I'm starting to learn more of the notes of this piece now, if I play it at like 1/10th the speed it should go. This piece wouldn't be so hard to learn if you didn't have to play it so fast
There are thirds in feux follets? Sixes? There are mostly double note figurations, but no double thirds or sixes as conventionally understood in piano technique. For that listen to Chopin: op 25 nos 6 and 8
@@Bulbophile , yes, not only double note figurations, but many of them irregular and diminished, and most of them played in continuous sixty-fourth notes at Presto furioso. And many treble and bass clef switcharounds, Liszt has been good sneaking those in too. Fuex Follets is one of his most difficult pieces to learn to play.
Very difficult piece to learn, because of all the continuous nonstop strings of sixty-fourth notes, also mostly double notes irregular and diminished, with the right hand. And along with the wide left hand jumps. And, all played allegretto. I'm working on Liszt's Wild Jagd, and it's taking a while, and it's not as difficult as Fuex Follets
This is one of Liszt's greatest pieces. Much more feeling in it than most pianists can handle--because handling the notes is difficult enough. It's a musical portrait of a fun-loving witty guy with depth. That's how I hear it. Brings tears to my eyes. Ashekanzy's technique is simply incredible. And he actually reads Liszt--unlike many pianists. He sees the meaning behind the double notes, chromatics and leaps. I don't agree with every phrase he plays--I hear it differently (and cannot really play it). But well worth listening to. A personality such as Liszt describes has many facets.
I know. It's one of the most difficult of Liszt's pieces to learn, with all the continuous diminished sixty-fourth notes, plenty of wide jumps and hand crossovers too, all to be played allegretto. But, it sounds utterly amazing when this beautiful, elaborate, intricate work of musical art is mastered by the few piano geniuses who have given us the astonishing pleasure of hearing it, Ashkenazy, Evgenny Kissin, and the man himself who made it all possible by composing it, Liszt
KoopaKool You're kidding, right? Yes, Wilde Jagd is difficult, but Feux Follets is something else. Those double notes are the stuff of nightmares. And it's not just the notes, you've also got to convey this mysterious and ethereal atmosphere. Utterly brutal.
I actually have a recording of this myself on my channel, but I could (nor would) ever venture to get it at this speed. This piece just does not work well with any human hand. Incredible job by Ashkenazy here!!!
@@garo123415 , I agree, this is even more difficult than La Campanella, that song's biggest challenges are the sections with the large right hand leaps. Fuex Follets has a level of not only continuous superfast sixty-fourth notes, but then making them so irregular and with many of them double notes with also many hand crossovers and, did I mention, you need lightning fast moving fingers. I am learning more of the notes now, but only if I play it at about 1/10th the speed that it's played here and by the pros. I can play much of Wild Jagd now, but still at only about half the speed that it's played on these videos and by the concert pianists. Learning how to play at the correct fast speed is what makes learning Wild Jagd and Fuex Follets the most challenging
This is one of Liszt's most difficult pieces to learn. All of those continuous nonstop sixty-fourth notes played allegretto, then many of them double note figurations, then many of them diminished. And numerous hand crossovers, treble and bass clef switch arounds thrown in along the way. And, did I mention that you need lightning fast fingers? But, it sounds utterly amazing when hearing someone who's mastered it play it, this one isn't even just mastered, it's perfected, and done with the best style and feeling
Ashkenazy recordings are always special. Smoothest technique ever, but zero pompousness. And the result is a balanced, nuanced, thoughtful performance.
The first six bars are very uneven-if you listen carefully!😊The rest incredible. Is it coincidence that some of the so-called 'great'pianists have conveniently overlooked Feux Follets?!😊(Not Richter,of course!)😊
wardropper You are right, the tempo is Allegretto in 2/4 time (NOT 4/8), and the semiquavers/16th-notes are at the correct speed, given that you count two, NOT four to a bar/measure.
Feux Follets is not about speed, but a mysterious and ghostly phenomenon. The piece is extremely difficult and I have spent my whole life playing it and getting it up to a speed which reflects its fleeting beauty. Ashkenazy does a perfect (and very fast) job here, yet the tempo indication is only Allegretto, let alone Presto. The album you mention is a travesty of interpretation - actually it isn't even an interpretation; it is speed and nothing else. Any digital music application can do that.
Actually you're right! wardropper did a superficial mistake!Feux follets is Allegretto but the Grande Etude n°5 (second version) has very different instruction by Liszt:veloce (fast), velocissimo (very fast), con bravura, Animato e ...stringendo.Congratulations to Simone Jennarelli for his philological accuracy.The two pieces are similar, but the young Liszt wanted more bravura, the mature poetry. I'm also an old pianist but in this case I think digital music can be very nice and interesting!
@@flyingpenandpaper6119 nah a 10th is standard span for a concert pianist, can't be considered small hand from whichever perspective, Ashkenazy is said to have a hand span of 9th, pretty small
It's great! I like so much Ashkenazy, however for me the greatest version of this piece is the 1837 Grande Etude version. It's more difficult and more exciting! You can find a splendid and musicologically release of this piece, performed by the composer Simone Jennarelli LoC/ISCM, with a whirling speed at: cdbaby.com and add the Album /cd/simonejennarelli2
Wild Jagd has taken a while to learn. But when I try to learn Fuex Follets, which so far, I haven't gotten past the first page, to learn all those continuous sixty-fourth double diminished notes and to then be able to play it allegretto is going to take a long time
Effettivamente musica più difficile di quella di Chopin. Però quella di Chopin è più seguita dal maggior numero di ascoltatori perché l'elemento cantabile è più concreto mentre in Liszt negli studi il pianismo è più vaporoso per così dire.
Ashkenazi plays it a touch slower than Evegy Kissen. And as amazingly impressive as the dynamic speed Kissen plays it, and he has incredible talent being able to play it that fast. But in my opinion, Ashkenazi playing it slightly slower gives the piece a little more of a touch of beauty and passion. Faster is not always better, past a certain point that is. But, faster is better with Fuex Follets until it gets to the speed in this video. This piece being played slower than Ashkenazi plays it would definitely make it sound less impressive and with less passion. Kissen can easily play this piece at Ashkenazi's speed because he already exceeded that point, and crossed over to playing it a touch too fast. But that's what's good about that, he can easily slow it down a notch because he'd already previously learned it at that speed. Both Ashkenazi and Kissen are piano genuises who have the ability to make the toughest pieces sound beautiful and like, Wow!! Playing Fuex Follets at only half the speed Ashkenazi plays it would definitely make the piece sound more mediocre. I'm not even able to play it quite there yet, so I'm certainly not bragging about myself. But I have ideas about what sounds good to the listeners. Learning the notes of Fuex Follets is less than half the challenge, playing it at Kissen's and Ashkenazi's speed and with the right touch of the notes and passion is the even bigger challenge here. I'm working on this piece now, and can't even play it half Ashkenazi's speed yet, and am still missing notes. I have a looong way to go
I wish i could say this is the hardest compositions Franz Liszt made but there is his Feux Follets when it was at its prime, when it was a "Grand Etude" See, that etude is just unplayable.
It's so clean and crisp!This is how it should be played!
I'm starting to learn more of the notes of this piece now, if I play it at like 1/10th the speed it should go. This piece wouldn't be so hard to learn if you didn't have to play it so fast
his thirds/sixths are as clear and defined as can be
There are thirds in feux follets? Sixes? There are mostly double note figurations, but no double thirds or sixes as conventionally understood in piano technique. For that listen to Chopin: op 25 nos 6 and 8
@@Bulbophile , yes, not only double note figurations, but many of them irregular and diminished, and most of them played in continuous sixty-fourth notes at Presto furioso. And many treble and bass clef switcharounds, Liszt has been good sneaking those in too. Fuex Follets is one of his most difficult pieces to learn to play.
@@alvexok5523 allegretto actually not presto furioso
He must have been nervous near the end like "DON'T BLOW IT NOW!!"
Probably one of my favorite performances of this piece. Amazing!
Very difficult piece to learn, because of all the continuous nonstop strings of sixty-fourth notes, also mostly double notes irregular and diminished, with the right hand. And along with the wide left hand jumps. And, all played allegretto.
I'm working on Liszt's Wild Jagd, and it's taking a while, and it's not as difficult as Fuex Follets
It's played with a clock precision, and much smoothness. Amazing version. Thanks for posting those videos !
This is one of Liszt's greatest pieces. Much more feeling in it than most pianists can handle--because handling the notes is difficult enough. It's a musical portrait of a fun-loving witty guy with depth. That's how I hear it. Brings tears to my eyes. Ashekanzy's technique is simply incredible. And he actually reads Liszt--unlike many pianists. He sees the meaning behind the double notes, chromatics and leaps. I don't agree with every phrase he plays--I hear it differently (and cannot really play it). But well worth listening to. A personality such as Liszt describes has many facets.
I know. It's one of the most difficult of Liszt's pieces to learn, with all the continuous diminished sixty-fourth notes, plenty of wide jumps and hand crossovers too, all to be played allegretto. But, it sounds utterly amazing when this beautiful, elaborate, intricate work of musical art is mastered by the few piano geniuses who have given us the astonishing pleasure of hearing it, Ashkenazy, Evgenny Kissin, and the man himself who made it all possible by composing it, Liszt
The perfect music for A Midsummer Night's Dream by Shakespeare! !
Incredible, so clear, so virtuosistic, marvellous colors, only one word, Great!
a convincing Ashkenazy.. clear and musical
'Superlativo!" Giuseppe Perego Monza 16.2.1962
I dare say that this is the best performance I've ever heard not only technically but as taste, balance, respect for what's written by Liszt
This is my favorite super hard piano piece. If a complicated watch could sing this is how it would sound.
James Rose What an analogy! 😂 That’s great
Arguably the hardest piece ever composed for the piano...attempted to learn..couldn't...imagine a nail being driven through the front of your hand
Outhet Goenardi thank you...try to fit human moods and personalities
I play it, and I must say Wilde Jagd is much harder to play, need lots of stamina, here in feux follet, everything is so light and relaxed
KoopaKool all hard lol...different techniques. ...I have the hands and style for wild jaged
KoopaKool You're kidding, right? Yes, Wilde Jagd is difficult, but Feux Follets is something else. Those double notes are the stuff of nightmares. And it's not just the notes, you've also got to convey this mysterious and ethereal atmosphere. Utterly brutal.
Cameron Yule I think he know's what he's talking about, did you see his performance of FF on his channel?
Großartig! Ein fabelhafter Pianist.
I actually have a recording of this myself on my channel, but I could (nor would) ever venture to get it at this speed. This piece just does not work well with any human hand. Incredible job by Ashkenazy here!!!
And people think La Campanella is hard.
Amanda M it is.. I think the two pieces are at the same leve of difficulty
Be Your Own Hero La Campanella cant even compare in difficulty to this.
@@garo123415 , I agree, this is even more difficult than La Campanella, that song's biggest challenges are the sections with the large right hand leaps. Fuex Follets has a level of not only continuous superfast sixty-fourth notes, but then making them so irregular and with many of them double notes with also many hand crossovers and, did I mention, you need lightning fast moving fingers. I am learning more of the notes now, but only if I play it at about 1/10th the speed that it's played here and by the pros. I can play much of Wild Jagd now, but still at only about half the speed that it's played on these videos and by the concert pianists. Learning how to play at the correct fast speed is what makes learning Wild Jagd and Fuex Follets the most challenging
Played la campanella a while ago and learning this now, its a different type of difficulty but this is defo harder
@@alvexok5523 it's not a song. It's a piece.
This is one of Liszt's most difficult pieces to learn. All of those continuous nonstop sixty-fourth notes played allegretto, then many of them double note figurations, then many of them diminished. And numerous hand crossovers, treble and bass clef switch arounds thrown in along the way. And, did I mention that you need lightning fast fingers? But, it sounds utterly amazing when hearing someone who's mastered it play it, this one isn't even just mastered, it's perfected, and done with the best style and feeling
It is a dreamy music about what in English is called "will-o-the wisp" (the fairy like fire in the marshland) ...
superb!
In my humble opinion on a par with Richters legendary live account from Sofia in 1958.
Ashkenazy recordings are always special. Smoothest technique ever, but zero pompousness. And the result is a balanced, nuanced, thoughtful performance.
Ashk is a genius, probably the greatest pianist ever ...
Rubinstein would like to have a word with you
And Cziffra either... 😉
Liszt is the most skilled pianist of all time.
I've never heard him play....
Ashkenazy is even better than Cziffra, Ovchinikov and Berman in Feux Follets. Astounding!
Ашкенази...one love
The first six bars are very uneven-if you listen carefully!😊The rest incredible.
Is it coincidence that some of the so-called 'great'pianists have conveniently overlooked Feux Follets?!😊(Not Richter,of course!)😊
wardropper You are right, the tempo is Allegretto in 2/4 time (NOT 4/8), and the semiquavers/16th-notes are at the correct speed, given that you count two, NOT four to a bar/measure.
this is ..... virtuossisimo
Human ? O_o
Feux Follets is not about speed, but a mysterious and ghostly phenomenon.
The piece is extremely difficult and I have spent my whole life playing it and getting it up to a speed which reflects its fleeting beauty.
Ashkenazy does a perfect (and very fast) job here, yet the tempo indication is only Allegretto, let alone Presto. The album you mention is a travesty of interpretation - actually it isn't even an interpretation; it is speed and nothing else.
Any digital music application can do that.
wow
Supreme piano
why does it keep on deleting?
Actually you're right! wardropper did a superficial mistake!Feux follets is Allegretto but the Grande Etude n°5 (second version) has very different instruction by Liszt:veloce (fast), velocissimo (very fast), con bravura, Animato e ...stringendo.Congratulations to Simone Jennarelli for his philological accuracy.The two pieces are similar, but the young Liszt wanted more bravura, the mature poetry. I'm also an old pianist but in this case I think digital music can be very nice and interesting!
Superhuman!
Ashkenazy is said to have small hands, but clearly he can span at least a ten, unless he's rolling them, which I cannot really hear if this is so.
In fairness, a 10th is quite small for a concert pianist. Not for me, though-I can just slip a 9th.
@@flyingpenandpaper6119 nah a 10th is standard span for a concert pianist, can't be considered small hand from whichever perspective, Ashkenazy is said to have a hand span of 9th, pretty small
What do you expect, for heavens sake? It's Ashkenazi. Wonder of the keyboard.
I.N.C.R.E.D.I.B.L.E.
So is yours!!!
Glad you get to relax in the forte passages. Otherwise it would be hurtful to practice.
Fastttt😆😆
It's great! I like so much Ashkenazy, however for me the greatest version of this piece is the 1837 Grande Etude version. It's more difficult and more exciting! You can find a splendid and musicologically release of this piece, performed by the composer Simone Jennarelli LoC/ISCM, with a whirling speed at: cdbaby.com and add the Album /cd/simonejennarelli2
the hardest song I ever play
Song??
Wild Jagd has taken a while to learn. But when I try to learn Fuex Follets, which so far, I haven't gotten past the first page, to learn all those continuous sixty-fourth double diminished notes and to then be able to play it allegretto is going to take a long time
Why? Why does it have to be so hard? What kind of steroids was lists on?
The same as you when you wrote "lists"
It's Liszt. In Hungarian s makes the "sh" sound, sz makes the "s" sound, z makes the "z" sound, zs makes the "zh" sound etc.
HAHAHAHAHAHAHAHAHA savage
Opium probably
Effettivamente musica più difficile di quella di Chopin. Però quella di Chopin è più seguita dal maggior numero di ascoltatori perché l'elemento cantabile è più concreto mentre in Liszt negli studi il pianismo è più vaporoso per così dire.
No, la musica di Liszt è più semplice, ma le note sono più difficili.
Ashkenazi plays it a touch slower than Evegy Kissen. And as amazingly impressive as the dynamic speed Kissen plays it, and he has incredible talent being able to play it that fast. But in my opinion, Ashkenazi playing it slightly slower gives the piece a little more of a touch of beauty and passion. Faster is not always better, past a certain point that is. But, faster is better with Fuex Follets until it gets to the speed in this video. This piece being played slower than Ashkenazi plays it would definitely make it sound less impressive and with less passion. Kissen can easily play this piece at Ashkenazi's speed because he already exceeded that point, and crossed over to playing it a touch too fast. But that's what's good about that, he can easily slow it down a notch because he'd already previously learned it at that speed. Both Ashkenazi and Kissen are piano genuises who have the ability to make the toughest pieces sound beautiful and like, Wow!!
Playing Fuex Follets at only half the speed Ashkenazi plays it would definitely make the piece sound more mediocre. I'm not even able to play it quite there yet, so I'm certainly not bragging about myself. But I have ideas about what sounds good to the listeners. Learning the notes of Fuex Follets is less than half the challenge, playing it at Kissen's and Ashkenazi's speed and with the right touch of the notes and passion is the even bigger challenge here. I'm working on this piece now, and can't even play it half Ashkenazi's speed yet, and am still missing notes. I have a looong way to go
Ashkenazy's Russian recording, and also his live Carnegie Hall recording, are faster, and quite amazing.
I wish i could say this is the hardest compositions Franz Liszt made but there is his Feux Follets when it was at its prime, when it was a "Grand Etude" See, that etude is just unplayable.
***** Some of the grand etudes are actually easier than the revised transcendentals. Both Feux Follets are about the same.
This is amazing but I prefer Cziffra, who plays it without rushing and with more character
6
No dislikes!!!
Gets a level 9 on Henle difficulty holy shit...
THis is impressive and engaging but Busoni is closer to the source.
wow this is really impressive , especially the coda.
but way too few views..
So fast...
I think it is faster than original tempo
SunwooPark nope. it could even be slower than the original tempo
What is this? Bam Bam Bam Bam BamBarabam.
So?
All pianists do...
He hates 0:25 the most
Atonalism is not a problem. My god! how people understand little about music!
"Nope"
This is easy.
At least, the part at 3:39
@KhagarBalugrak you clearly have no idea what your talking about :L opinions are opinions, but thats just ignorance!
Liszt sure wrote some incredibly difficult music, but the problem is that it's almost atonal...too much chromaticism and not enough chord tones.
music doesn't need a clear tonality to be great
Dumbass
Just a typical day for an Asian, that's all.
TOUS CES COMMENTAIRES SONT DE GENS JALOUX ET INCAOABLES ET SANS TALENT
I can do this. Hold my L.
Easy.
Sergei Rachmaninoff easier than your op23 no9