We decided to make this video for the "third/Arnaldo Cohen's/intermediate/false/inauthentic/phantom-version/will-o'-the-wisp-or-whatever-you-call-it" version of the Huguenots Fantasia on the off chance that Liszt did intent to have just the fiery ending of the first version (ruclips.net/video/OgbTTYCNekw/видео.html ) replaced by the chorale (16:22)-a procedure actually seen in a small number of cases such as the Un soir dans les montagnes - Nocturne pastorale, S.156/11 from the Album d'voyageur set. Therefore this is not exactly unusual for Liszt, and our speculation is that there could be-albeit admittedly unlikely-a reason the publishing house managed to churn out this presumably false edition without him buying up the plate of it (as he sometimes did). Also, to increase distinction between three gigantic videos on the same piece, all changes detected (hopefully) in the Schlesinger score from IMSLP-including the three indications for omission (at 08:15, 09:34 and 11:20) the only ossia passage at 03:59, marking alterations and so forth-were observed in this MIDI. It is fascinating to observe that notwithstanding the virtually unchanged structure, the discretionary cuts amount to nearly a third (!) of the piece's original duration, quite unlike those that result in the second version (ruclips.net/video/UidzbwesLC8/видео.html ).
this version still retains the G-flat major part of the duet (10:05) and the Chorus of the Assassins (13:25), whereas the S.412iii version completely drops these 2 sections and directly bridges the development to the finale.
Wait, so this is the version we are all familiar to then? Because the one Andrei Christian Anghel posted was labeled S.412iii even though no cuts were shown.
@lajonnunez5578 yup, this is the version Cohen performed in Andrei's score video! (Cohen actually followed the cut at the F-minor duet, making his recording under 20 min long)
We decided to make this video for the "third/Arnaldo Cohen's/intermediate/false/inauthentic/phantom-version/will-o'-the-wisp-or-whatever-you-call-it" version of the Huguenots Fantasia on the off chance that Liszt did intent to have just the fiery ending of the first version (ruclips.net/video/OgbTTYCNekw/видео.html ) replaced by the chorale (16:22)-a procedure actually seen in a small number of cases such as the Un soir dans les montagnes - Nocturne pastorale, S.156/11 from the Album d'voyageur set. Therefore this is not exactly unusual for Liszt, and our speculation is that there could be-albeit admittedly unlikely-a reason the publishing house managed to churn out this presumably false edition without him buying up the plate of it (as he sometimes did).
Also, to increase distinction between three gigantic videos on the same piece, all changes detected (hopefully) in the Schlesinger score from IMSLP-including the three indications for omission (at 08:15, 09:34 and 11:20) the only ossia passage at 03:59, marking alterations and so forth-were observed in this MIDI. It is fascinating to observe that notwithstanding the virtually unchanged structure, the discretionary cuts amount to nearly a third (!) of the piece's original duration, quite unlike those that result in the second version (ruclips.net/video/UidzbwesLC8/видео.html ).
"Liszt is the best representative of artists, but not an artist himself."
© Friedrich Nietzsche.
" _Liszt the Poet_
Among the plethora of legendary anecdotes about Liszt’s unsurpassed piano technique it is easy to lose sight of the fact that, first and foremost, his art was that of a poet, and his objective: beauty. This beauty is the first and best yardstick by which a pianist should approach his work; how often is Liszt made to seem shabby by ugly, self-congratulatory playing!
_Liszt the Patriot_
Liszt was born in a Hungarian town - Raiding, near Sopron (these days in Austria) - where both Hungarian and German were spoken, but his mother was German, and so young Liszt, although he would forever declaim his Hungarian origins and leanings, first spoke German, and his household nicknames were also in the German style: Franzi; Putzi. After very few months in Paris, whence he travelled as a teenager, Liszt came to speak and write a fluent and beautiful French which was to be his preferred language for the rest of his life. His compositions were published either with his Christian name as François or Franz. (Of course, his baptismal name, which he was later to use during his Roman period in the 1860s, was Franciscus.) He also used Francesco when in Italy, but towards the end of his life, when he decided to make serious efforts to learn Hungarian, his works were published with his Hungarian name: Liszt Ferenc. As a boy, Liszt had been fascinated by gypsy music and, like most musicians of his time, did not particularly distinguish between Hungarian folksong and gypsy improvisations, many of which were based on specifically composed dance pieces. His most famous endeavour to represent the music of Hungary in his own work remains the corpus of nineteen Rapsodies hongroises (‘Hungarian Rhapsodies’), but there are many other works with strong Hungarian connections.
_Liszt the Magician_
‘How did he do that?!’ is a sentence which must have escaped many lips when Liszt introduced his new compositions at the piano. The magic of his pianism, combined with the complete originality of his musical style as a composer, created a furore wherever he went. It is clear now that, even without Liszt himself to show us the way at the keyboard, the wizardry contained in the music itself can still be spellbinding.
_Liszt the Franciscan_
The Abbé Liszt has always been a familiar figure. Even though Liszt took only the four minor orders in 1864 (as a Franciscan), and thus never became a priest (although he was later made Canon of Albano), his preoccupation with religious thought actually goes right back to his teenage years in Paris, and the subsequent friendship with some of the important religious writers of the day. The contradictions between Liszt’s perceived lifestyle and his devout intentions were a regular subject for speculation and even ridicule, but any proper investigation of Liszt’s life and letters reveals a deeply thoughtful and complex man whose religious sensibilities must be taken absolutely seriously. His efforts to produce a new and viable language for church music, incorporating the language of the music drama, earned him as many enemies as friends, but the actual range of style of his religious music encompasses everything from the dramatic gesture to a return to an austere simplicity echoing a much earlier age.
_Liszt the Romantic_
It goes without saying that Liszt embodied the spirit of the Romantic period - probably more than any other musician of his time. Both because of his longevity and his catholicity of taste, as well as his truly Renaissance-man grasp of so many issues artistic, political and historical, the life and works of Liszt are perfectly representative of the age.
_Liszt the Prophet_
Liszt’s ‘third period’ may be said to begin with his departure from Weimar, and especially with his retirement to Rome in the early 1860s. From this point to the end of his life his music contains a great deal of introspection and almost a disregard of the likely fate of many of the works, only a few of which were performed and published in his lifetime. Orchestral works are rare, and the choral works after the completion of Christus tend to be on a small scale without orchestral accompaniment. The songs and piano pieces become starker, and the textures become leaner, even in the few ‘public’ pieces like the later Mephisto Waltzes and Rhapsodies.
The later works are an altogether outstanding body of work from an indefatigable imagination, in their way comparable to the Beethoven late quartets or Bach’s Musical Offering and The Art of Fugue. The psychiatrist Anthony Storr, in his book The School of Genius, writes: ‘The old often show less interest in interpersonal relationships, and are more content to be alone, and become more preoccupied with their own internal concerns … This change … can be most clearly seen in the productions of those who leave behind a series of works of abiding interest’. Storr rightly defines the first period of an artist’s life as a training time, the second as the advent of mastery and individuality, often combined with a need for a wide public, and the third as ‘a time when communication with others tends to be replaced by works depending more upon solitary meditation’.
It has long been asserted that, in his last years, Liszt grappled with a great many ideas about the possible future that music might take, even prefiguring the destruction of the Romanticism of which he was so much a part. He often anticipated Debussy, Scriabin, Schoenberg and Bartók in just the same way that his younger self had been such an important precursor of the harmonic and motivic techniques of Wagner. There is nothing experimental about this music, whatever a number of commentators have suggested: the breakdown of tonality, the openness of the form, the avant-garde harmonies, the avoided comfortable cadences and the trailings away into silence are the products of intense care. Even little album-leaves take on the characteristics of a new order of musical thinking. Whether the mood is nostalgic, miserable, unworldly, elegiac or even patriotic, the old language no longer serves. And the old virtuosity is almost completely absent: the musical demands far outstrip the purely technical ones."
© Leslie Howard.
"Liszt is the only great composer of the nineteenth century who still suffers from detractors, and this despite the acknowledged debt of almost every composer who was his younger contemporary or successor. The trouble started whilst he was alive, of course, when many people simply couldn’t cope with his fame and popularity. He was never penurious; the starving artist in the garret was someone whom he helped, but someone he never was. In short, he made money, lots of it. He lost track of most of it, and gave away virtually all of it. He never owned property, nor even a coach and horses. He did own pianos, an excellent library, both musical and literary, and he enjoyed the freedom of every court in Europe. Many musicians were jealous of his success, and took Hanslick’s line that his compositions came as a kind of afterthought to engender intellectual respectability. This is tosh, of course, and yet aspects of this accusation still linger; if Liszt is played cheaply, one can still hear him accused of composing cheaply. And to add insult to injury, he was accused of posturing for taking his religion seriously (something which he had done in constancy from a boy) and the many facets of his complex character were dismissed as the masks of an actor. It is time that judgments made with this degree of crass ignorance were buried once and for all. Of course, over a composing life of more than sixty years, not every work is a masterpiece, but even the least of his works cannot help but show something of his pioneering spirit and originality. It is a pleasure to note that, finally, the variety of his works in the current repertoire is slowly but surely expanding to show his great range as *an artist* - a confirmation, if any were required, that the general level of his output is remarkably high."
© Leslie Howard.
@@Liszthesis Bro, as well I am disappointed with Nietzsche because of this passage. 😒
yeah I mean every quote I saw from him just takes a negative view on the one mentioned lol
@@Liszthesis But he praised Beethoven, Mendelssohn and Brahms.
I actually don't see the difference with this one and S.413iii, can you tell me where are the differences?
this version still retains the G-flat major part of the duet (10:05) and the Chorus of the Assassins (13:25), whereas the S.412iii version completely drops these 2 sections and directly bridges the development to the finale.
oops the chorus of the assassins is actually at 13:45
Wait, so this is the version we are all familiar to then? Because the one Andrei Christian Anghel posted was labeled S.412iii even though no cuts were shown.
@lajonnunez5578 yup, this is the version Cohen performed in Andrei's score video! (Cohen actually followed the cut at the F-minor duet, making his recording under 20 min long)
hmm inauthentic, this is new
this aint new :(
@@Liszthesis right from imslp?
yup, erroneously marked as s.412iii
Mongolian rhapsody when
woulda been super dope had Liszt actually written it :'/