isn't complete without emotion.”. - YanAyrton "Ludwig van Beethoven IS the very apex from the Human Creation.He remains not surpassed by anyone .He stands reverentlly by meritus & absolute grace close near and imbricated with The Mind And Heart From God." ― Yan Ayrton ”.I create the new.What was never created before.”. ― Yan Ayrton , young classical composer from XXI century. "My piano is to me what a ship is to the sailor, what a steed is to the Arab. It is the intimate personal depository of everything that stirred wildly in my brain during the most impassioned days of my youth. It was there that all my wishes, all my dreams, all my joys, and all my sorrows lay." ― Franz Liszt "My sole ambition as a composer is to hurl my javelin into the infinite space of the future." ― Franz Liszt "The supreme harmony of the Cosmos is selected in the harmony of the spirit." ― .Franz Liszt "My mind and fingers have worked like the damned. Homer, the Bible, Plato,, Beethoven, Bach, Mozart, are all around me. I study them. I devour them with fury." ― Franz Liszt "It's so remarkable and unique that Liszt wrote the first version of these transcendental etudes at 15 FIFTEEN! years old. Someone could repeat this at any time? I don't believe " ― Yan Ayrton "For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life." ~ Franz Liszt "I think that Franz Liszt would be proud of my "Awakening to Life" synthesis piano composition" ― Yan Ayrton >>> .ARS SEMPER.VITA PLENA.HIC VIVIT FELICITATEM ― Yan Ayrton, classical composer >The idea is launched.It's time to act.
I love the dry humour ("You will notice (though many don't) ..." as well as the incisive analysis. My only complaint is the lazy editing. Why on earth did someone not highlight the places in the score he's referring to? Like the missing quaver in Ricordanza, and the three bars with the "hat" sign (not printed as he describes it) in Harmonies du soir, and many others? How hard would it have been to add a few circles or arrows pointing out these places?
Interesting (this vid is going to make me look for the 1837 version, e.g.) but it's a shame that L.H. never did have the sort of virtuosity that these pieces require. Liszt's fantastically varied pianism could truly have been demonstrated otherwise.
@@russellthompson9271 ? I do not see how :P ! I was working when I saw this was uploaded, and whenever LisztCompetition uploads stuff it's hard not to put down what I'm doing to listen/watch it!
"I'd just like to say a few words about Liszt's Transcendental Etudes..." - proceeds to go into a whole 80-minute discussion! lol
Great video and great explanation by Mr. Howard, as always. As an avid lover of Liszt's music, I never stop getting inspired from his talks.
Transfixing. 1 hour 11 minutes? Felt like 20, it flew by and I am always so impressed with Howard's utmost discipline and attention to details. Phenomenal artist and we are so lucky to have him sharing his wisdom about Liszt and his music.
What a joy it must be to play any Liszt piece you desire. A true dream, from a lifetime of dedication! Love all these videos from Leslie Howard. Absolute gems for pianists.
And even for those of us who are not pianists! 🙂
What an honor to be able to listen to this pianist speak about Liszt's etudes.
This lovely lecture by Leslie Howard convinced me to listen to the 1837 Grandes Etudes he is refering too.I had no idea these existed since they were never put on records.Until Mr.howard did so.I bought the CD n°34 and listened to all of them.I adore the N°11(called Harmonies du soir in the 847 edition) and prefer it to the latest. modern edition.The middle section in E major is so romantically played.
I can't get tired of listenig to it!
11:58 “…- actually nobody should play anything by Liszt if they just want to show off.”
Boy, I sure wish every RUclips pianist overplaying La Campanella could hear this.
agree, I'm really fond of La Campanella but any overplayed pieces for me just became so tainted
usually people that say liszt is just a show off and wasn't a serious composer have poor technique and instead of improving their skills they use this line as a coping technique to justify and normalize their inadequacies.
The more videos of Mr Howard explaining Liszt’s music, the better! His sonata video I’ve watched 5 times. Intoxicating
do check out this playlist: ruclips.net/video/BQ81Plm_GFI/видео.html
The "Mazeppa" is the most difficult of the 12 etudes in this bunch. I recognized why Liszt wanted the 4-2/2-4 fingering in the staccato double thirds in the opening measures of that D minor etude. Mazeppa rides his horse through a stormy environment according to Hugo's story, and I guess Liszt was portraying the hooves of Mazeppa's horse.
Leslie will likely go against you if you do not do that fingering already aforementioned, because Liszt intended to be played just like that, and he is still the expert.
"Mazeppa" = "playground for pianistic delinquents". Leslie has a brilliant way with words. Alas, how right he is about those delinquents, and not just in "Mazeppa"!
It's expected as he has a master's or honours degree in English if I recall correctly
I met him personally at Steinway and Sons in London in 1996 during my practical studies there. A giant!
THE CONTRIBUTION TO MUSIC OVERALL AND LISZT SCHOLARSHIP BY MR. HOWARD IS ABSOLUTELY IMMEASURABLE AND EVERLASTING, THANK YOU TO MR. HOWARD FOR ALL OF HIS LIFETIME OF HARD WORK AND GIVING US SO MUCH GREATNESS !!!
I'm so happy there are now more of these vids. The B Minor Sonata one has been one of my fave bedtime listening vids for years.
Thanks for uploading this, howard is a great lecturer (even if i'll never be able to play these etudes).
Essential business. Many thanks, Mr. Howard.
Mr. Howard may not be the best Liszt interpreter around, there are many pianists who surpass his recordings in keyworks. But...
To be able to play them ALL, more than adequately, quite often astonishingly beautiful and dazzling and then record them ALL for future generations being able to pick any piece and find a recording of it, that is an achievement that cannot be underestimated and not praised enough.
I'm currently slowly making my way through his complete Liszt and there are so many fascinating gems to be found in there, it's mindboggling.
Future pianists should thank him on their knees for what kind of valuble resource his work provides them.
He isn't the best, but he helps others play these works better through these videos and bring out forgotten gems to the spotlight.
@@thenotsookayguy Indeed. I admire him immensly, despite him not delivering the individually best performances of specific works in the Liszt catalogue.
He doesn't need to be the best, with the rest of his achievements for this composer. No one else comes even close.
And I really find his versatility admirable. He can have a softeness of touch in tender moments, which he shows wonderfully in the Schubert transcriptions, that you would not expect from someone who can muscle through pieces like "Niobe" like it's nothing.
Although in fact there are innumerable examples where LH's Liszt is the best version of a piece. Example: Mephisto Waltz 4, where the middle section has been written in according to the composer's sketches. Or the original Scherzo and Marsch (only released in last 3-5 years) which is a massively expanded and more difficult version but played better than even Jando's S&M. Or the Galop A minor, which although France Clidat plays faster (with huge variations in tempo), Howard gets through in strict tempo and with greater effect. Plus his renditions of the tiny album leaves, the major operatic fantasies, and the whole of the song transciptions (just take the many song cycles of Schubert for example) are incredibly songful and beautiful. Other versions may reach 100%, or even 110%. But Howard is always in the 90-100% range. Unbelievable!
@@tomowenpianochannel Yeah of course. To say he never made a standout recording is stupid.
@Quotenwagnerianer : for me Howard is not in first , for me two Lizst Cziffra ( transcendantal technic ) Clidat ( lyrical Lizst ) , however if l like Clidat not her Sonata , the best sonata is Argerich 1970 j don"'t find better ; choices are different for me j like great technic but also melody Chopin is melody no only music is melody Samson François said .
What an absolute gem of a video. I'm going to watch all his talks here now . . . his insights and skill are superb.
Fantastic presentation, Leslie. A valuable exercise for younger pianists, as well as for non-musicians to see Liszt's masterpieces in a new light.
This upload was an absolute treat to watch.
What a valuable video. I never noticed the similarities in the major B-sections of Etudes 4 and 8 to their minor counterparts before this vid. Fantastic video. No one pays more attention and respect to Liszt’s writing than Howard and Artur Cimirro, in my opinion.
"they cover a scope of technical requirement that is pretty comprehensive" - beautifully euphemistic
Leslie Howard's 99 CD collection of Franz Liszt's music is a monumental undertaking. Wonderful music!
This is a fantastic video- one of a kind with some lighthearted humor. Thank you and Mr. Howard for creating this
Thank you for your insightful analysis of the Liszt etudes.
A whole of wisdom, talent, industriousness and humility! Winning requirements!
Incredible musician and teacher.
Thank you for this very informative and exciting lecture on the transcendentals
23:45 Oh I KNEW it, I always played that first part with the left hand solo, the right hand is just so much on the way otherwise...! Thank you Leslie Howard for all these precious insight !
It's so fun to play that part with the left hand. I dunno why no one else does that.
Mr. Leslie Howard has a great knowledge, thanks alot for this video! Keep on calling him to make more lectures and interviews please🙂🙂🙂
Thank you maestro Leslie, your immense passion and love for this music has always been absolutely inspiring. Sending you so much love and gratitude.
Thank you for this presentation.
I will be referring back to it often!
I was waiting for this one. Thank you Mr Howard!
Great and very insightful, as always! Many thanks dear Leslie.
This is an incredible lesson/presentation. I'm not surprised that more people who'll benefit did not hit the to simply say, "Thank you". We live in WORLD of ingrates. I refuse to post a RUclips video and share my expertise (it would take me three lifetimes to play one Liszt piece), allowing thankless people to take credit for my generosity.
I appreciate you
Thanks maestro!
Brilliant lecture!
This is such a great insightful video. I've been watching it in parts for the past couple of days, and I'd have never known all these things had it not been for this video. I'm sincerely grateful that you uploaded this for all of us
As always Leslie is so willing to share his knowledge and insights into the music of the greatest pianist that has ever lived and annoyingly for the rest of us makes it look so easy, grrr. However I will take issue with him over the ending of Chasse-Neige, after all the swirling snow flurries to hear the storm die down to just a few flakes of snow is what happens in nature. The snow just evaporates at the end as Liszt so beautifully describes it in sound. I first heard Lazar Berman play it as Liszt composed it and it made a huge impression on me and since then I cannot hear the ending any other way. Read Pushkin over snowstorms and it will all become clear.
Wonderful, Thank you (all)! 🙏🎹🎭
11:45 Playground for pianistic delinquents.
Great!
Amongst all the dross on RUclips there are absolute gems - and this is one of them. And Mr Howard has more - what treats in store - who needs television?!
Great, many thanks Leslie H.; great sound.
I would add that the mid section of Mazeppa is a tempo, not slower (as too many are doing it), not all editions are marking the "a tempo".
About Feux-follets, it's about "something" Faust (according to Liszt), after a certain moment of the book; and therefore goes well with Night Procession and the first Mephisto waltz. Also, Feux-follets starts with a mode of limited transposition (as formalized by Messiaen), excepted that Liszt used a fraction of the mode and transposed it over and over. I also prefer to see the fast double notes on the right hand on the way to polytonality or polymodality (as it is clearly already in the introduction), which is in the mindset of Liszt's innovation endeavor in both composition and piano playing. I would also not recommend to see the whole piece as a metric piece, with a "global unique tempo", but something more based on impressions; the introduction already sets a certain absence of metricity; the whole piece has overlapping of both {tonal scale + modal scale} and {danse + non metric wind or fire}.
This coexistence of a wind and a metric danse appears also clearly in Chasse neige; and I believe that counting the notes of the wind part are not that relevant, it's merely an indication than something to count rigorously.
I somewhat disagree with the pedaling pieces of advice, the reason is that Liszt's instrument was not as powerfull and resonating as the modern pianos we can access to, and therefore proposed a certain pedaling, which might need a certain update, but I believe it depends on the piano model and eventually the room; but what needs to be kept in mind is the mindset of the pedaling, and therefore I believe that there is no unique pedaling.
Hi great music schollar Mr.Leslie Howard.Truly excellent video yours.A solid reference for me. I wish a
long and happy life to you!
I now recomend you strongly to listen my ""Synergia Etüde für Klavier" that I edited in inedit 3:1 aspect visual ratio and I achieved recorded the true bass ressonance exysting in the lowest octave of the piano.You will enjoy I think.Sincerely Yan Ayrton young classical composer from XXI century.
About Mazeppa "In the earlier versions, Liszt’s marking for the B major section was actually un poco animato il tempo, and in the very few performances which respect thatmarking themomentumof themusic barely slackens. In the fourth version it is lo stesso tempo, and the contrast is heightened by a recomposition of the preceding bridge, so that there is less roomt o ‘let down’ the intensity." Dawson, The transcendental studies of Liszt, 2003.
11:44 Mazeppa, "playground for pianistic delinquance"
Nice
Teaching WELL
Lazar Berman is often cited as the best version of these pieces. Vladimir Ovchinikov is another good recording as is Freddy Kempf. The young pianist Yunchan Lim gives a firey, riveting live performance at last year's Van Cliburn, available on RUclips. As we can see, it's impressive. But I always keep coming back to Dr. Howard's recording of these pieces, and it dawns on me that Howard's is not one of the best recordings of these pieces; it is THE best recording of these pieces. When I watch Yunchan Lim play Feux Follets (#5), I can hear Dr. Howard murmuring, "It's good that you can play it that fast; but, it's too fast." Dr. Howard recorded these etudes back in 1989 when he was 40 or 41 for the Hyperion label, and it stands as one of the greatest of all his 98 CDs of Liszt's complete piano music. He plays this music as it should be played. He knows just how many liberties to take without going beyond the music itself and getting wrapped up in the pyrotechnics of what can easily become a fire works display. Leslie Howard is one of the finest pianists around, and his recording of the Transcendental Etudes, in my opinion, eclipses even that of Lazar Berman (or anybody else). To sit next to him and listen to him lecture through these etudes is an even greater Gem.
Quite a few recordings of the set: I would rank as 1. Jando (Hungarian + digital), 2. Ovchinnikov (Russian + digital), 3. Kentner (flair and historical value), 4. Howard (most grounded in accompanying research and best recorded). But it's great to see and hear Leslie Howard presenting the works of this master of all masters on RUclips, there are many occasions where Leslie's version of a Liszt work is the best available. His complete set is unmatched by anyone and will almost certainly never be produced again by a single artist of insight and dedication.
Jeno Jando is quite good (also in the Sonata). He passed away just recently, too. But I keep coming back to Howard's recitations and marvel not only at his performance but also at the music itself.@@tomowenpianochannel
@@tomowenpianochannel Thank you for including Louis (Lajos) Kentner on your list! The only other recording I would like to throw in the mix is that by Bertrand Chamayou, like that of Yunchan Lim one made "live."
Phénoménal !
The catolicism has the Pope as the representative of Jesus on Earth.
We have Leslie Howard as the representative of Liszt.
11:58 100% agree!
The first thing to do when approaching no.5 is to pray, pray, and pray because it is one hell of a challenge for sure. Good luck if you plan to perform it in public because you may well be embarrassed if you are not well prepared.
I wish I was as good at teaching philosophy as Leslie Howard is at the piano and Liszt. Alas, I could never achieve his level in my field.
I now realize by possibly a subconscious aspect - that the "Chasse-Neige" - the final part of Liszt's Transcendental Etude series (no. 12 in Bb minor) - I think of this etude as not exactly "Snowplow", but, as a tremolo etude with stormy chromatic runs. So if I were a music editor, I could re-title this etude "La Tempete de Neige", or "Snowstorm".
This guys mannerisms are clever indeed
Dear Howard is there any publications on those great complete 100CD music by videos, it must be a tremendous treasure for all human beings.
1:06 - Do you know where to find this sketch? I'm incredibly interested. Thanks for the wonderful video!! :)
Sotheby’s catalogue, sold at London in May 1991.
@@TheModicaLiszt - Sorry, do you by chance have a link? Also, I love your videos!! :)
@@thelamamamma9438 Thank you! I do not have a link as the catalogues are mot stored online.
@@TheModicaLiszt - Okay, that would make sense. Thank you!!
26:59 Liszt does a miniscule amount of trolling.
1:04:15 chasse neige
Leslie Howard's videos are always so informative and intriguing! Does anyone know what edition he's using that has Liszt's other versions of the Etudes, is it edited by Howard himself? I'd love to get that one myself!
Its the wiener urtext edition :)
In the video he says that he’s using the Wiener Urtext edition from universal edition
@@chutton988 Thanks, I didnt catch that :)
#6 23:23
why does noone talk about this one? sounds so menacing but good
the reason I can't write anything, is because, there are no words. .
#10 45:26
Can someone tell me what book he is using, I’m trying to buy a book that contains all 12 Transcendental Etudes.
Hi Mr.Leslie Howard.Truly excellent video yours.A solid reference for me. I wish a
long and happy life to you!
For me Yoon-chan Is THE greatest discovery of the millennium ever sInce Galileo discovered the Earth revolves around the sun He captures masterfully the pulse,heart and soul of every piece he plays,
He exudes confidence,character and charm
The audience can connect to his warmth, humility and genuiness...
What more can anyone want ? - Yan Ayrton, a YOUNG classical composer in development and evolution from the XXI century.
.It is time to discovery me.A new world of musical art and significance will open to you.
Yes , you Yoon-chanLim, deserves without delay a blue-ray (or even 4k) special edition produced with professionalism and care.. Great profits quickly turn it from worldwide. I think that Yuncham deserves full and solid financial independence to become little by little a legendary composer.Humanity waits for this
I hope he soon record the remarkable Sonate in B minor from Liszt, the stupend and unique Hamerklavier Sonate from Beethoven , the piu bello 2nd Piano Concert from Rachmaninoff, and my " Awakening to Life" special piano solo composition that only lasts a minute but means a full lifetime. - Yan Ayrton , ein junge klassicher Komponist
”Music is the universal language of mankind.” ― Yan Ayrton , young classical composer
.”To play a wrong note is insignificant; to play without passion is inexcusable.” ― Ludwig van Beethoven.
.”No matter how fast and accurate your fingers move on the piano, your music isn't complete without emotion.”. - YanAyrton
"Ludwig van Beethoven IS the very apex from the Human Creation.He remains not surpassed by anyone .He stands reverentlly by meritus & absolute grace close near and imbricated with The Mind And Heart From God." ― Yan Ayrton
”.I create the new.What was never created before.”. ― Yan Ayrton , young classical composer from XXI century.
"My piano is to me what a ship is to the sailor, what a steed is to the Arab. It is the intimate personal depository of everything that stirred wildly in my brain during the most impassioned days of my youth. It was there that all my wishes, all my dreams, all my joys, and all my sorrows lay." ― Franz Liszt
"My sole ambition as a composer is to hurl my javelin into the infinite space of the future." ― Franz Liszt
"The supreme harmony of the Cosmos is selected in the harmony of the spirit." ― .Franz Liszt
"My mind and fingers have worked like the damned. Homer, the Bible, Plato,, Beethoven, Bach, Mozart, are all around me. I study them. I devour them with fury." ― Franz Liszt
"It's so remarkable and unique that Liszt wrote the first version of these transcendental etudes at 15 FIFTEEN! years old. Someone could repeat this at any time? I don't believe " ― Yan Ayrton
"For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life." ~ Franz Liszt
"I think that Franz Liszt would be proud of my "Awakening to Life" synthesis piano composition" ― Yan Ayrton
>>> .ARS SEMPER.VITA PLENA.HIC VIVIT FELICITATEM ― Yan Ayrton, classical composer >The idea is launched.It's time to act.
What edition is he using?
His own edition which is published with Edition Peters.
@@lisztcompetition I'm sorry, but I don't think that exists as we speak (unfortunately). It is the Wiener Urtext. You can check 7'16''.
I love the dry humour ("You will notice (though many don't) ..." as well as the incisive analysis. My only complaint is the lazy editing. Why on earth did someone not highlight the places in the score he's referring to? Like the missing quaver in Ricordanza, and the three bars with the "hat" sign (not printed as he describes it) in Harmonies du soir, and many others? How hard would it have been to add a few circles or arrows pointing out these places?
Interesting (this vid is going to make me look for the 1837 version, e.g.) but it's a shame that L.H. never did have the sort of virtuosity that these pieces require. Liszt's fantastically varied pianism could truly have been demonstrated otherwise.
Credo che questo abbia inciso tutto list ma male
Haha: "like mendelsohn ".
Quanti poveri figli
Velmi zly sound...
lisztcompetition, why do this to me! I have so much work to do but I cannot not watch this right now!
Strange comment
@@russellthompson9271 ? I do not see how :P ! I was working when I saw this was uploaded, and whenever LisztCompetition uploads stuff it's hard not to put down what I'm doing to listen/watch it!
Same hahaha
@@nicolasgoulet4091 You need more focus and will power.
@@russellthompson9271 Any tips?
Great!
#9 41:15