I’m astounded how you made the melody so clear in the first few scalar passages in the beginning; and held that throughout. You did a seriously good job with this piece overall! Keep up the amazing efforts. God bless you and I hope you keep practicing and developing your craft. I hope to hear that you’ve uncovered more of Liszt’s less popular repertoire (or the “prototypes” for some of his well known works)!
I did take the ossia, there's almost no way to make it that clear playing scales in both hands (I would love to see someone do it tho). And I'm planning to play some of the less popular pieces, I've always liked playing stuff that not many other people play!
The thing's a touch messy, though that is what the tempo marking literally demands, the first half of the piece was played ok, though you def aced the ending, loved it.
@@maarane Don't act so down mate, it's all good. If it really bothers ya, you can rerecord the thing in the future, maybe after another 6 months or something.
Holy that's a great performance of this etude. The last third, especially the part from 5:05 to 5:15, is the best I've ever heard out of all the recordings on youtube. Also love how you play the very end like the Transcendental version with the descending notes before the final chord, which I think is nicer.
you say only 9/10..... but barely anyone alive can play the first bar correctly!!! Weibin Jin is the only one I have heard who has nailed it, picking the melody cleanly out of the whirl of notes; everyone else fluffs it including this recording. Liszt championed a technique called 'finger independence' and this opening is one of his litmus tests for whether you have mastered the technique, pretty much nobody has. It shows how uncompromising his approach was. Left everyone behind. Out of curiosity which pieces would you rate as 10? I think there are numerous where the piece is "survivable" but you can hear almost everyone screw it up. Disperato section of 1851 transcendental etude #10 for example, Arrau nailed it perfectly but even Cziffra was known to miss.
"Only 9/10" bro 9/10 is basically pieces for absolute monsters Okay but Wenbin Jin also takes the ossia like I do which is why it sounds clearer, the original as written just seems impossible to me (but maybe someone can upload a video to prove me wrong) 10/10 is basically Liszt Beethoven symphony 9 or some ridiculous unplayable stuff. Opus Clavicembalisticum also comes to mind for its sheer length.. -_-
wtf i didn't think i'd actually hear someone play this, especially at this sort of speed...my god and it sounds so clean for the most part as well the only complaint i could even raise is that the left hand overpowers the melody a bit too much at times
El Contrabandista is also a scary scary thing, but I think this one as written is pretty much the pinnacle of finger independence. Trying to get those notes to pop out in those 32nd scales is just inhuman -_-. Contrabandista on the other hand has other techniques where it's harder than this so it evens out.
Lmao that thing is so cursed. I tried part of the first movement the other day and was just like nope. But people just wanna see a pianist do the impossible and imitate an entire orchestra XD
Big ones are: 1. The alternating hand scale motif from the start in S139 is unplayable scales where you need to make the motif stand out inside it in S137 2. Middle slow section at 1:44 has polyrhythm in S137 instead of RH on beat with LH in S139 3. 3:15 starts a new section that's quite hard in some places (missing in S139)
I’m astounded how you made the melody so clear in the first few scalar passages in the beginning; and held that throughout. You did a seriously good job with this piece overall! Keep up the amazing efforts. God bless you and I hope you keep practicing and developing your craft. I hope to hear that you’ve uncovered more of Liszt’s less popular repertoire (or the “prototypes” for some of his well known works)!
I did take the ossia, there's almost no way to make it that clear playing scales in both hands (I would love to see someone do it tho). And I'm planning to play some of the less popular pieces, I've always liked playing stuff that not many other people play!
You did a fantastic job bringing this piece to life! I can really feel the emotions coming from it!
Cool, it's out. Was gonna sleep, but I'll listen to this first.
The thing's a touch messy, though that is what the tempo marking literally demands, the first half of the piece was played ok, though you def aced the ending, loved it.
@@thenotsookayguy Yup sadly this is the best take I could salvage. RIP my audio interface. :(
@@maarane Don't act so down mate, it's all good. If it really bothers ya, you can rerecord the thing in the future, maybe after another 6 months or something.
Holy that's a great performance of this etude. The last third, especially the part from 5:05 to 5:15, is the best I've ever heard out of all the recordings on youtube. Also love how you play the very end like the Transcendental version with the descending notes before the final chord, which I think is nicer.
Yeah, the dude swaps out some parts in S.137 for S.139 in his recordings, it's real nice.
Agreed. Real neat. Also if I’m not wrong Dude’s actually a girl lmao
@@markbui4976 Eh, I kinda just call everyone dude or mate. Though if it really bothers the person, I can just refer to them as they or something.
Oh I was just saying that sorta jokingly
I am existence, dude or mate is fine :)
Holy shit… this is so good. Parts like 3:33 really show your god-like ability to teleport around the keys.
Thanks! I'm not that great at a lot of techniques (thirds and scales looking at u) but jumps are my specialty 🤫
Awesome performance! Looking forward to your playing of etudes no.10 & 12 !!!!
I might upload 10 up next if I can finish it for the schedule in 2 weeks.
Nice, the ending was greatly handled!!
i like theres a commentary on this one
you say only 9/10..... but barely anyone alive can play the first bar correctly!!! Weibin Jin is the only one I have heard who has nailed it, picking the melody cleanly out of the whirl of notes; everyone else fluffs it including this recording. Liszt championed a technique called 'finger independence' and this opening is one of his litmus tests for whether you have mastered the technique, pretty much nobody has. It shows how uncompromising his approach was. Left everyone behind. Out of curiosity which pieces would you rate as 10? I think there are numerous where the piece is "survivable" but you can hear almost everyone screw it up. Disperato section of 1851 transcendental etude #10 for example, Arrau nailed it perfectly but even Cziffra was known to miss.
"Only 9/10" bro 9/10 is basically pieces for absolute monsters
Okay but Wenbin Jin also takes the ossia like I do which is why it sounds clearer, the original as written just seems impossible to me (but maybe someone can upload a video to prove me wrong)
10/10 is basically Liszt Beethoven symphony 9 or some ridiculous unplayable stuff. Opus Clavicembalisticum also comes to mind for its sheer length.. -_-
wtf i didn't think i'd actually hear someone play this, especially at this sort of speed...my god
and it sounds so clean for the most part as well
the only complaint i could even raise is that the left hand overpowers the melody a bit too much at times
It's a bit messy coz I'm more used to the transcendental for this one, grande is just a nightmare ack
"intro is impossible" El Contrabandista :am I a joke to you?
El Contrabandista is also a scary scary thing, but I think this one as written is pretty much the pinnacle of finger independence. Trying to get those notes to pop out in those 32nd scales is just inhuman -_-. Contrabandista on the other hand has other techniques where it's harder than this so it evens out.
@@maarane what about Liszt Symphony 9 Transcription?>:)
Lmao that thing is so cursed. I tried part of the first movement the other day and was just like nope. But people just wanna see a pianist do the impossible and imitate an entire orchestra XD
@@maarane well I tried to play Mereaux 24 and my hands died doing those insane jumps with hand crossings
In classic pianist fashion I'm gonna say you'll have to post a recording now >:)
This is amazing and not the newer version ._.
What is the major differences between the first version and the second
Big ones are:
1. The alternating hand scale motif from the start in S139 is unplayable scales where you need to make the motif stand out inside it in S137
2. Middle slow section at 1:44 has polyrhythm in S137 instead of RH on beat with LH in S139
3. 3:15 starts a new section that's quite hard in some places (missing in S139)
@@maarane Thank you. What kind of polyrhytm is it?
@@Bozzigmupp 4 to 3
How omg
years of practice... and doing like 30 takes until I get one that's okay 🤣
This is literally a "wild hunt"...
Too fast though :/