I’ve heard it suggested (speculation may be more accurately said) that Liszt accidentally pioneered heavy metal music. Theoretically, his use of dissonant, repeated chords are pretty in line with this. Dramatic Melodies that shift through various tempos culminating in overly stated energetic codas. Stuff like that. I also love Liszt and heavy metal, so…
This performance honors the fact that Liszt was a great composer, before he was a pianistic showman. It comes across as a great narrative piece of music, full of strife, romance, and triumph... that just so happens to be one of the most devilishly difficult ditties ever written. But, it is difficult in a way that works extraordinarily well for the instrument.
For the longest time, i thought this interpretation was played by richter. Certainly seemed to have the virtuosity and power that matches with richter… and the file i downloaded said richter! But i could never find any performance or recording by richter for this piece. So glad I found the real one!!!
@kzelmer To be fair, Berezovsky's version shows phenomenal accuracy and speed which makes for an entertaining video. He deserves to be respected for the energy and effort that it must have taken for him to perform how he did. In saying that, Ovchinnikov not only plays with the utmost control and power but also with a very clear understanding of liszt's intentions and I think it's obvious which rendition is better. I just don't like how you imply B's version doesn't deserve to be heard.
Chopin etudes can be extremely annoying, agreed! The hardest one I did was op.10 no.4 and for the 2 minutes of not-that-impressive-looking you get from it, the effort it takes is crazy. op.10 no.1,2 op.25 no.6, especially test your ability to do very awkward things for a long period of time. Liszt on the other hand with the exception of Feux Follets (which is just impossibly hard lol) uses more "general" technique (like jumps) to a greater extent. Aside from the occassional 3rds passage.
@darkblueangel1956 I'm agree about the quality of both Berezovsky ans Ovchinnikov, but in my opinion, Ovchinnikov beats Berezovsky in the lyrical aspect.
I do like Ovchinnikov's interpretations, as he can defintiely capture fury and beauty at the same time, although I like everyone's interpretation because to play this in the first place you have to be pretty amazing.
I'm learning the piece. To me, it's not about the piece being easier or more difficult; the 2-4 is supposed to simulate the galloping of a wild horse while Mazeppa is strapped to the back of it, and much of the musicality would be lost in another fingering, in my opinion.
It's an insane fingering. I understand the reason for it, but a finger staccato can still provide the percussive effect if you allow yourself to switch from 2-4 to 1-3 (or 4-2 to 3-1). The pianos of today are stiff compared with pianos of the 1830s and 1840s.
@@mstalcup Hmm... that was a really old comment of mine! I hear what you're saying. As a "transcendental" piece, 2-4 feels more like the pianist is actually embodying the horse, in my opinion. I don't think my phrasing of musicality was correct or what I really meant in my original comment.
@@thepropolys I noticed it was an old comment, but because it's a fingering issue that many pianists will consider when learning the piece, I replied with what I found based on my experience when I played it over twenty years ago.
My favorites on CD are Ovchinnikov, Bertrand Chamayou (live!) and Andrey Gugnin; I also have a soft spot for Louis Kentner. Though he is clearly a brilliantly talented pianist, Trifonov's interpretation leaves me unconvinced (and I do wish he would sit up straight; does no one in Russia teach The Alexander Technique?). newFranzFerencLiszt : thank you for posting this excerpt from a great recording. :)
I want to ask those who learned this piece: Are those ascending thirds 0:23 should be play with Liszt/Sauer's fingering of 2-4 , 2-4 all the way. Isn't that hard on that tempo. Aren't 5-3, 2-4, 1-3 easier?
It makes the thirds sound more like a horse by preventing legato and expressive playing, and builds strength in the second and fourth fingers. (because this is an etude)
Sai Kit Ng Wait so am I supposed to slide my 2-4 fingers that are playing the ascending thirds all of the time, just on some parts when its easier, or not at all??
The fingering in the score is insane, so I didn't use it. I understand the reason for it, but a finger staccato can still provide the percussive effect if you allow yourself to switch from 2-4 to 1-3 (or 4-2 to 3-1). The pianos of today are stiff compared with pianos of the 1830s and 1840s.
@@remsan03It's been 10 years but I used to play legato but since I switched to 2-4 my technique developed and it sounds better and gives you that horse galloping sound. And I think its easier on the long term. I always made mistakes while playing legato but since I switched to 2 4 its much better but very hard to get used to it.
A big part of this piece is the fiery passion behind it, and a big part of that "fire" is speed. Berezovsky has amazing technique, and he uses it to give this piece the power it deserves while making it look so easy. This is also an incredible performance; I just prefer Berezovsky's more.
@@chengli7519 The central part is played slower, while it should be played at tempo (lo stesso tempo). So far only Emil von Sauer, Liszt student plays it like this. Too difficult ? Or the contemporary pianist are too lasy to read the score or do things differently than Lazare Bermann and other famous pianists ?
The best interpretation ever, best Liszt interpreter ever.
+Loanguy619 I prefer Trifonov
@@1001themaster i agree
Correct.
i agree. he's the only one pianist having perfect rhythm and melodies in mazeppa.
1001themaster Cziffra will blow all of your minds..
By far my favorite interpretation of this piece, truly excellent.
I like Trifonov's
@@blobs5440 Arrau's is the best one
@@Sifsif__ma Should listen to Clidat, too. She's pretty underrated, but she is very good
0:20 Liszt dropping the bass since the 19th century
lol
I’ve heard it suggested (speculation may be more accurately said) that Liszt accidentally pioneered heavy metal music. Theoretically, his use of dissonant, repeated chords are pretty in line with this. Dramatic Melodies that shift through various tempos culminating in overly stated energetic codas. Stuff like that. I also love Liszt and heavy metal, so…
@@jasonmaslowski7088 I mean just look at Beethoven, if the timbre was different, a lot of sonatas will sound like death metal
Berezovsky: 2000000 views.
Ovchinnikov: 6k
Something's wrong in this world...
Yep :/
It's a visual thing. But Ovchinnikov take is by far the best, his virtuoso really maxes out in the limits of all the Transcendental Etudes.
@@AndreiAnghelLiszt yoo andrei sup
Justin Bieber: 1B+views
Berezovsky/Ovchinikov: less than 10M views
Something's wrong with this world...
I love ovchi's much much more
This performance honors the fact that Liszt was a great composer, before he was a pianistic showman. It comes across as a great narrative piece of music, full of strife, romance, and triumph... that just so happens to be one of the most devilishly difficult ditties ever written. But, it is difficult in a way that works extraordinarily well for the instrument.
I agree. Sadly i can not play it
and ... WHAT a performance...!!!! so grand, heroic and poetic...
5:02 Is just brilliant. That is definitely my single favorite interpretation of this part.
Yes, I like it, every notes are clear, performers use pedal so much.
I agree
Definitely the best rendition ever.
For the longest time, i thought this interpretation was played by richter. Certainly seemed to have the virtuosity and power that matches with richter… and the file i downloaded said richter! But i could never find any performance or recording by richter for this piece. So glad I found the real one!!!
1:32 - 1:45 I've never heard this section played this expressively before... I'm stunned!
@kzelmer To be fair, Berezovsky's version shows phenomenal accuracy and speed which makes for an entertaining video. He deserves to be respected for the energy and effort that it must have taken for him to perform how he did.
In saying that, Ovchinnikov not only plays with the utmost control and power but also with a very clear understanding of liszt's intentions and I think it's obvious which rendition is better. I just don't like how you imply B's version doesn't deserve to be heard.
Gosh, this guy is great at Liszt!
Chopin etudes can be extremely annoying, agreed! The hardest one I did was op.10 no.4 and for the 2 minutes of not-that-impressive-looking you get from it, the effort it takes is crazy. op.10 no.1,2 op.25 no.6, especially test your ability to do very awkward things for a long period of time. Liszt on the other hand with the exception of Feux Follets (which is just impossibly hard lol) uses more "general" technique (like jumps) to a greater extent. Aside from the occassional 3rds passage.
who is chopin? lols
Non conoscevo questa edizione degli studi trascendentali. Bella ,molto curata nel fraseggio e nel suono. Migliore di molte altre più blasonate.
Wow, wow and wow. Goosebumps till the end
THE BEST RECORD!!!!!!
Нда, Лист написал этот этюд для индийских многоруких божеств)
Definitely agree with you !
@darkblueangel1956
I'm agree about the quality of both Berezovsky ans Ovchinnikov, but in my opinion, Ovchinnikov beats Berezovsky in the lyrical aspect.
Legend has it that liszt played at 2x speed!
Wow!
What “legend” you ignorant dolt?
@@TheModicaLiszt he was joking tou pathethic moron
@@micoveliki8729 Nice one. Go cry about it.
@@TheModicaLiszt cry about what edgy loser
grandissimo questo pianista!
LISZT ❤❤❤❤
Sure, let me whip out my 5 extra hands....
lol
I do like Ovchinnikov's interpretations, as he can defintiely capture fury and beauty at the same time, although I like everyone's interpretation because to play this in the first place you have to be pretty amazing.
I agree. Your comment you made is 7 years old, you probably don't even remember making it, but i agree!
@@blobs5440 yes same
True! Thanks for reminding that to pull this off massive effort
It's also a shame that We don't have much cds of his :(
The origin of the beat drop
And this is the 3rd hardest etude in transcendental etudes .d
whats the second hardest?
@@lavatrex 2nd is Chasse Neige and 1st is Feux Follets. But I had more challenge playing Chasse Neige it's subjective.
Simply A-WE-SOME
WOW
Самый убедительный "Мазепа" после Березовского 2002 г.
евгений белаш я думаю " до "
this is amazing ..wow how can someone play this differcult piece?
Lots of practice i guess. I can't play it, but i wish i could
I'm learning the piece. To me, it's not about the piece being easier or more difficult; the 2-4 is supposed to simulate the galloping of a wild horse while Mazeppa is strapped to the back of it, and much of the musicality would be lost in another fingering, in my opinion.
It's an insane fingering. I understand the reason for it, but a finger staccato can still provide the percussive effect if you allow yourself to switch from 2-4 to 1-3 (or 4-2 to 3-1). The pianos of today are stiff compared with pianos of the 1830s and 1840s.
@@mstalcup Hmm... that was a really old comment of mine! I hear what you're saying. As a "transcendental" piece, 2-4 feels more like the pianist is actually embodying the horse, in my opinion. I don't think my phrasing of musicality was correct or what I really meant in my original comment.
@@thepropolys I noticed it was an old comment, but because it's a fingering issue that many pianists will consider when learning the piece, I replied with what I found based on my experience when I played it over twenty years ago.
I need 4 hands to play it ... thank Franz Liszt
I couldn't play it with 10 hands lol
@@blobs5440 that's impossible to have 10 hands?
1:00-1:19
2:06-2:20
4:09-4:29
3:35-4:00
Only considering the pianists who recorded all 12 études:
1. Berman
2. Ovchinnikov, Cziffra
3. Bolet
4. Arrau
5. Duchable
6. Berezovsky
7. all others
What about Trifonov?
My favorites on CD are Ovchinnikov, Bertrand Chamayou (live!) and Andrey Gugnin; I also have a soft spot for Louis Kentner. Though he is clearly a brilliantly talented pianist, Trifonov's interpretation leaves me unconvinced (and I do wish he would sit up straight; does no one in Russia teach The Alexander Technique?). newFranzFerencLiszt
: thank you for posting this excerpt from a great recording. :)
@@blobs5440 I believe the ranking was of outstanding interpretations.
@@nouvelhomme8990 no, the comment was made before trifinov recorded them
@@johnjohnhpiano There is an "all others" for people like Trifonov.
train..
I want to ask those who learned this piece: Are those ascending thirds 0:23 should be play with Liszt/Sauer's fingering of 2-4 , 2-4 all the way. Isn't that hard on that tempo. Aren't 5-3, 2-4, 1-3 easier?
It makes the thirds sound more like a horse by preventing
legato and expressive playing, and builds strength in the second and
fourth fingers. (because this is an etude)
Sai Kit Ng Wait so am I supposed to slide my 2-4 fingers that are playing the ascending thirds all of the time, just on some parts when its easier, or not at all??
The fingering in the score is insane, so I didn't use it. I understand the reason for it, but a finger staccato can still provide the percussive effect if you allow yourself to switch from 2-4 to 1-3 (or 4-2 to 3-1). The pianos of today are stiff compared with pianos of the 1830s and 1840s.
@@mstalcup Thank you. What you've said made sense. I'm gonna try the 1-3 and 2-4 combo.
@@remsan03It's been 10 years but I used to play legato but since I switched to 2-4 my technique developed and it sounds better and gives you that horse galloping sound. And I think its easier on the long term. I always made mistakes while playing legato but since I switched to 2 4 its much better but very hard to get used to it.
A big part of this piece is the fiery passion behind it, and a big part of that "fire" is speed. Berezovsky has amazing technique, and he uses it to give this piece the power it deserves while making it look so easy. This is also an incredible performance; I just prefer Berezovsky's more.
Omg 😮 omg omg omg 😲
YALSTI = Yet Another Lo Stesso Tempo Ignored. As well as the mp when the main theme comes back.
can you elaborate, please? ive no clue about sheet music
@@chengli7519 The central part is played slower, while it should be played at tempo (lo stesso tempo). So far only Emil von Sauer, Liszt student plays it like this. Too difficult ? Or the contemporary pianist are too lasy to read the score or do things differently than Lazare Bermann and other famous pianists ?
I noticed that when I learned it, so I kept the brisk tempo (no slowing down).
As well as 5:02 is played I think 1.25x is what Liszt would have done haha
Too bad we cannot hear this most perfect interpretation in 100% quality sound.. Its too old recording😿
@newFranzFerencLiszt yes, but in minute 5:03 it´s more genius
2:20 와 ㅅㅂ 미쳤다
리스트 자신이 연주했다면 딱 이랬을듯
This: Hard
Czerny op.365: DEMONICALLY HARD!!!!
최국화 Noone agrees
geez I saw a two year old prodigy play this piece better.
jk
was he asian? lol
Mazeppa played too fast... but Ok
Trifonov plays it well
@@blobs5440 Trifonov plays these etudes as well as he can now. Perhaps he will improve with age.
@@nouvelhomme8990 I thought he played them really well
@@blobs5440 Trifonov plays the correct notes, but not correctly.
@@nouvelhomme8990 Trifonov is a great pianist but his chasse neige was too blurry and loud when it's supposed to be soft and other stuff