This Sonata and the B Minor both demonstrate Liszt's masterful usage of the piano's low register. It's something I've always loved about his piano writing.
you know, you're exactly right but I've never thought about Liszt's mastery of the low register until I read your comment. Seconding Angelo's comment about the Vision etude being another example of masterful use of the lower registers of the keyboard.
"INTRODUCTION" 0:06 Andante maestoso. Introductory motif 1. Tritones open the piece (Int1/Tri), evoking something in the vein of "abandon hope, all ye who enter here". Answered by a series of diminished triads at 0:18, before resolving to Ab. Repeated a minor third higher at 0:36. 1:04 Più mosso. Tri is developed (and transformed into 4ths/5ths/6ths, Tri*) over a descending bass line, which climaxes at 1:19 before reaching a cadence in G minor. 1:37 Introductory motif 2 (Int2), a rising harmonic minor scale and falling diminished 7th arpeggio in triplets. 1:46 Introductory motif 3 (Int3/Chr), a chromatic scale in the bass that foreshadows and transitions into the next section. "A SECTION" 2:09 Presto agitato assai. Int3/Chr is presented in octaves in both hands (note that it's present in the bass line), marked _lamentoso_ (as if to convey the wailing/moaning of souls in Hell). 2:44 A brief _fortissimo_ outburst, with a modified version of Int2 making an appearance in the LH. 2:48 Int3/Chr is repeated an octave higher, now marked _disperato._ Brief digression to F# minor at 3:10. Int1/Tri reappears at 3:21, followed by Int3/Chr. 3:30 Int2 again, this time modified to fit a chromatically ascending bass line. Repeated in the RH at 3:36. 3:44 A series of diminished 7th arpeggios and chromatic scales in octaves, sweeping up and down the keyboard. 3:57 Repeated octaves (a bit reminiscent of the first Mephisto Waltz), surrounding what's possibly a modification of the response to the tritones at the beginning of the piece. Ascends in minor thirds, before reaching... 4:06 ...Int1/Tri, transformed into 4ths/5ths again. Eventually fixates on a C# major triad, the dominant of F# major. 4:23 A massive climax, presenting a "less chromatic" modification of Int3/Chr (let's call it Chr*) accompanied by cascading octaves. Note the striking use of the E major triad, which briefly gives the theme a bit of a Mixolydian color! Modulates to Bb major, then C# major. "B SECTION" 4:59 Tempo I (Andante). Int1/Tri repeated in G minor, then Bb minor. 5:40 Andante (quasi improvisato). Int3/Chr in F# major, completely recontextualized into something much more musically intimate. 6:39 Andante. Chr* again, in F# major. Maybe this theme is a representation of Beatrice? In any case, it modulates to Bb major, then D major. 7:14 Int3/Chr in G minor, retaining the accompaniment immediately preceding it. 7:54 Recitativo. A short transition to the next passage. 8:12 Int3/Chr in F# major, now presented off the beat over a rather luminous accompaniment. Briefly modulates to Ab major, then C major. 8:52 Back to F# major. Chr**, yet another "de-chromaticized" transformation of Int3/Chr. Repeated three times, climaxing on the third repetition with a _quasi cadenza_ arpeggio. 9:30 The Recitativo theme is repeated three times, marked _appassionato assai_ this time. Tritone harmony returns at 9:48. "C SECTION" 9:58 Allegro moderato. The tritones in the bass are repeated, joined by Int1/Tri at 10:01. Tri* then appears at 10:12. 10:26 Tritones return again, along with a _tremolando_ in the RH. Int2 reappears at 10:31, alternating with Int1/Tri twice. 10:54 Int3/Chr appears in the LH, ascending sequentially and climaxing at 11:11. 11:12 Int2 transitions into the next passage. 11:16 Più mosso. Tri* alternates with Int2 in Ab major, B major, and D major. 11:44 Climax. Major triads descending in whole tones, over chromatic octaves in the bass. After reaching Ab major, Tri* is restated at 11:57. 12:01 Chromatic octaves in the RH, combining Int2 and Int3/Chr, while the LH plays Tri/Tri* repeatedly. 12:19 Tri\*\*, now outlining a B major triad with the same rhythm as Tri. This becomes a restatement of Chr\* in B major at 12:24, with the LH crossed over the RH. 12:33 Chr* in G major. 12:44 The relative stability of this passage is disrupted by the augmented triad in the LH. Polychord of Gaugm7/Bb at 12:53. 13:01 Int2 all by itself (much like the introduction). 13:09 Tempo rubato e molto ritenuto. Int3/Chr again, presented in the same way that it began the B section. 13:54 Tri*, leading to a half-cadence in D major. "D SECTION" 14:11 Andante. Chr* in D major, then F# major, accompanied by tremolos in the RH, then LH (crossed under). 14:49 Più mosso. Another transitional passage full of octaves. 15:03 Allegro. Chr*, presented much more triumphantly (much like the way it first appeared) in D major. 15:31 Chr* is interrupted by Int1/Tri. CODA 15:52 Allegro vivace. Int3/Chr in the same form that it was found in the B section, now in D major and with a _tremolo_-like effect. 16:13 Presto. Chr** in D major, now with lots of annoying leaps!!! 16:29 Int3/Chr in the LH, climaxing at 16:41 with a series of chords descending in whole tones. 16:54 Tempo I (Andante). Tri*, followed by a decisive plagal cadence (vi-IV-ii-I) and one last statement of Tri* in D major.
I'd call A and B sections the Exposition, C section the development and D and CODA the Recapitulation. Effectively I think this sonata is in sonata form with the theme in A being the whole thing, B section being the same theme but in F# major and new material. We also have the 2nd theme appearing in F sharp major at 4:24 C section is just playing with the elements of introduction and sections before, while modulating several times and ending up in A flat major, a key that has nothing to do with any of the others in previous sections. Hence being the development. Then we get back to the Recapitulation (which for me starts at 13:09) that briefly enounces material from the exposition but this time in the key of D major, and in chronological order pretty much. For me the coda only starts just after the presto triplets (which was the exposition end in it's initial form).
The amount of careful thought evident in this performance reminds me of Gould and Richter. This recording shows an immense amount of sustained commitment on the musical conception throughout the performance.
@canzo0378 Not really, Liszt and Chopin are both in a same level. Both of them have grade lrcm (RCM 12) pieces, both of them have one of the most difficult pieces in the repertoire. I mean, there's no point in arguing who has a better technique, and whose pieces are harder.
@@antonygonzalez1672 I'm learning this piece now and I got to say this mentioned part is one of the hardest because of acuuracy and connecting notes. range between some notes is way above hand spread(average hand at least) so you actually have to "jump" on those upper notes with pinky finger. Hard for me to explain it in english but I hope you can somewhat understand what I mean.
What a treasure trove your site is, Ashish! Easily as worthwhile as any music history course I took in college, and 100X more enjoyable. I deeply appreciate your hard work, and your descriptions of the pieces should be compiled into a book. Thank you for all you do.
Sublime indeed, though there is a section of Alkan's concerto that is similar in style and every bit as wonderful. The dates of conception may be closer than one would think, and their respective sets were published a year apart (1856 and 1857). Schumann's posthumous Symphonic Etude variation No. 5 is a contender too, a dreamlike exploration of the upper registers of the keyboard.
Ashish, like other commentators, I would like to thank you: 1. for your wonderful musical choices, 2. for your introductions to them, knowledge and sensitivity bound together!
i read on an online article on the ballades about a flat major being the death key (cuz it starts the first ballade); i think it can be found in the sources of the wikipedia article on the ballades.
My all-time favourite piece by Liszt (to listen to and to perform. Also, one of the few I can perform without cheating. Small hands..) The piece's absolute darkness is perfect counterpoint to "Abandon all hope, ye who enter"
One of the most bipolar pieces I have ever seen. The piece starts dramatic and changes abruptly to a dream-like passage. Indeed one of the most cherished passages. :)
theres so many melodies from liebestraum in this piece. maybe it was one of his favorite melodies? or he was trying to show emotions through motifs sort of like wagner, someone who liszt admired a lot did.
Like Dante and poet Virgilio -and this splendid Liszt sonata- Pletnëv takes us by the hand and accompanies us into a world of utter tenderness, sex, search, despair, death... Rapturously magnificent.
Quite a statement to say that this was the most important piece of the set seeing how it contains really significant music such as Liszt's Jeux d'eau...
I believe the "set" he was talking about is the "Second Year: Italy" rather than the whole three-volume Années. The Third Year, which contains Jeux d'eau... was written 30-40 years after the Dante Sonata - so it's not really meaningful to compare pieces across the whole of the Années. The Second Year however contains pieces that were concieved more or less contemporaneously (late 1830s to early 1850s).
Oh yeah! Thanks for the addition. It's really difficult to pick apart moments in such a masterpiece of a sonata. One is always tempted to just tag every single minute of it! Plus, that particular moment has already been tagged several times.
This should be the top comment, you listed all the moments with original melodies. It is a good comment for those who are eager to say "This piece sucks ! it has no melody!!"
Thanks! And yes, I absolutely hate it when people look down upon Liszt without even giving his pieces a chance. He is one of my all-time favorite composers. On the same level as the greatest of the greats (Beethoven, Chopin, Ravel, you name it). He is massively underrated for his works which are ingenious in every way. Such melodies and themes could only have been conceived by the master - Liszt.
@@sandrobirnbaumer5444 Look, I don't mean to be offensive, but Liszt is simply the quintessential composer. He could effortlessly shift from his cynical diabolism (his mephisto waltzs and Mazeppa are great examples) to such a tender sweetness, such an utterly beautiful otherworldliness. He was the most triumphant, the most theatrical figure in the history of music (Lisztomania). He has the widest piano repertoire out of all piano composers. He was the first visionary piano virtuoso to see piano compositions as poems, a medium to narrate stories and feelings (for this reason often drew from literary works or historical events.) Last but not least, the man was LITERALLY the Paganini of piano. After attending one of his concerts, Liszt was so deeply mesmerised by Paganini's virtuosity that he decided to become, just like he was for violin, the ultimate master of the piano. Masterpieces like the Etude n.6 are direct variations on Paganini's violin motifs. HE IS the greatest romantic composer, HE IS the greatest piano virtuoso, HE IS the greatest. The coda from Hungarian Rhapsody n.2 will be playing when the universe's last slowly dies.
@@edoardobonel5845 Heat me out. I really understand where you're coming from, the contrast in character and the virtuosity of his pieces is outstanding, but Chopins pieces are no less emotional. I think in the end it all comes down to personal taste. Liszt also has written great pieces for orchestra and basically invented the tone poem, which makes him very important for the romantic period, but Strauss, Mahler or Wagner (say about him what you want) have written greater orchestral pieces and Wagner in particular had a huge impact on all music after him. Labeling one composer superior to the other is just something I'm not a fan of because as i said, in the end it comes down to personal taste. (I apologize for any spelling or grammar mistakes, I'm Austrian)
Work of a Genius How to get out of hell ? Seven levels to climb out Masterpiece and impressive energy from Pletnev. Stunning, beautiful We need this today and tomorrow
I actually was forced to study the literature upon this work was based: "The Divine Comedy" by Dante, in my English literature class in high school; although it may have been because I attended a Catholic school.
btw I love how Liszt modulates from d minor to f sharp minor. Just like Beethoven does in the development section of his piano sonata no. 17 in d minor. The so called Tempest sonata
@@wooogie672 No. Liszt's overworldliness is at a level NO ONE can touch, he's just simply the greatest piano composer to have ever graced planet earth. I mean the man was literally the Pagaini of piano.
A comment on the instrument used in this recording: absolutely magnificent. The artist's command is phenomenal but a lesser piano would have not contributed as well for Pletnev's interpretation.
the hallmark of a well written composition/transcription/arrangement is the convenience of the fingerings and rhythms all taken into consideration. lots of difficult pieces are actually quite intuitive to play. difficult, but intuitive and feels "right" under the fingers.
A fine dramtic and colorfulapproach to this piece by Pletnev to my ears no recording ,however masterful holds a candle to thatof David Bar-Illan on the old RCA vinyl.
Tell please the year of recording of you know. It would be great to have a year of recording where it is possible. Always interesting to estimate the point of life in which the recording is made.
Come on Eleanor! Yunchan Lim and Pletnev colorless cold piano sound! All the modern players corless cold sound like=Kissin Zimerman Trifonov Buniatishvili Yuja Wang Hamelin Stephen Hough! The best colorful beautiful piano sound players are Really=Wilhelm Kempff Emil Gilels Artur Rubinstein Radu Lupu Vladimir Ashkenazy!
Is it reasonable to see the premises (themes, usage of the piano, writing) of this fantasia in Beethoven Op 106's adagio: ruclips.net/video/WeeR7MzePzQ/видео.html ? I'm thinking about the beginning with tritons and the central part, starting with the adagio of the fantasia.
I understand the attraction for beautiful sounds and textures in this recording, but Pletnev seems to miss the magnitude and the depth, the hell-esque-ish aspects of Liszt's piece, which I can find in Arrau's and especially in Bermann's. I could quote the many places where the pedal is significantly changed, of when ff is mistook for a p or mp, or the tempi.
Honestly, what on earth happened at that section (9:55 to 10:55)? I agree. Way too much rubato, and it destroyed that section for me - which I've normally enjoyed in other performances bar this one.
![Chopin - Sonata No. 2 in B-Flat Minor, Op. 35 (Cho) [Score]](http://i.ytimg.com/vi/VUk3_qTTVg4/mqdefault.jpg)
This Sonata and the B Minor both demonstrate Liszt's masterful usage of the piano's low register. It's something I've always loved about his piano writing.
Right on!
Also Verdi's Miserere transcription and trascendental etude 6 Vision
I broke up my thumbnails playing this...
Because fuck rachmaninoff right😂😂😂
you know, you're exactly right but I've never thought about Liszt's mastery of the low register until I read your comment. Seconding Angelo's comment about the Vision etude being another example of masterful use of the lower registers of the keyboard.
"INTRODUCTION"
0:06 Andante maestoso. Introductory motif 1. Tritones open the piece (Int1/Tri), evoking something in the vein of "abandon hope, all ye who enter here". Answered by a series of diminished triads at 0:18, before resolving to Ab. Repeated a minor third higher at 0:36.
1:04 Più mosso. Tri is developed (and transformed into 4ths/5ths/6ths, Tri*) over a descending bass line, which climaxes at 1:19 before reaching a cadence in G minor.
1:37 Introductory motif 2 (Int2), a rising harmonic minor scale and falling diminished 7th arpeggio in triplets.
1:46 Introductory motif 3 (Int3/Chr), a chromatic scale in the bass that foreshadows and transitions into the next section.
"A SECTION"
2:09 Presto agitato assai. Int3/Chr is presented in octaves in both hands (note that it's present in the bass line), marked _lamentoso_ (as if to convey the wailing/moaning of souls in Hell).
2:44 A brief _fortissimo_ outburst, with a modified version of Int2 making an appearance in the LH.
2:48 Int3/Chr is repeated an octave higher, now marked _disperato._ Brief digression to F# minor at 3:10. Int1/Tri reappears at 3:21, followed by Int3/Chr.
3:30 Int2 again, this time modified to fit a chromatically ascending bass line. Repeated in the RH at 3:36.
3:44 A series of diminished 7th arpeggios and chromatic scales in octaves, sweeping up and down the keyboard.
3:57 Repeated octaves (a bit reminiscent of the first Mephisto Waltz), surrounding what's possibly a modification of the response to the tritones at the beginning of the piece. Ascends in minor thirds, before reaching...
4:06 ...Int1/Tri, transformed into 4ths/5ths again. Eventually fixates on a C# major triad, the dominant of F# major.
4:23 A massive climax, presenting a "less chromatic" modification of Int3/Chr (let's call it Chr*) accompanied by cascading octaves. Note the striking use of the E major triad, which briefly gives the theme a bit of a Mixolydian color! Modulates to Bb major, then C# major.
"B SECTION"
4:59 Tempo I (Andante). Int1/Tri repeated in G minor, then Bb minor.
5:40 Andante (quasi improvisato). Int3/Chr in F# major, completely recontextualized into something much more musically intimate.
6:39 Andante. Chr* again, in F# major. Maybe this theme is a representation of Beatrice? In any case, it modulates to Bb major, then D major.
7:14 Int3/Chr in G minor, retaining the accompaniment immediately preceding it.
7:54 Recitativo. A short transition to the next passage.
8:12 Int3/Chr in F# major, now presented off the beat over a rather luminous accompaniment. Briefly modulates to Ab major, then C major.
8:52 Back to F# major. Chr**, yet another "de-chromaticized" transformation of Int3/Chr. Repeated three times, climaxing on the third repetition with a _quasi cadenza_ arpeggio.
9:30 The Recitativo theme is repeated three times, marked _appassionato assai_ this time. Tritone harmony returns at 9:48.
"C SECTION"
9:58 Allegro moderato. The tritones in the bass are repeated, joined by Int1/Tri at 10:01. Tri* then appears at 10:12.
10:26 Tritones return again, along with a _tremolando_ in the RH. Int2 reappears at 10:31, alternating with Int1/Tri twice.
10:54 Int3/Chr appears in the LH, ascending sequentially and climaxing at 11:11.
11:12 Int2 transitions into the next passage.
11:16 Più mosso. Tri* alternates with Int2 in Ab major, B major, and D major.
11:44 Climax. Major triads descending in whole tones, over chromatic octaves in the bass. After reaching Ab major, Tri* is restated at 11:57.
12:01 Chromatic octaves in the RH, combining Int2 and Int3/Chr, while the LH plays Tri/Tri* repeatedly.
12:19 Tri\*\*, now outlining a B major triad with the same rhythm as Tri. This becomes a restatement of Chr\* in B major at 12:24, with the LH crossed over the RH.
12:33 Chr* in G major.
12:44 The relative stability of this passage is disrupted by the augmented triad in the LH. Polychord of Gaugm7/Bb at 12:53.
13:01 Int2 all by itself (much like the introduction).
13:09 Tempo rubato e molto ritenuto. Int3/Chr again, presented in the same way that it began the B section.
13:54 Tri*, leading to a half-cadence in D major.
"D SECTION"
14:11 Andante. Chr* in D major, then F# major, accompanied by tremolos in the RH, then LH (crossed under).
14:49 Più mosso. Another transitional passage full of octaves.
15:03 Allegro. Chr*, presented much more triumphantly (much like the way it first appeared) in D major.
15:31 Chr* is interrupted by Int1/Tri.
CODA
15:52 Allegro vivace. Int3/Chr in the same form that it was found in the B section, now in D major and with a _tremolo_-like effect.
16:13 Presto. Chr** in D major, now with lots of annoying leaps!!!
16:29 Int3/Chr in the LH, climaxing at 16:41 with a series of chords descending in whole tones.
16:54 Tempo I (Andante). Tri*, followed by a decisive plagal cadence (vi-IV-ii-I) and one last statement of Tri* in D major.
thank you so much
Mus Teor?
I'd call A and B sections the Exposition, C section the development and D and CODA the Recapitulation.
Effectively I think this sonata is in sonata form with the theme in A being the whole thing, B section being the same theme but in F# major and new material. We also have the 2nd theme appearing in F sharp major at 4:24
C section is just playing with the elements of introduction and sections before, while modulating several times and ending up in A flat major, a key that has nothing to do with any of the others in previous sections. Hence being the development.
Then we get back to the Recapitulation (which for me starts at 13:09) that briefly enounces material from the exposition but this time in the key of D major, and in chronological order pretty much.
For me the coda only starts just after the presto triplets (which was the exposition end in it's initial form).
4:59 Sounds more like C# minor than G minor. It's one semitone lower than the beginning
@@octopuszombie8744it’s g minor
Notice his voicing from 8:52!
8:52 - top line
9:04 - middle line
9:15 - bottom line
Zimerman does this as well in the b minor sonata.
I never noticed that before you pointed it out! :O
Wow, true!
Lol there's a same comment in the b minor sonata
I am always thankful for the people who do this. I play the violin and could never recognize all the intricate details one can perform with the piano.
@@CI-ym5hr It's my comment from the sonata, not like I care I just like random internet things like this
I feel that reading your commentary helps me become more musically literate - thank you!
+Matthew S Thrilled to hear that. :)
Agreed!
I love being able to see the music sheets that are being played in this video. Really helps.
Useless for me:((
@@costelconstantin4845why?
gonna be playing this for college auditions next year... see y’all on the other side
Keep us updated
Playing this atm as well, do plenty of slow practice and best of luck!
Remember... it’s not about doing what you love, it’s about being better than everyone else.
Woah nice!
@@lilgates4890 words of wisdom
The opening themes return as a fifth at the very end is probably the most satisfying resolution in all of music.
16:13 the most beautiful thing i have ever heard from liszt, the notes where eating italian food 🍕🍜
“The agonizing chromatic lament” I couldn’t have described it any better!
For some reason, this particular interpretation makes the piece seem more accessible to me. I love the sensitivity and nuance.
The amount of careful thought evident in this performance reminds me of Gould and Richter. This recording shows an immense amount of sustained commitment on the musical conception throughout the performance.
2:51～4:15門の動機、8:21～9:17救いの動機（極めて美しい）、11:21～11:40
（地獄編）、15:50（コーダ）と聞きどころ満載。リストも納得いく佳作と思う。
I could learn this in one afternoon-if the afternoon was about a hundred years long. magnificent
I could learn this in 3 seconds. Oh wait... I did. I wrote it.
Liszt pieces are usually easier than they sounds most of the time
Charles G but Liszt is considered top difficulty right beside Chopin
@canzo0378 Not really, Liszt and Chopin are both in a same level. Both of them have grade lrcm (RCM 12) pieces, both of them have one of the most difficult pieces in the repertoire. I mean, there's no point in arguing who has a better technique, and whose pieces are harder.
@@michelhadad569 Eh, they both have very demanding, difficult pieces.
8:12 - 9:26 Beauty wrought in sound. Wow.
Those passages are difficult to play but amazing, musically, if you can pull them off.
Chris Vuille what’s so hard about them?
@@antonygonzalez1672 I'm learning this piece now and I got to say this mentioned part is one of the hardest because of acuuracy and connecting notes. range between some notes is way above hand spread(average hand at least) so you actually have to "jump" on those upper notes with pinky finger. Hard for me to explain it in english but I hope you can somewhat understand what I mean.
@@PianoMichal domyślam się o co chodzi 🙂 gratulacje grania tego utworu. Słuchając aż się nasuwa powiedzenie : "dantejskie sceny"
If there're piano pieces similar mood to this, please recommend it! 8:12 8:54
What a treasure trove your site is, Ashish! Easily as worthwhile as any music history course I took in college, and 100X more enjoyable. I deeply appreciate your hard work, and your descriptions of the pieces should be compiled into a book. Thank you for all you do.
I listened to Pletnev’s interpretation a year ago and I thought “Ashis has probably made a video of it, since it’s so beautiful”. And here it is!
I wonder if Rachmaninoff was inspired by 4:49 in his 3rd movement of his 2nd concerto...
Yeah I swear I heard rach 2 in that passage too lmao
I heard rach 3 second movement
I heard Rach 2 Mov 1
@@CalamityInAction this cannot happen
@@costelconstantin4845 What do you mean? It *reminds* me of the rising chords before one of the restatements of Theme 1 (about 7 minutes in)
I've never heard it played so insightfully and tastefully. Nothing is forced or abrasive. For the most part this does the work favors.
16:28
Is like a demon being pushed back down to the underworld but him trying with all his strength to resist
I heard this piece performed in a masterclass 2 years ago and I kinda forgot it existed until today. Great piece honestly.
The part at 8:52... such a sublime beauty that only Liszt could have ever conceived of.
Sublime indeed, though there is a section of Alkan's concerto that is similar in style and every bit as wonderful. The dates of conception may be closer than one would think, and their respective sets were published a year apart (1856 and 1857). Schumann's posthumous Symphonic Etude variation No. 5 is a contender too, a dreamlike exploration of the upper registers of the keyboard.
He stole this from Legend of Zelda, actually!
I was going to state that I also heard this in one of Alkan's music but well. You already did it !
PieInTheSky sounds hella like the black keys etude?
Some parts look like The Winner Takes It All from ABBA.
underrated piece, period.
Too many beautiful passages in this work to count, but 8:12-9:30 is especially gorgeous...
Ashish, like other commentators, I would like to thank you: 1. for your wonderful musical choices, 2. for your introductions to them, knowledge and sensitivity bound together!
0:32 Oh that sneaky A-flat major chord pretending to be a happy chord, little do they know it's the key of *_death._*
References ?
References?
References
i read on an online article on the ballades about a flat major being the death key (cuz it starts the first ballade); i think it can be found in the sources of the wikipedia article on the ballades.
D minor is the key of death
My all-time favourite piece by Liszt (to listen to and to perform. Also, one of the few I can perform without cheating. Small hands..) The piece's absolute darkness is perfect counterpoint to "Abandon all hope, ye who enter"
8:12 is remarkably otherworldly.
Quite
One of the most bipolar pieces I have ever seen. The piece starts dramatic and changes abruptly to a dream-like passage. Indeed one of the most cherished passages. :)
@@CatkhosruShapurrjiFurabji so is the fantastical structure of the Divine Comedy; adventure at its finest.
Incredible piece!! and Thank you very much for the analysis.
played this the first time in my life today, a really epic piece. My tablet died just as I finished the last page. lol
6:58 getting mad liebestraum no 3 vibes bro
Same composer
p-y well duh
Ah yes, the liszt licc in all its glory.
theres so many melodies from liebestraum in this piece. maybe it was one of his favorite melodies? or he was trying to show emotions through motifs sort of like wagner, someone who liszt admired a lot did.
Splendid! 🌟 Thanks so much for posting this~
Now *this* is a wonderful performance 🎹 - thank you 🎵🙏
Like Dante and poet Virgilio -and this splendid Liszt sonata- Pletnëv takes us by the hand and accompanies us into a world of utter tenderness, sex, search, despair, death...
Rapturously magnificent.
Quite a statement to say that this was the most important piece of the set seeing how it contains really significant music such as Liszt's Jeux d'eau...
I believe the "set" he was talking about is the "Second Year: Italy" rather than the whole three-volume Années. The Third Year, which contains Jeux d'eau... was written 30-40 years after the Dante Sonata - so it's not really meaningful to compare pieces across the whole of the Années. The Second Year however contains pieces that were concieved more or less contemporaneously (late 1830s to early 1850s).
I love that the first musical direction after you complete the descent into Hell is "lamentoso". The wailing of the damned...
16:12 that's where the magic starts~
4:24, 5:40, 8:12, 8:52, 12:01, 13:09, 14:10, 14:49, 15:54, 16:12
no. 8:12 ??
Oh yeah! Thanks for the addition. It's really difficult to pick apart moments in such a masterpiece of a sonata. One is always tempted to just tag every single minute of it! Plus, that particular moment has already been tagged several times.
This should be the top comment, you listed all the moments with original melodies. It is a good comment for those who are eager to say "This piece sucks ! it has no melody!!"
Oh, don't forget 8:52
Thanks! And yes, I absolutely hate it when people look down upon Liszt without even giving his pieces a chance. He is one of my all-time favorite composers. On the same level as the greatest of the greats (Beethoven, Chopin, Ravel, you name it). He is massively underrated for his works which are ingenious in every way. Such melodies and themes could only have been conceived by the master - Liszt.
Love the interpretation + the commentary :) Always great to learn something from a performance, thanks!
8:00 reminds me of the first Ballade (Chopin)
Exactly
@@edoardobonel5845 ummm... okay
@@edoardobonel5845 and why exactly would you label liszt so much superior to chopin?
@@sandrobirnbaumer5444 Look, I don't mean to be offensive, but Liszt is simply the quintessential composer. He could
effortlessly shift from his cynical diabolism (his mephisto waltzs and Mazeppa are great examples) to such a tender sweetness, such an utterly beautiful otherworldliness. He was the most triumphant, the most theatrical figure in the history of music (Lisztomania). He has the widest piano repertoire out of all piano composers. He was the first visionary piano virtuoso to see piano compositions as poems, a medium to narrate stories and feelings (for this reason often drew from literary works or historical events.) Last but not least, the man was LITERALLY the Paganini of piano. After attending one of his concerts, Liszt was so deeply mesmerised by Paganini's virtuosity that he decided to become, just like he was for violin, the ultimate master of the piano. Masterpieces like the Etude n.6 are direct variations on Paganini's violin motifs. HE IS the greatest romantic composer, HE IS the greatest piano virtuoso, HE IS the greatest. The coda from Hungarian Rhapsody n.2 will be playing when the universe's last slowly dies.
@@edoardobonel5845 Heat me out. I really understand where you're coming from, the contrast in character and the virtuosity of his pieces is outstanding, but Chopins pieces are no less emotional. I think in the end it all comes down to personal taste. Liszt also has written great pieces for orchestra and basically invented the tone poem, which makes him very important for the romantic period, but Strauss, Mahler or Wagner (say about him what you want) have written greater orchestral pieces and Wagner in particular had a huge impact on all music after him. Labeling one composer superior to the other is just something I'm not a fan of because as i said, in the end it comes down to personal taste. (I apologize for any spelling or grammar mistakes, I'm Austrian)
8:54 The Winner Takes it All... I think it might be even the same key
Great spot!
i was looking for this comment for so long under every interpretation of this piece omg! thank you so much i feel so understood rn
@@lindahess363 hahaha lol, yeah I‘ve also been thinking this for months or even years before haha
Work of a Genius
How to get out of hell ? Seven levels to climb out
Masterpiece and impressive energy from Pletnev. Stunning, beautiful
We need this today and tomorrow
Pieces like this make me believe that classical music should be a mandatory study in school
Nah bro kids who like lil pump and tekashi 69 don't deserve this music
sadly nowadays no one loves classical music :(
those kids only love listening dumbstep
No way, the education system is run by Marxists and they want to destroy traditional civilisation.
I actually was forced to study the literature upon this work was based: "The Divine Comedy" by Dante, in my English literature class in high school; although it may have been because I attended a Catholic school.
8:52 ABBA winner takes it all??
YES, finally someone.
omg yessss
And also at 2:10 and 2:49 is Money, Money, Money. I wonder if Benny Andersson is a closet Liszt scholar?!
Lol
underrated comment
8:52 theme: charming
16:13 return: pizza
LMAO
:pizza:
Why pizza
because pizza
He who enters here , abandon all hope .........................
My fingers
They should put this saying above the entrance door of the hospital where I work.
no one is going to mention the melody at 6:37 ?
14:11 heaven
btw I love how Liszt modulates from d minor to f sharp minor. Just like Beethoven does in the development section of his piano sonata no. 17 in d minor. The so called Tempest sonata
Lady Grey at 3:30 also where the time signature changes to common time
Yes same modulation and similar figuration as in the "wilde jagd" transcendental etude!
Excellent interpretation, that I did not know. Thanks you Ashish for posting it! Have you posted any further Listzt's pieces played by Pletnev?
Masterpiece
The tremolo bass at the end is God‘s power saving you from eternal suffering in hell and crushing all evil
16:12 !!😳😳😳😳😱😱😱💔🔥❤️❤️❤️🔥❤️
K I knew Liszt was good, but I didn't realize he was this good.
He's better than this.
He is the best
I love 11:12 ~ 12:35
14:50 ~ 17:33
Around 15:00 and elsewhere is the devil's seventh, considered in those days to be the musical domain of the demonic.
Did you completely miss the beginning of the piece?
8:14 "sex with the music. On of the most beautiful part in a piece i've ever seen. Probably better than chopin (probably)"
Better than chopin...much better
What piece are you guys compairng Liszt with by chopin?
it’s really pretty, but no where close to chopin’s best works (especially his ballades)
Chopin and Liszt are totally different
They are like Beethoven and Schubert, incomparable, each one a master of its own art
@@wooogie672 No. Liszt's overworldliness is at a level NO ONE can touch, he's just simply the greatest piano composer to have ever graced planet earth. I mean the man was literally the Pagaini of piano.
2:09 3:35 LH rhythm 4:07 theme 4:23 fff
3:30 gave me goosebumps
Muita habilidade e perfeição!
perfeito, da uma olhadinha no meu canal, obrigado, componho musica classica.
Ну Плетнев конечно же молодец! Старая школа.👍👏
Perfect 🎹🎵
A comment on the instrument used in this recording: absolutely magnificent. The artist's command is phenomenal but a lesser piano would have not contributed as well for Pletnev's interpretation.
Would love to have heard Richter in this.
Too late.
@@aoe9857 :(
@@aoe9857 lol sadly thats true
@@aoe9857 too soon
So, three dots exist in real life... Wonderful!
so do four dots
8:13 to 9:49
I can't believe people actually play things like this. Looks so complex.
I can play it. I have been practicing it for years!
That is amazing! i can only dream of being able to do that ever lol
the hallmark of a well written composition/transcription/arrangement is the convenience of the fingerings and rhythms all taken into consideration. lots of difficult pieces are actually quite intuitive to play. difficult, but intuitive and feels "right" under the fingers.
I am listening to it because my hands aren't big enough to play this music.
Could you upload Korstick's version , it maybe my favorite .
Someone wants to discuss his time distortion at the end of both phrases starting at 4:58?
00:06 08:13 08:53 🤍🤍
I love 2:10 so much
Yeesh. Got enough octaves there, Franz?
Bravo!!!
4:36 was the satisfying part ❤
A fine dramtic and colorfulapproach to this piece by Pletnev to my ears no recording ,however masterful holds a candle to thatof David Bar-Illan on the old RCA vinyl.
it sounds like the depths of hell and the beauties of heaven
8:53 beautiful part
Liszt Ferenc:Dante-Szonáta
Mihail Pletnyov-zongora
Tell please the year of recording of you know. It would be great to have a year of recording where it is possible. Always interesting to estimate the point of life in which the recording is made.
Yess!! So important also for me
6:55 - 7:30 Inspiration ? for Chopin´s Nocturnes No. 2 in Eb, Op.9 No. 2
Now we have Yunchan lim! No one playing this Fantasia-Sonata as phenomenal as this Genius!!!❤
Come on Eleanor! Yunchan Lim and Pletnev colorless cold piano sound! All the modern players corless cold sound like=Kissin Zimerman Trifonov Buniatishvili Yuja Wang Hamelin Stephen Hough! The best colorful beautiful piano sound players are Really=Wilhelm Kempff Emil Gilels Artur Rubinstein Radu Lupu Vladimir Ashkenazy!
@@RaineriHakkarainen It's your opinion!
I'm not seeing the bitonality at 12:53, and also the mediant mixture you mention as impressionistic is quite rooted in late German music before then.
Very good
Anybody notice the treble clef with the G flat at 1:23? Lol typo
Liszt and death yet again: the tritone is significant in both sonatas. Here it’s more obvious - in the B minor sonata it’s hidden in the harmonies.
8:13 and 14:10 personal time stamp
3:29
2:10
2:09
16:13
Gonna sound like a pleb, but getting whiffs of The Winner Takes It All at about 8:56.
thank god i am not the only one!!
On 5:08 , is the A on the right hand supposed to be natural? It isnt written on the score to play the A natural
It's a mistake on the score .This is a natural A obviously.
6:39 I’m sobbing rn
Amen everyone have a nice life 8:12
@@Dylonely_9274ok, don't have a nice life then 😈
@@WEEBLLOM Yes
Is it reasonable to see the premises (themes, usage of the piano, writing) of this fantasia in Beethoven Op 106's adagio: ruclips.net/video/WeeR7MzePzQ/видео.html ? I'm thinking about the beginning with tritons and the central part, starting with the adagio of the fantasia.
I understand the attraction for beautiful sounds and textures in this recording, but Pletnev seems to miss the magnitude and the depth, the hell-esque-ish aspects of Liszt's piece, which I can find in Arrau's and especially in Bermann's. I could quote the many places where the pedal is significantly changed, of when ff is mistook for a p or mp, or the tempi.
Best Liszt's piano piece.
Not at all.
@@Dylonely_9274 it's my opinion
Nice Tune !!!!!!!!
7:00 9:06
Wow ❤❤❤🔝👏👏👏👏👏👏👏👏👏👏👏
Браво гениально сыграл виртуозно и грандиозно
Like a dream
What happened at 10:28? Way too much rubato.
Honestly, what on earth happened at that section (9:55 to 10:55)? I agree. Way too much rubato, and it destroyed that section for me - which I've normally enjoyed in other performances bar this one.
That's because it saw your face