Simply fabulous and stupendous ... Liszt would have loved this performance: an organist playing the organ like a piano virtuoso as Liszt was himself ... Displaying in my humble opinion the perfect synthesis of Liszt´s early bravura, extraverted style and his later religious, introverted style ... BRAVO !! Originally, Liszt wrote the piece under the devastating impact of the death of his beloved daughter Blandine, aged 26 ... Later he adapted it for the organ ... Liszt must have been inspired by Bach, knowing that his great predecessor carried (not two but an unbelievable) nine of his twenty children to the grave ... "... The LORD gave, and the LORD hath taken away; blessed be the name of the LORD ... " Soli Deo Gloria !!
Poor Liszt. I just can't stop feeling sorry and sad for him. He experienced so much of undeserved anguish and pain in his life and death of two of his children in such a short time is truly something beyond tolerability... When I heard this piece for the first time, I could feel his despair in my own body, it even physically hurt me! But nevertheless, it's still a beautiful piece, despite it containing such a dark motif... I hope you are now happy in Heaven with your children, Franzi.❤️🖤
I've never heard this piece before, but for some reason I kept thinking of Herman Melville's great white whale (Moby Dick) rising from the depths. And how this monster of anguish, sorrow, lost and death eventually finds of all. The question is: How does one face this monster? I hear Liszt seeking refuge in prayer and the taking of "the cloth." Above all, (at the end) I hear his faith in a God of Mercy and Light. Thank you Vincent for sharing this great work. Sent with love. CVD
Actually, this set of variations on WK was written in response to the death of Liszt's daughter Blandine. An earlier prelude for piano on WK resounded to the death of Liszt's son Daniel. The present work closing quoting the chorale "Was Gott tut, das Ist wohlgetan" (what God does is well done, expressing faith in the goodness of the will of God) no doubt expresses Liszt's ultimate acceptance of his daughter's death after the grief expressed previously over the course of the work.
The variations are based on a basso ostinato motif from Bach's Cantata "Weinen, Klagen, Sorgen, Zagen" (BWV 12). And the closing chorale is also the same in both of these works.
@@Mikey84 yes, the cover of the score of the original edition mentions the source of the ostinato in the Bach cantata -- so this is common knowledge. However, the Prelude on WKSZ does not include any reference to the chorale "Was Gott tut."
@@timothytikker3834 Bach wrote his cantatas primarily based on the church calendar, dictating a certain religious theme or bible passage ... However, he was free to choose whatever chorale he himself deemed fit as a conclusion to the cantata he had just composed ... I firmly believe that his choice of concluding chorales was rather spontaneous, emerging from his personal and deeply felt religious feelings as well as from his vast knowledge of the enormous repertoire of Lutheran chorales ...
admirable sensibilité, sensualité, sentimentalité de jeu! L´instrument galope de lui-même et invite à une virtuosité séduisante, nous ébauchant une féminité qui ne correspond pas particulièrement à Liszt, pensez au portrait de Nadar, toute son oeuvre y est inscrite. Vincent, j´aimerais vous écouter avec 800 g par touche... ce serait une véritable sensation de performance artistique...et lisztique...
Simply fabulous and stupendous ... Liszt would have loved this performance: an organist playing the organ like a piano virtuoso as Liszt was himself ... Displaying in my humble opinion the perfect synthesis of Liszt´s early bravura, extraverted style and his later religious, introverted style ... BRAVO !! Originally, Liszt wrote the piece under the devastating impact of the death of his beloved daughter Blandine, aged 26 ... Later he adapted it for the organ ... Liszt must have been inspired by Bach, knowing that his great predecessor carried (not two but an unbelievable) nine of his twenty children to the grave ... "... The LORD gave, and the LORD hath taken away; blessed be the name of the LORD ... " Soli Deo Gloria !!
Poor Liszt. I just can't stop feeling sorry and sad for him. He experienced so much of undeserved anguish and pain in his life and death of two of his children in such a short time is truly something beyond tolerability... When I heard this piece for the first time, I could feel his despair in my own body, it even physically hurt me! But nevertheless, it's still a beautiful piece, despite it containing such a dark motif... I hope you are now happy in Heaven with your children, Franzi.❤️🖤
I’ve heard two versions of this for piano but had not heard it on organ. It’s always been one of my favorite pieces by Liszt. Thank you for sharing 🙏
Gracias por compartir - Bendiciones desde Mendoza - Argentina -
哲学的な曲で、見事な演奏をしていただき、ありがとうございます。
Magnifique, et 16 minutes par cœur, avec toujours cette poésie intense.
I've never heard this piece before, but for some reason I kept thinking of Herman Melville's great white whale (Moby Dick) rising from the depths. And how this monster of anguish, sorrow, lost and death eventually finds of all. The question is: How does one face this monster? I hear Liszt seeking refuge in prayer and the taking of "the cloth." Above all, (at the end) I hear his faith in a God of Mercy and Light. Thank you Vincent for sharing this great work. Sent with love. CVD
Actually, this set of variations on WK was written in response to the death of Liszt's daughter Blandine. An earlier prelude for piano on WK resounded to the death of Liszt's son Daniel. The present work closing quoting the chorale "Was Gott tut, das Ist wohlgetan" (what God does is well done, expressing faith in the goodness of the will of God) no doubt expresses Liszt's ultimate acceptance of his daughter's death after the grief expressed previously over the course of the work.
The variations are based on a basso ostinato motif from Bach's Cantata "Weinen, Klagen, Sorgen, Zagen" (BWV 12). And the closing chorale is also the same in both of these works.
...responded, not resounded...
@@Mikey84 yes, the cover of the score of the original edition mentions the source of the ostinato in the Bach cantata -- so this is common knowledge. However, the Prelude on WKSZ does not include any reference to the chorale "Was Gott tut."
@@timothytikker3834 Bach wrote his cantatas primarily based on the church calendar, dictating a certain religious theme or bible passage ... However, he was free to choose whatever chorale he himself deemed fit as a conclusion to the cantata he had just composed ... I firmly believe that his choice of concluding chorales was rather spontaneous, emerging from his personal and deeply felt religious feelings as well as from his vast knowledge of the enormous repertoire of Lutheran chorales ...
stunning -bravo!
admirable sensibilité, sensualité, sentimentalité de jeu! L´instrument galope de lui-même et invite à une virtuosité séduisante, nous ébauchant une féminité qui
ne correspond pas particulièrement à Liszt, pensez au portrait de Nadar, toute son oeuvre y est inscrite. Vincent, j´aimerais vous écouter avec 800 g par touche...
ce serait une véritable sensation de performance artistique...et lisztique...
Wouah