13:25 Check out this piece's original version for voice, Pace non trovo, S.270a (published by Haslinger in 1846). The dynamic by Liszt in the "a tempo" section is p and then ppp, not forte.
SWEET MOTHER OF MARY!!! I was mesmerized by Howard's playing of Liszt back in the 90's and presumed "Leslie" was a woman. I remember being awestruck but the clarity, nuance, power and passion - only to find out that Leslie is a man. 😂😂😂. Thought Leslie was Martha Argerich-esk. The wonders of the internet. 🤯
No, what he's saying is essentially: pay close attention to the details of the musical text, don't be casual about it or them, and in these three pieces also pay close attention to the text of the poems... because Liszt did!
@@fam2283 Yes, but these poems (and songs) do not depict some general idea about "romance." They chart a rollercoaster ride of emotions, all depicted with great sensitivity and inspiration by Liszt.
As to the discussion around 9:20 and 14:30, there IS a smorzando five bars before the end...if that carries right into the last bar, that conflicts just a bit with the recommendation here.... just saying.
The smorzando could be taken referring to the thirds up to the fermata. There is a crescendo and decrescendo hairpin in the ending chords, which is indicative of how Howard plays it. The smorzando doesn’t conflict with what Howard says here.
Other musicologists can learn much from this man, and not just his supreme knowledge of Liszt
"He gives you all the instructions that you need, if you would just be kind enough to observe them."
13:25 Check out this piece's original version for voice, Pace non trovo, S.270a (published by Haslinger in 1846). The dynamic by Liszt in the "a tempo" section is p and then ppp, not forte.
SWEET MOTHER OF MARY!!! I was mesmerized by Howard's playing of Liszt back in the 90's and presumed "Leslie" was a woman. I remember being awestruck but the clarity, nuance, power and passion - only to find out that Leslie is a man. 😂😂😂. Thought Leslie was Martha Argerich-esk. The wonders of the internet. 🤯
I love this guy. “Its not a sweet little reflective coda where everything disappears”
Essentially what Howard is saying is, "don't do what Horowitz did". Amazing.
Listen to Horowirz...you'll hear what romance is all about. The heart doesn't keep metronomic precision...neither does romance.🎵🎶🎹💜
@@fam2283 But the sonnet does! In both Shakespeare and Petrarch!
No, what he's saying is essentially: pay close attention to the details of the musical text, don't be casual about it or them, and in these three pieces also pay close attention to the text of the poems... because Liszt did!
@@fam2283 Yes, but these poems (and songs) do not depict some general idea about "romance." They chart a rollercoaster ride of emotions, all depicted with great sensitivity and inspiration by Liszt.
this guy is so fucking dry, I love it
'...not the first time in his life he instituted a modulation that's so clever' 😅
"...some of the most marvelous poetry in Italian history..." at 0:34 ʕ•́؈•̀ʔ
He's absolutely right. Of all the Italian literature, there is something truly unique and beautiful about Petrarca.
Leslie low key roasting other pianists not reading the score carefully.
But in his edition there are wrong notes !
Most interesting.
As to the discussion around 9:20 and 14:30, there IS a smorzando five bars before the end...if that carries right into the last bar, that conflicts just a bit with the recommendation here.... just saying.
The smorzando could be taken referring to the thirds up to the fermata. There is a crescendo and decrescendo hairpin in the ending chords, which is indicative of how Howard plays it. The smorzando doesn’t conflict with what Howard says here.
WE SHOULD OBSERVE THESE RHYTHMICAL NICETIES ABSOLUTELY ACCURATELY lmao