I'm back ! Here are Les Six Grandes Études de Paganini arr. Liszt for Piano Solo (Remastered with better Audio). Subscribe to one of my Subscriber's Piano Channel : ruclips.net/channel/UC7uSzO50OLi7KAHggaMVLvwvideos Subscribe to my Lame Hobby Channel : ruclips.net/channel/UCNtfrv7KXaFDX7QbrRI60Aw I will make a face reveal at 1,000 Subscribers... So share and subscribe :) Here are the timestamps to make the experience better : Étude No. 1 in G minor (Preludio, Andante; Etude - Non troppo lento) ("Tremolo") 0:00 Étude No. 2 in E♭ major (Andante capriccioso) 4:47 Étude No. 3 in G♯ minor (Allegretto) ("La campanella") 9:47 Étude No. 4 in E major (Vivo) ("Arpeggio") 14:13 Étude No. 5 in E major (La Chasse) (Allegretto) 16:16 Étude No. 6 in A minor (Theme and Variations) (Quasi presto, a capriccio) 19:02
He didn’t. I played it when I was a fetus. Now, the S.140 series was a little bit harder, but I played it while sight reading the sheet music upside down with my feet when I was a few months old.
I feel saddened by how people generally represent Liszt. To those who simply hear small trivia bits about him they see him as a showman who did nothing more than smashing pianos and writing one or two Rhapsodies. Liszt's famed stage presence often makes people overlook many equally colorful parts of his life as a teacher, writer, composer, conductor, renowned host, philanthropist, founder of music schools (in Budapest), father-in-law of the Prime Minister of France (Emile Ollivier). He was a colorful personality in all those other ways. He was a flamboyant performer, yes, but that was one decade of his life (mostly his thirties) among his 74 years of living and he was also a public figure till the very end who shaped his community tremendously with the influence he had. He was much more than you gave him credit for. After his performing career Liszt settled down in Weimar, Germany where he was a spokesperson for what he and Wagner called the "Music of the Future", or the New German School (this name, which came to embody the progressive aesthetic of the mid-19th century, began as a budding organization for avant-garde creators and Liszt was elected honorary president). He spent a fruitful decade as a high-profile conductor and music director where he premiered a great number of new music by composers who would otherwise receive fierce opposition from critics if not for his assistance. In the world of music harmony his battle against tonality anticipated Ravel's impressionism (I love his Les jeux d'eaux à la Villa d'Este) and even the dodecaphonic practices of Arnold Schoenberg. He was one of the most original innovators in harmony and form of his day - maybe he did not fully flesh out those innovations as fully to the extent as Wagner did, but he originated the ideas in tonality that were picked up by composers in the 20th century (Bartok wrote a tribute to him as an underrated composer and his inspiration). Liszt’s most mainstream music today are his showpieces, but he wrote a lot beyond those and it’s a shame his best-known pieces among the public don’t even come close to showing his capacity at his fullest. There’s a lot of Liszt, both before and after he went touring, that goes beyond the glitter of the stage - the Apparitions, the Annees de Pelerinage, the Sonata in B minor, the Faust and Dante Symphonies, Glanes de Woronince, the Harmonies poétiques et religieuses, the organ music. Liszt’s contribution to music extended to education, something he always showed deep concern for. Besides founding the Budapest Academy of Music where he taught, Liszt as an informal teacher invented the music masterclass, something that thrived in the 20th century and even today. His students' pianistic lineage extends to Rachmaninoff, Claudio Arrau, and many more who continued the Lisztian chain. And he was a remarkably generous pedagogue. He taught for free, even when he had hundreds of pupils (except early on, when his father died in his teens and he had to support himself plus his mother who came from rural Hungary and couldn't earn money in Paris). He had convictions that artists shouldn't hoard their wealth. When he learnt Theodor Kullak, another piano teacher of his day, made a million marks from teaching he called it a “burning shame” as it clashed with his personal idea of what a teacher should be. And it wasn’t that Liszt himself was particularly rich either. He did earn a lot touring, but he also gave a lot away. For instance, I’d like to point out in his first-year concerts in Berlin, around three out of four were held exclusively for charity. Liszt was greatly attracted to the utopian socialists in the 1830s (even knew and befriended one called Lamennais) and he believed artists had a role to fulfill in society not unlike “a priest ministering to his congregation". Liszt himself called the musician the “Bearer of the Beautiful”, one who had a mission to help the less fortunate. In his words, "Art must remind the people of the beautiful self-sacrifice, the heroic determination, the fortitude, and the humanity of their peers" archive.org/details/artistsjourneyle00lisz/page/50. He cared about social issues (disliked the death penalty and called it an "abominable social crime"), and did a lot, public and private, to help those in need. A large portion of what he earned was to found pensions or donate to orphanages and hospitals. He visited mental asylums and prisons frequently in the 1830s to play music for outcasts (e.g. in Salpetriere Hospital). Something few realize was that Liszt went beyond Paganini in outlook. Yes, he admired Paganini for his skill, and the showman in him had the ambition to emulate the stunt-worthy technique (and the dazzlingly edgy presentation - he wore skull rings), but his skill is in the end not synonymous to the content of his personality. In the Gazette Musicale, Liszt criticized Paganini's lack of social conscience after the violinist's death. He returned to his early ideals after he left the stage when he was well-connected and influential enough to build the artistic community he wanted in Weimar. He didn't suddenly gain insight about life, but went back to what he'd long cared about since his very youth (his private letters to d'Agoult from his concert years show him unhappy about the lack of fulfillment). He was indeed a traveller and had an huge appetite for life (Fanny Lewald said he looked like someone to whom the world belonged), but he wasn't content to be an Epicurean in philosophical attitude. I quote Liszt's words from his essay On The Situation of Artists: "Yes certainly, against all odds, and regardless of our use of the words 'because' or 'although', we know that faith can move mountains. We believe in art, as we believe in God and humanity. We believe art is the organ that expresses the Sublime. We believe in endless progress and in an unconfined social future for the musician; we believe in the endless power of our hope and love! And it is from this belief that we have spoken and will continue to speak.” Liszt did a lot to help his contemporaries, risking his life to premiere Lohengrin in Germany and forge a passport for Wagner when the latter was exiled after the Dresden Uprising. Wagner throughout the 1850s took advantage of Liszt's generosity, asking for money that never got returned, and Liszt kept staging his works, networking for him and writing essays that helped Wagner gain an outlet to the world. The Liszt-Wagner correspondence is a testimony to an artist willing to fully assist another - rare in art. Some say Liszt wrote transcriptions to show off; this is a rather limited view of music history. In an age without radio or RUclips he wrote many of those to popularize composers he wanted to promote (Wagner thanked him for the transcriptions and spoke well of Liszt - do take in mind Wagner wasn't that lavish with his praise for his other colleagues unless he really liked them). Liszt also helped out Grieg, Saint-Saens, Berlioz, Schumann, and many more. Saint-Saens, who received encouragement from Liszt in his youth, remained grateful his entire life whenever he wrote about him. (*On what Wagner says of Liszt, read this essay he wrote. Liszt appears in page 60 drive.google.com/file/d/1DJ0aPgW3D2pc2iwEJTFpm6lbZ3vJIvZ7/view?usp=sharing) Even as a pianist Liszt was much more than a piano smasher. Grown men wept at his playing; that camp includes people like Berlioz and Wagner (Wagner went running downstairs in his estate to throw him a hug after hearing him play). 19th century listeners saw Chopin as a poet and Liszt as a sage. It feels odd to have to defend a legendary pianist, but the performer RUclips makes him out to be is an utterly unrecognizable one from what I've read in nearly every one of the abundant accounts. "I spend almost all my time with Liszt. How marvelous is his playing! Now daring and wild, and again so delicate and ethereal that it surpasses anything I ever heard. Every day Liszt appears greater to me. Today he played again in such a way that we all trembled with emotion and delight." -Mendelssohn "I have heard no performer whose musical feelings, like Liszt's, extended to the very tips of his fingers." -Mendelssohn "Never again will there be seen or heard anything equal to it." -Saint-Saens "Liszt was all sunshine and dazzling splendour, subjugating his hearers with a power that none could withstand, but never harsh, never suggesting thumping." -Charles Halle "Liszt performed marvels of power, of precision, and of soul! The translation was as beautiful as the poem. We have heard nothing greater." -Ernest Legouvé "When I heard Liszt for the first time I was overwhelmed and sobbed aloud, it so shook me...how heavenly it is when he plays tenderly." -Clara Schumann "Sometimes you think it's a spirit sitting there at the piano." -Clara Schumann "He who has not heard Liszt play really cannot speak on the subject. He leads the way, and then, a long way behind, there is no one else." -Brahms "When Franz plays the piano I am soothed. All my pains are translated into poetry. All my instincts are elevated. It is above all the chord of generosity that must be made to vibrate." -George Sand "I have never found any other artist to possess, in so high a degree as Liszt, this power of subjugating, elevating, and leading the public. We are overwhelmed by a flood of tones and feelings. It is an instantaneous variety of wildness, tenderness, boldness, and airy grace; the instrument glows under the hands of its master." -Robert Schumann “All playing sounds barren by the side of Liszt, for his is the living, breathing impersonation of poetry, passion, grace, wit coquetry, daring, tenderness, and every other fascinating attribute that you can think of! He is a many-sided prism, and reflects back the light in all colours, no matter how you look at him.” -Amy Fay
Will you play s140 in the future? Your playing is so good and I'm sure you can do it with the effort you put in all the pieces you play. But I know it would take too much time, so maybe....
S. 141 (1851) Because the S. 140 (1838) is litterally impossible to perfect all 6 etudes. Especially the 4th and 6th. Simply not worth the time. Maybe in the future
I'm back ! Here are Les Six Grandes Études de Paganini arr. Liszt for Piano Solo (Remastered with better Audio).
Subscribe to one of my Subscriber's Piano Channel : ruclips.net/channel/UC7uSzO50OLi7KAHggaMVLvwvideos
Subscribe to my Lame Hobby Channel : ruclips.net/channel/UCNtfrv7KXaFDX7QbrRI60Aw
I will make a face reveal at 1,000 Subscribers... So share and subscribe :)
Here are the timestamps to make the experience better :
Étude No. 1 in G minor (Preludio, Andante; Etude - Non troppo lento) ("Tremolo") 0:00
Étude No. 2 in E♭ major (Andante capriccioso) 4:47
Étude No. 3 in G♯ minor (Allegretto) ("La campanella") 9:47
Étude No. 4 in E major (Vivo) ("Arpeggio") 14:13
Étude No. 5 in E major (La Chasse) (Allegretto) 16:16
Étude No. 6 in A minor (Theme and Variations) (Quasi presto, a capriccio) 19:02
:DDD
:DD
Eargasm vs earrape lmafo
i subbed to both 🚨
@@leonardoov_3 i agree I was practicing all his transcriptions lol
premieres at twelve in the morning. wonderful. my parents will totally let me watch the live video.😬😅
hhahah
Yes you're back!! We missed you Franz
iagree
Agreed 👍🏼
Wow this is amazing
No words. Absolutely amazing! Thank you for posting and sharing! LOVE your work!
yes
I like S.141.:) Looking forward to watch your video.:)
ok
Ok
Epic etudes
LEARNING NUMBER 1
I love it!! Amazing So amazing!! I love your channel and this beautiful! 😊
Looks like i found some competition
Can't wait bro
same here bro
Hey Satie
@@ValzainLumivix sup
Nothing much Satie, you made coop music.
@@ValzainLumivix coop music
We need you, Liszt !
Finally! I missed you my brother! Edit: the sound is so clean omg
@Czukajihutyreero Klamabi Yriojha or i did 🌝🌚🌜🌛
Ok
Congrats on 1K, Liszt
YAS
@̣ WHY NO
@̣ WHY OK
@̣ WHY H
@̣ WHY E
WHY C
Where is this man
Welcome back!
I will suscribe
12:00 Sunday.
That age well!
yes
ah since you're here, can you explain why you made the 6th one so hard?
Because he likes a challenge ;)
He didn’t. I played it when I was a fetus. Now, the S.140 series was a little bit harder, but I played it while sight reading the sheet music upside down with my feet when I was a few months old.
The 6th is perhaps some of my easiest works
@@FranzLisztOfficial what a funny joke
@@themoonfleesthroughclouds it’s kind of true
come back bro
This is what we were waiting for
where are you Liszt :(((((
YASS QUEEN SLAY
Yaay!
But unfortunately I won't be able to watch it as I have my exams...😥
That’s unfortunate...
Czukajihutyreero Klamabi Yriojha yes
when are you coming back?
I feel saddened by how people generally represent Liszt. To those who simply hear small trivia bits about him they see him as a showman who did nothing more than smashing pianos and writing one or two Rhapsodies.
Liszt's famed stage presence often makes people overlook many equally colorful parts of his life as a teacher, writer, composer, conductor, renowned host, philanthropist, founder of music schools (in Budapest), father-in-law of the Prime Minister of France (Emile Ollivier). He was a colorful personality in all those other ways. He was a flamboyant performer, yes, but that was one decade of his life (mostly his thirties) among his 74 years of living and he was also a public figure till the very end who shaped his community tremendously with the influence he had. He was much more than you gave him credit for.
After his performing career Liszt settled down in Weimar, Germany where he was a spokesperson for what he and Wagner called the "Music of the Future", or the New German School (this name, which came to embody the progressive aesthetic of the mid-19th century, began as a budding organization for avant-garde creators and Liszt was elected honorary president). He spent a fruitful decade as a high-profile conductor and music director where he premiered a great number of new music by composers who would otherwise receive fierce opposition from critics if not for his assistance. In the world of music harmony his battle against tonality anticipated Ravel's impressionism (I love his Les jeux d'eaux à la Villa d'Este) and even the dodecaphonic practices of Arnold Schoenberg. He was one of the most original innovators in harmony and form of his day - maybe he did not fully flesh out those innovations as fully to the extent as Wagner did, but he originated the ideas in tonality that were picked up by composers in the 20th century (Bartok wrote a tribute to him as an underrated composer and his inspiration). Liszt’s most mainstream music today are his showpieces, but he wrote a lot beyond those and it’s a shame his best-known pieces among the public don’t even come close to showing his capacity at his fullest. There’s a lot of Liszt, both before and after he went touring, that goes beyond the glitter of the stage - the Apparitions, the Annees de Pelerinage, the Sonata in B minor, the Faust and Dante Symphonies, Glanes de Woronince, the Harmonies poétiques et religieuses, the organ music.
Liszt’s contribution to music extended to education, something he always showed deep concern for. Besides founding the Budapest Academy of Music where he taught, Liszt as an informal teacher invented the music masterclass, something that thrived in the 20th century and even today. His students' pianistic lineage extends to Rachmaninoff, Claudio Arrau, and many more who continued the Lisztian chain. And he was a remarkably generous pedagogue. He taught for free, even when he had hundreds of pupils (except early on, when his father died in his teens and he had to support himself plus his mother who came from rural Hungary and couldn't earn money in Paris). He had convictions that artists shouldn't hoard their wealth. When he learnt Theodor Kullak, another piano teacher of his day, made a million marks from teaching he called it a “burning shame” as it clashed with his personal idea of what a teacher should be.
And it wasn’t that Liszt himself was particularly rich either. He did earn a lot touring, but he also gave a lot away. For instance, I’d like to point out in his first-year concerts in Berlin, around three out of four were held exclusively for charity. Liszt was greatly attracted to the utopian socialists in the 1830s (even knew and befriended one called Lamennais) and he believed artists had a role to fulfill in society not unlike “a priest ministering to his congregation". Liszt himself called the musician the “Bearer of the Beautiful”, one who had a mission to help the less fortunate. In his words, "Art must remind the people of the beautiful self-sacrifice, the heroic determination, the fortitude, and the humanity of their peers" archive.org/details/artistsjourneyle00lisz/page/50. He cared about social issues (disliked the death penalty and called it an "abominable social crime"), and did a lot, public and private, to help those in need. A large portion of what he earned was to found pensions or donate to orphanages and hospitals. He visited mental asylums and prisons frequently in the 1830s to play music for outcasts (e.g. in Salpetriere Hospital).
Something few realize was that Liszt went beyond Paganini in outlook. Yes, he admired Paganini for his skill, and the showman in him had the ambition to emulate the stunt-worthy technique (and the dazzlingly edgy presentation - he wore skull rings), but his skill is in the end not synonymous to the content of his personality. In the Gazette Musicale, Liszt criticized Paganini's lack of social conscience after the violinist's death. He returned to his early ideals after he left the stage when he was well-connected and influential enough to build the artistic community he wanted in Weimar. He didn't suddenly gain insight about life, but went back to what he'd long cared about since his very youth (his private letters to d'Agoult from his concert years show him unhappy about the lack of fulfillment). He was indeed a traveller and had an huge appetite for life (Fanny Lewald said he looked like someone to whom the world belonged), but he wasn't content to be an Epicurean in philosophical attitude. I quote Liszt's words from his essay On The Situation of Artists:
"Yes certainly, against all odds, and regardless of our use of the words 'because' or 'although', we know that faith can move mountains. We believe in art, as we believe in God and humanity. We believe art is the organ that expresses the Sublime. We believe in endless progress and in an unconfined social future for the musician; we believe in the endless power of our hope and love! And it is from this belief that we have spoken and will continue to speak.”
Liszt did a lot to help his contemporaries, risking his life to premiere Lohengrin in Germany and forge a passport for Wagner when the latter was exiled after the Dresden Uprising. Wagner throughout the 1850s took advantage of Liszt's generosity, asking for money that never got returned, and Liszt kept staging his works, networking for him and writing essays that helped Wagner gain an outlet to the world. The Liszt-Wagner correspondence is a testimony to an artist willing to fully assist another - rare in art. Some say Liszt wrote transcriptions to show off; this is a rather limited view of music history. In an age without radio or RUclips he wrote many of those to popularize composers he wanted to promote (Wagner thanked him for the transcriptions and spoke well of Liszt - do take in mind Wagner wasn't that lavish with his praise for his other colleagues unless he really liked them). Liszt also helped out Grieg, Saint-Saens, Berlioz, Schumann, and many more. Saint-Saens, who received encouragement from Liszt in his youth, remained grateful his entire life whenever he wrote about him. (*On what Wagner says of Liszt, read this essay he wrote. Liszt appears in page 60 drive.google.com/file/d/1DJ0aPgW3D2pc2iwEJTFpm6lbZ3vJIvZ7/view?usp=sharing)
Even as a pianist Liszt was much more than a piano smasher. Grown men wept at his playing; that camp includes people like Berlioz and Wagner (Wagner went running downstairs in his estate to throw him a hug after hearing him play). 19th century listeners saw Chopin as a poet and Liszt as a sage. It feels odd to have to defend a legendary pianist, but the performer RUclips makes him out to be is an utterly unrecognizable one from what I've read in nearly every one of the abundant accounts.
"I spend almost all my time with Liszt. How marvelous is his playing! Now daring and wild, and again so delicate and ethereal that it surpasses anything I ever heard. Every day Liszt appears greater to me. Today he played again in such a way that we all trembled with emotion and delight." -Mendelssohn
"I have heard no performer whose musical feelings, like Liszt's, extended to the very tips of his fingers." -Mendelssohn
"Never again will there be seen or heard anything equal to it." -Saint-Saens
"Liszt was all sunshine and dazzling splendour, subjugating his hearers with a power that none could withstand, but never harsh, never suggesting thumping." -Charles Halle
"Liszt performed marvels of power, of precision, and of soul! The translation was as beautiful as the poem. We have heard nothing greater." -Ernest Legouvé
"When I heard Liszt for the first time I was overwhelmed and sobbed aloud, it so shook me...how heavenly it is when he plays tenderly." -Clara Schumann
"Sometimes you think it's a spirit sitting there at the piano." -Clara Schumann
"He who has not heard Liszt play really cannot speak on the subject. He leads the way, and then, a long way behind, there is no one else." -Brahms
"When Franz plays the piano I am soothed. All my pains are translated into poetry. All my instincts are elevated. It is above all the chord of generosity that must be made to vibrate." -George Sand
"I have never found any other artist to possess, in so high a degree as Liszt, this power of subjugating, elevating, and leading the public. We are overwhelmed by a flood of tones and feelings. It is an instantaneous variety of wildness, tenderness, boldness, and airy grace; the instrument glows under the hands of its master." -Robert Schumann
“All playing sounds barren by the side of Liszt, for his is the living, breathing impersonation of poetry, passion, grace, wit coquetry, daring, tenderness, and every other fascinating attribute that you can think of! He is a many-sided prism, and reflects back the light in all colours, no matter how you look at him.” -Amy Fay
ruclips.net/video/IeKMMDxrsBE/видео.html original video
Ikr.... it’s sad
Thank you for this!!
Indeed I have learned a lot ;)
COME ON WHERE ARE YOU, WE MISS YOU LISZTTTTTT-
Can I request if it’s okay?
I request Reminiscences of Lucrezia Borgia or De Norma? Thank you very much :)
The picture is actually in the piece by tartini the devils thrill
Wait what???? 8 MONTHS!?
R.I.P
When will you return friend?
This would be kind of impressive if you played the 1838 versions all in one sitting at 2x speed
Oh, he could he's just trying to not completely crush our spirits. (For anyone trying to play them. )
@David Taylor lmao
But this is Tartini on the thumbnail, not Paganini
I was the devil
Ok
@@FranzLisztOfficial best pickup line 😂😂
Indeed
Where did you go?
What piano do you have?
But isnt the painting from Tartini?
he's joking
The devil in Liszt dream should have injured it's hands when it learned the piano
I-
I-
I was the devil and I was giving tips to paganini
Franz Liszt 😂
@@ruthsalgado6775 triixty luna and liszt sitting in a tree, k i s s i n g. First comes the love then comes the baby...
La Campanella the best
Will you play s140 in the future? Your playing is so good and I'm sure you can do it with the effort you put in all the pieces you play. But I know it would take too much time, so maybe....
Yes I know, but sometimes isn't that bad to have a wish
etude no.4 what version?
1838
S. 141 (1851) Because the S. 140 (1838) is litterally impossible to perfect all 6 etudes. Especially the 4th and 6th. Simply not worth the time. Maybe in the future
@4elovek Yes, and Liszt will soon release a new version of the Harmonies et Poetiques de Religieuses this August.
@4elovek I pre-ordered it on iTunes.
@@ValzainLumivix omg wow mr.rao
Can you play 1812 version?
you mean 1838 lol
CMS bro those are almost impossible to play
@@CMSMusic one of the two lol, my fav is number 1
A quand une nouvelle vidéo jeune Québécois ?
J'ai pris ma retraite.
Did you really played that ??
Liszt was very happy to complete this piece but when I showed him some of my works his excitement immediately vanished ;)
The picture is paganini...... Selling his soul to the devil??
That is Tartini not Paganini
Did tartini also sold his soul to the devil??
@@isner_lew1834 no, i think there is this story that tartini saw the devil in his dream and made a piece or something
@OLIVIER MESSIAN IS REAL 100% ok
@@qalaphyll ok
I see you've come back from hell to play this devilish music to us
Still waiting for that face reveal in 2023
Now 2024
Yessir
Almost 2025 now
Where are you lmao
💩💩💩😂😂😂😂😂
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
Play harmonies du soir please
he already did like 6 months ago lol
I already did my friend
ruclips.net/video/wTKpNdKyceY/видео.html
@@FranzLisztOfficial i didn't know, thank you
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡
YOU SPREADING FUD ON TOMMYXRP WERE IS THE PROOF 🤡