I am absolutely thankful that this exists! Those mistakes in common editions are not talked about *nearly* enough, and I'll be glad to remove them from my playing.
I mean.. I know this sounds cocky and there were MANY different masterpieces in different eras of Romanticism, but regardless... this is the quintessential piano composition above them all... I love playing this so much, it simply has EVERYTHING.
You are right. This virtuoso magnum opus, the "Dante" has everything! It has hellish stylings. It has romance and love. It has storminess, and it has celestial feelings too.
These lectures are FANTASTIC!!! I know the view ticker might suggest otherwise yet Howard's lectures are incredibly informative with a direct approach to honor the intent of the composer. Well done. I learn something new from you every day! :)
This video will last for decades, possibly forever. Imagine if we had this kind of documentation from liszts time. Even tho this video doesnt have many views right now, imagine how valueable it can be to future generations.
Thank you very, very much for posting this. It is incredibly informative. I looove this piece. Leslie Howard's dedication to the music of Franz Liszt is greatly appreciated.
0:20 Mr Howard is wrong here. I speak French and "du Dante" is not a mistake. It simply has a different meaning than "de Dante". "Dante" is the writer. "Le Dante" means the "The Divine Comedy". Since "de + le" becomes "du" according to French grammar, the title given by Liszt is correct. (Edit: Liszt scholar Anna H. Celenza confirms this in her contribution to the book "Franz Liszt and his World" (ed. C.H. Gibbs and D. Gooley), on page 30.)
Or it can be "du Dante" meaning that he read some Dante, not a particular text, just in general something of Dante! - je joue du Chopin, par example. Or am I wrong?
The allusion is surely to Victor Hugo: "Après une Lecture de Dante Quand le poète peint l'enfer, il peint sa vie: Sa vie, ombre qui fuit de spectres poursuivie; Forêt mystérieuse où ses pas effrayés S'égarent à tâtons hors des chemins frayés; Noir voyage obstrué de rencontres difformes; Spirale aux bords douteux, aux profondeurs énormes, Dont les cercles hideux vont toujours plus avant Dans une ombre où se meut l'enfer vague et vivant! Cette rampe se perd dans la bruine indécise; ..." I think this has close affinity with the music.
Wondering why they didn't ask Soerjadi to explain the piece. Saw his performance in the Distance Concert. Phenomenal and never seen or heard it before in that way...
Leslie Howard does far, far more than "explain the piece" in this video: he brings a lifetime of knowledge and insight gained as a performer and scholar to illuminate and clarify often intricate issues of textual authority and interpretation. This constitutes a unique, precious gift to other pianists and listeners as well, and we are very fortunate to have it available to us!
I wonder if Liszt purposely let parts of the printed score be slightly muddled because a totally accurate rendering of what he did would give away some of his performance magic. “I’m going to leave some ambiguity here to make it very difficult for anyone to equal my playing. “
Not sure if you meant your comment as a joke or in all seriousness, but assuming for the moment the latter: I doubt it very much. (Besides, how often did Liszt actually play this piece in public?) No. It's more likely that in the incredibly busy creative life he led, occasional errors slipped through. This is more common than you might think: having edited a modest-sized anthology of one-act plays I can testify that to get EVERYTHING absolutely correct is very difficult! Benjamin Britten -- who had a team of assistants to proof his published scores -- once said that when a newly printed edition of a work came out, there was bound to be a mistake on the very first page you opened it to... and so began the compiling of an errata sheet for the next printing...
You do understand that this is a "master class" aimed in particular at other pianists who are thinking of tackling this brilliant, challenging music? (It was posted by the Liszt Competition in The Netherlands.) Mr. Howard brings not only all of his experience and deep understanding as a performer to his comments, but also his incredible fund of knowledge about textual matters (often complex in Liszt's music!), including the evolution of works through multiple versions. Fascinating and illuminating even for those of us with no ambition to play the music ourselves! :)
1. He has just edited this Peter's Edition of Liszt works. Being an Editor of an edition of any great composer, is by definition, a nitpicky, highly detailed and daunting undertaking. He is going through the philosophy of his choices in a highly authoritative lecture. He is one of the world's experts on Liszt. The entire basis for this discussion is his expertise as the Editor. 2. The long, long tradition of learning and studying such works is to begin by learning the music faithfully to a very good edition, noting all the composers notes, tempos, etc. in deep detail. After you have the purest version learned, you then take step 2 and begin your interpretation within limits of musicality and traditions (many he discusses) and your own genius.
You might as well say that about all of Liszt's piano works, as this is one of his finer ones. It seems you dislike this composer, possibly because you don't understand him - thus you shouldn't be commenting on his music. Blocked.
all of liszts piano works are more poetic than either of you can fathom and no modern day composer can touch them. You couldnt write anything as beautiful as simpler works in 100 years. @@franksmith541
Видеоклипы
1 st time to listen to your master class : Feb 13, 2024 from Colorado USA … look forward to learning more … thx for being online …
I am absolutely thankful that this exists! Those mistakes in common editions are not talked about *nearly* enough, and I'll be glad to remove them from my playing.
I mean.. I know this sounds cocky and there were MANY different masterpieces in different eras of Romanticism, but regardless... this is the quintessential piano composition above them all... I love playing this so much, it simply has EVERYTHING.
You are right. This virtuoso magnum opus, the "Dante" has everything! It has hellish stylings. It has romance and love. It has storminess, and it has celestial feelings too.
And of course, this fantasy so many open fifths and tritones which make you feel like Liszt is "The Inferno" itself!!! Enough to wake up Beelzebub!
These lectures are FANTASTIC!!! I know the view ticker might suggest otherwise yet Howard's lectures are incredibly informative with a direct approach to honor the intent of the composer. Well done. I learn something new from you every day! :)
This video will last for decades, possibly forever. Imagine if we had this kind of documentation from liszts time. Even tho this video doesnt have many views right now, imagine how valueable it can be to future generations.
This video is gold ! Thanks to Mr. Howard and the channel for sharing this !
Liszt had a demon and an angel inside of him.
Thank you, never stop!
Thank you very, very much for posting this. It is incredibly informative. I looove this piece. Leslie Howard's dedication to the music of Franz Liszt is greatly appreciated.
Wonderful gift thank you.
Thank you Professor!
Brilliant lesson.
Thank you, maestro !
Thank you Sir.Leslie,thank you google for the information.
Most interesting !
0:20 Mr Howard is wrong here. I speak French and "du Dante" is not a mistake. It simply has a different meaning than "de Dante". "Dante" is the writer. "Le Dante" means the "The Divine Comedy". Since "de + le" becomes "du" according to French grammar, the title given by Liszt is correct. (Edit: Liszt scholar Anna H. Celenza confirms this in her contribution to the book "Franz Liszt and his World" (ed. C.H. Gibbs and D. Gooley), on page 30.)
Or it can be "du Dante" meaning that he read some Dante, not a particular text, just in general something of Dante! - je joue du Chopin, par example. Or am I wrong?
John Samuel No, this would require a verb exactly before « du Dante »: j’ai lu du Dante, j’ai emprunté du Dante à la bibliothèque, and so on.
This makes sense
The allusion is surely to Victor Hugo: "Après une Lecture de Dante
Quand le poète peint l'enfer, il peint sa vie:
Sa vie, ombre qui fuit de spectres poursuivie;
Forêt mystérieuse où ses pas effrayés
S'égarent à tâtons hors des chemins frayés;
Noir voyage obstrué de rencontres difformes;
Spirale aux bords douteux, aux profondeurs énormes,
Dont les cercles hideux vont toujours plus avant
Dans une ombre où se meut l'enfer vague et vivant!
Cette rampe se perd dans la bruine indécise; ..."
I think this has close affinity with the music.
@@martinbennett2228 Yes, but you completely miss the point.
Wondering why they didn't ask Soerjadi to explain the piece. Saw his performance in the Distance Concert. Phenomenal and never seen or heard it before in that way...
Leslie Howard does far, far more than "explain the piece" in this video: he brings a lifetime of knowledge and insight gained as a performer and scholar to illuminate and clarify often intricate issues of textual authority and interpretation. This constitutes a unique, precious gift to other pianists and listeners as well, and we are very fortunate to have it available to us!
Shall I be the first to offer many congratulations to the great artist, Leslie Howard, for this insightful and inspiring presentation.....
leslie howard is a funny man.
is it possible to have at least the manoscript or the edition with the final part before liszt change it ??
What’s the edition of that book?
Leslie Howard published a new edition with Peters
whats the name of the piece in the intro?
Canzonetta del Salvator Rosa, the 3rd piece from Années de pèlerinage, deuxième année - Italie, S161
I wonder if Liszt purposely let parts of the printed score be slightly muddled because a totally accurate rendering of what he did would give away some of his performance magic. “I’m going to leave some ambiguity here to make it very difficult for anyone to equal my playing. “
Not sure if you meant your comment as a joke or in all seriousness, but assuming for the moment the latter: I doubt it very much. (Besides, how often did Liszt actually play this piece in public?) No. It's more likely that in the incredibly busy creative life he led, occasional errors slipped through. This is more common than you might think: having edited a modest-sized anthology of one-act plays I can testify that to get EVERYTHING absolutely correct is very difficult! Benjamin Britten -- who had a team of assistants to proof his published scores -- once said that when a newly printed edition of a work came out, there was bound to be a mistake on the very first page you opened it to... and so began the compiling of an errata sheet for the next printing...
ok so if liszt was so cut throat competitive why did he teach hundreds of students for free and had some of the greatest pianists as his students?
This man looks just like Bach. No joke.
Nobody knows how Bach looked for sure
@@Lordran__ We have a clue though. There’s even a reconstruction. Howie looks just like it.
Liked the video but what’s the point of being this nitpicky about music?
You do understand that this is a "master class" aimed in particular at other pianists who are thinking of tackling this brilliant, challenging music? (It was posted by the Liszt Competition in The Netherlands.) Mr. Howard brings not only all of his experience and deep understanding as a performer to his comments, but also his incredible fund of knowledge about textual matters (often complex in Liszt's music!), including the evolution of works through multiple versions. Fascinating and illuminating even for those of us with no ambition to play the music ourselves! :)
@@treesny true
No need to be this nitpicky, JR. Ignore Leslie and play the Dante Sonata in your own way. We'd like to hear it.
1. He has just edited this Peter's Edition of Liszt works. Being an Editor of an edition of any great composer, is by definition, a nitpicky, highly detailed and daunting undertaking. He is going through the philosophy of his choices in a highly authoritative lecture. He is one of the world's experts on Liszt. The entire basis for this discussion is his expertise as the Editor.
2. The long, long tradition of learning and studying such works is to begin by learning the music faithfully to a very good edition, noting all the composers notes, tempos, etc. in deep detail. After you have the purest version learned, you then take step 2 and begin your interpretation within limits of musicality and traditions (many he discusses) and your own genius.
This guy looks Korean!
Unlike Oli London
this piece is mediocre at best
You might as well say that about all of Liszt's piano works, as this is one of his finer ones. It seems you dislike this composer, possibly because you don't understand him - thus you shouldn't be commenting on his music. Blocked.
all of liszts piano works are more poetic than either of you can fathom and no modern day composer can touch them. You couldnt write anything as beautiful as simpler works in 100 years. @@franksmith541
You are mediocre at best.