Liszt travelled far and wide, but I didn’t know he travelled this far! I think I’ve heard this somewhere before, but I had no idea Liszt made a transcription of it, so that’s always a pleasant surprise. The finale, though, is one of the most virtuous I’ve come across. Thanks for uploading.
Je suis exténué à l’écoute de ces transcriptions et réminiscences d’opéras ! Comment est-ce possible de donner tant d’énergie, de profondeur ! Inhumain !
Its is just a part Sultan Abdulmecids /Medjids March It is the Official Ottoman March during his period. There you will get the full version of it 😉 ruclips.net/video/eKqxvHz3Lrs/видео.html
As soon as I heard that passage or motif, I checked the time, having already read your comment, and thought, that has to be 2:39 on the time, ha. Love it. Agreed. Wish he'd expounded on that.
My Orchestra arrangement of this paraphrase as "Grande Symphony": Woodwinds: 2 Piccolos (2nd opt.) 2 Flutes 2 Oboes 2 Clarinets (in Bb and C) 2 Bassoons Contrabassoon (opt.) Brass: 4 Horns (1st and 2nd in G, 3rd and 4th in Eb and D) 4 Trumpets (1st and 2nd in C, 3rd and 4th in Bb) 3 Trombones (alto, tenor and bass) Tuba Percussion: Timpani Snare Drum Bass Drum Triangle Cymbals Harp Strings
It is surprising how far east Liszt went and surprising still how an Islamic nation would entertain music like this. Look at what's happened now... In retrospect, perhaps monarchies weren't so bad after all.
The Ottoman monarch of the time, Abdülmecid Han was quite familiar with the dominating western culture of the time, like a good portion of the Ottoman sultans before and after him. Only if the Ottoman Empire wouldn't sheer from that path thanks to some of the later rulers and collapse thanks to the lack of rule and political capital of the latest ones, the destiny of the state would be absolutely different. Despite their bien-pensant outlook in most political cases (ex: the usage of the caliphate to put the islamic nations under control), most of the Ottoman monarchs, officials and the prosperous burgeoise after the post-18th century era lived a modern, life in Istanbul- just didn't offer it to the rest of the nation. A lot of writers, musicians and artists like Liszt have been invited to the Ottoman Empire over time in the aforementioned era, and a lot of turkish students were also sent to the europe to return to their state as luminaries- well, some of them organized a coup d'etat against one of the monarchs and joined WW1, resulting in the collapse of the empire and the formation of a new, independent state which was even more accepting to the western culture; applying it to the rest of the nation, not only the well-off. And today, everything is different at a level noone to read the history of now in the future will really like it.
@@lisztomani4c Yes, in the chronicle of Liszt’s life by Ernst Burger, the description of Liszt’s stay in Istanbul contains the following paragraph: "An amusing incident in passing: on his arrival in the city, Liszt was brought before the Sultan with a warrant for his arrest. A fellow pianist had used the similarity of their names to advertise himself as the famous Liszt, so that the real Liszt was taken to be an impostor. The error was soon cleared up." I believe this claim to be based on the following letter Liszt wrote to his cousin Henriette in 1884 (however it may be that Burger has access to other sources which are unknown to me): "My Very Dear Cousin, This time I was not able to have a thorough rest in Vienna. Such an extra [luxury] is hardly my lot anywhere. My life is one continued fatigue. Some one once asked the celebrated Catholic champion Arnauld (the Jansenist) why he did not allow himself some rest. “We have eternity for that,” answered he. I hear for the first time through you of a cousin or niece, Mary Liszt, a concert giver. Concert givers have frequently misused our name by playing under it in provincial towns. A pianist in Constantinople, Herr Listmann, apologised to me for having knocked off the second syllable of his name. On this account he received a valuable present from the then Sultan Abdul-Medgid. Farewell till our next meeting in Easter week, dear cousin, from yours ever affectionately, F. Liszt" From this we can conclude that by an amusing coincidence, Liszt found himself in Constantinople at the same time as another pianist, Listmann, who decided to capitalize on this situation by dropping the second syllable of his name, receiving an expensive gift from the sultan intended for Liszt himself. In regards to Liszt's arrest, it is not mentioned in the letter to Henriette but I do not know what other sources Burger is basing that on as I do not have a copy of his book (I only had access to the quoted paragraph above through another academic paper) so I cannot rule out its possibility.
Actually, it's not that much of a stretch! Hungary was part of the Austro-Hungarian Empire, while the Ottoman Empire still controlled most of Southeast Europe. The Ottomans were literally Liszt's neighbours!
@@Felix_Li_En She is a great pianist but I don't think her style suits the stereotypical Lisztian paraphrases etc. I hope this piece will be recorded by other well-known pianists. By the way, Gülsin Onay gives online recitals from youtube weekly.
Liszt's Turkish Rhapsody 🇹🇷🎹
Liszt travelled far and wide, but I didn’t know he travelled this far! I think I’ve heard this somewhere before, but I had no idea Liszt made a transcription of it, so that’s always a pleasant surprise. The finale, though, is one of the most virtuous I’ve come across. Thanks for uploading.
@@that1guy910 istanbul
İstanbul is not ''this far''.
You all crazy. Liszt never went to Constantabole@@mertnecati875
Yeah I imagine Liszt retiring was a celebration day for every other pianist out there lol
I don't think he ever retired...
Lucias the Goose
He did, he retired from being a preformer and focused on writing
what a move
XDXD
@@pleasecontactme4274 XDXD
3:52 the slightly out-of-time statement of the theme in left hand is a god damn stroke of genius dude
Hmm... by far the most exciting paraphrase i have ever listened to! Really love how Liszt treated those delightful themes into a playful paraphrase.
I agree!
@Schoenberg is my daddy Indeed.
@@gabindupuy6036 yes lol, his real name is Leon Dudley.
yesi
Il trascendentale In tutte le trascrizioni di Liszt è unico! Grazie!
Спасибо за такое усердие,это самый лучший канал на Ютубе,который популиризует творчество Листа!Браво, спасибо что вы есть!
I love this. This is over the top virtuosity at its very best.
the only liszt piece I knew before you uploaded it. wonderfully played
Je suis exténué à l’écoute de ces transcriptions et réminiscences d’opéras ! Comment est-ce possible de donner tant d’énergie, de profondeur ! Inhumain !
I wish he'd progressed that motif starting at 2:39. It's amazing and I'm a sucker for robust music 😁
Its is just a part Sultan Abdulmecids /Medjids March
It is the Official Ottoman March during his period.
There you will get the full version of it 😉
ruclips.net/video/eKqxvHz3Lrs/видео.html
As soon as I heard that passage or motif, I checked the time, having already read your comment, and thought, that has to be 2:39 on the time, ha. Love it. Agreed. Wish he'd expounded on that.
I got a tendonitis flare-up just watching this.
Merci beaucoup, je découvre cette pièce très peu joué. 😄
Bravo bravo bravo brilliance grandiose super virtuoso music wow
The trio is so good
The beginning reminds me Liszt's Vision
I was just looking for some examples of parallel tenths in the classical repertoire 👌
Liszt was so extra bro
This is like Liszt wrote a piece for Disney's Aladin xD
Great posts on your channel, thanks!
My Orchestra arrangement of this paraphrase as "Grande Symphony":
Woodwinds:
2 Piccolos (2nd opt.)
2 Flutes
2 Oboes
2 Clarinets (in Bb and C)
2 Bassoons
Contrabassoon (opt.)
Brass:
4 Horns (1st and 2nd in G, 3rd and 4th in Eb and D)
4 Trumpets (1st and 2nd in C, 3rd and 4th in Bb)
3 Trombones (alto, tenor and bass)
Tuba
Percussion:
Timpani
Snare Drum
Bass Drum
Triangle
Cymbals
Harp
Strings
ruclips.net/video/6kaJKDZJC8E/видео.html
So cool!!
It is surprising how far east Liszt went and surprising still how an Islamic nation would entertain music like this. Look at what's happened now... In retrospect, perhaps monarchies weren't so bad after all.
The Ottoman monarch of the time, Abdülmecid Han was quite familiar with the dominating western culture of the time, like a good portion of the Ottoman sultans before and after him. Only if the Ottoman Empire wouldn't sheer from that path thanks to some of the later rulers and collapse thanks to the lack of rule and political capital of the latest ones, the destiny of the state would be absolutely different. Despite their bien-pensant outlook in most political cases (ex: the usage of the caliphate to put the islamic nations under control), most of the Ottoman monarchs, officials and the prosperous burgeoise after the post-18th century era lived a modern, life in Istanbul- just didn't offer it to the rest of the nation.
A lot of writers, musicians and artists like Liszt have been invited to the Ottoman Empire over time in the aforementioned era, and a lot of turkish students were also sent to the europe to return to their state as luminaries- well, some of them organized a coup d'etat against one of the monarchs and joined WW1, resulting in the collapse of the empire and the formation of a new, independent state which was even more accepting to the western culture; applying it to the rest of the nation, not only the well-off.
And today, everything is different at a level noone to read the history of now in the future will really like it.
A different, fun fact about Liszt's visits to Istanbul: He got arrested once, accused of impersonating another musician. (Which could be inaccurate..)
@@lisztomani4c Yes, in the chronicle of Liszt’s life by Ernst Burger, the description of Liszt’s stay in Istanbul contains the following paragraph: "An amusing incident in passing: on his arrival in the city, Liszt was brought before the Sultan with a warrant for his arrest. A fellow pianist had used the similarity of their names to advertise himself as the famous Liszt, so that the real Liszt was taken to be an impostor. The error was soon cleared up." I believe this claim to be based on the following letter Liszt wrote to his cousin Henriette in 1884 (however it may be that Burger has access to other sources which are unknown to me):
"My Very Dear Cousin,
This time I was not able to have a thorough rest in Vienna. Such an extra [luxury] is hardly my lot anywhere. My life is one continued fatigue. Some one once asked the celebrated Catholic champion Arnauld (the Jansenist) why he did not allow himself some rest. “We have eternity for that,” answered he. I hear for the first time through you of a cousin or niece, Mary Liszt, a concert giver. Concert givers have frequently misused our name by playing under it in provincial towns. A pianist in Constantinople, Herr Listmann, apologised to me for having knocked off the second syllable of his name. On this account he received a valuable present from the then Sultan Abdul-Medgid. Farewell till our next meeting in Easter week, dear cousin, from yours ever affectionately, F. Liszt"
From this we can conclude that by an amusing coincidence, Liszt found himself in Constantinople at the same time as another pianist, Listmann, who decided to capitalize on this situation by dropping the second syllable of his name, receiving an expensive gift from the sultan intended for Liszt himself. In regards to Liszt's arrest, it is not mentioned in the letter to Henriette but I do not know what other sources Burger is basing that on as I do not have a copy of his book (I only had access to the quoted paragraph above through another academic paper) so I cannot rule out its possibility.
@@AndreiAnghelLiszt It's really a funny yet remarkable story, thank you for clarifying!
Actually, it's not that much of a stretch! Hungary was part of the Austro-Hungarian Empire, while the Ottoman Empire still controlled most of Southeast Europe. The Ottomans were literally Liszt's neighbours!
Que bello es Lizst
1:25 howl's moving castle anyone?
Lol wow it does sound like it!
6:04 와 ㅁㅊㄷㄷㄷ
Great performance, although I wish they didn't ignore the marcato markings so much.
2:32 looks a lot like don juan
14 dislikes from Tsar Nicholas' soldiers
As bayrakları 🇹🇷🇹🇷
Gurur kerem şakar bu yorumu arıyordum
Türkler de Liszt dinliyormuş haberim yok. Bir tek ben dinliyorum sanıyordum 😊
🇹🇷🇹🇷🇹🇷🇹🇷
Tuna Karakaya dinlemeyen de ne biliyim
@@franklind.roosevelt8598 Teşekkürler 😊❤
2:58
Great transcription, only one error. In bar 173, the E on the first beat (left hand) is Eflat
How th do u know that
Muy buena la marccha
I am proud that I wrote this piece. It was one of my easy ones though
Bravisimo !!,
I sorely wish Liszt kept the first theme in f minor
Okay, I think I can play the first 10 bars, and maybe a bit of the trio with some practice. As for the rest......
Solo esta parte se desconecta
Quel piano est utilisé Boesendorfer.
.?les graves dont très belles
Buen dia
Es casi un milagro interprtar la fantasia cromatica .No se oye nunca en concierto
How impossible to play is this omg😢😢
Why bother playing it ?
I prefer Saydam's recording, despite the lower sound quality.
I don't.
@@AndreiAnghelLiszt Fair enough. Have you ever had the chance to search Liszt's literary output as a writer?
@@AndreiAnghelLiszt lol
@@ustadspencertracy7195 How about the recording of Gülsin Onay?
@@Felix_Li_En She is a great pianist but I don't think her style suits the stereotypical Lisztian paraphrases etc. I hope this piece will be recorded by other well-known pianists. By the way, Gülsin Onay gives online recitals from youtube weekly.
Sounds like a Christmas to me😅😅
I thought it was from Gaetano Donizetti 🤦♂️
No suenan las demas
Охуительно