Tausig's INSANE Piano Piece EXPLAINED [The Ghost Ship]
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- Опубликовано: 5 фев 2025
- An overview of a relatively unknown piece by Carl Tausig. I have been a fan of this piece for many years and spent several months researching this work. Biographical details come from Alan Walker's "Reflections on Liszt."
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Tausig was born in Warsaw to Jewish parents and received his first piano lessons from his father, pianist and composer Aloys Tausig, a student of Sigismond Thalberg. His father introduced him to Franz Liszt in Weimar at the age of 14. He quickly became a favorite pupil of Liszt's, travelling with him on concert tours and studying counterpoint, composition and orchestration in addition to his piano lessons, and even taking on one of Liszt's pupils, Regina Watson, as his own. At the age of 16 he met Richard Wagner, of whom he became a devoted follower and friend. He also became a great admirer and friend of Johannes Brahms. Tausig made piano arrangements of many of Wagner's operas. He also introduced to Wagner his friend Peter Cornelius, another Wagner devotee.
In 1858 Tausig made his debut in Berlin at a concert conducted by Hans von Bülow. While some critics admired his technical feats at the keyboard, others found his playing noisy and overbearing. Even some who were more accommodating of Tausig's "Lisztian eccentricities" felt he would play better as he matured. Tausig toured through various German towns in 1859-60, making Dresden his base. He moved to Vienna in 1862; there he gave concerts of modern orchestral music, including some of his own symphonic poems. These concerts were only partially successful artistically and a failure financially. After staying out of public view for a few years, during which time he married pianist Seraphine von Vrabely (1841-1931), he began touring once again and was now considered a pianist of breadth and dignity of style.
Tausig settled in Germany and opened a piano school in Berlin in 1865 which, however, closed soon afterwards. He toured throughout Europe, but the strain of travelling weakened his health. He died in Leipzig from typhoid at the age of 29. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem's Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor.
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This video is an in-depth musical analysis for the purposes of teaching and education and therefore constitutes as fair-use. It does not intend on claiming the music in this video as the uploaders own.
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This is such an awesome video! These kinds of analyses give audiences another layer of musical understanding
Thanks for the great analysis! I'd like to know your thoughts on the second chromatic descending passgae (7:03 approximately): the sound track plays it chromatically, as the first and third descending passages. Yet, the sheet reads differently (and poorly, as I see it): I don't dislike the flat E in the first bar (but I miss it later on!), just as I like the natural C and the flat B towards the end (which I miss in the previous bars, though). Any thoughts?
As for the "missing" G sharp towards the end of the piece: I'd be nice to the printer and consider it sufficiently marked by the previous G sharp in the same bar :)
By the way, at 8:25 , this is not actually the first time that such a chromatic glissando was ever used. In fact, it was actually Liszt in his early virtuoso days where he actually notated a chromatic glissando however, the difference is that Liszt notates it with one finger only and as an ossia in his Spanish Fantasy S.253 (little knowed piece by Liszt) near the end of a transition leading to the 3rd part.
I wish Cziffra record this absolutely insane piano work.
No se quien es Usted
pero lo FELICITO
Maravilloso Analisis
y tampoco se quien toca.
Creo haber oido la obra una vez por
Michael Ponti.
Saludos desde Caracas
Que tristeza que este hombre murio tan joven.
I can only play the first four bars !
WT-EF! Great! Thanks!