Liszt: Two Legends, S.175 (Jando, Pierdomenico)
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- Опубликовано: 25 июл 2024
- This is how impressionism began. (Well, perhaps even earlier, with Harmonies du Soir and Chasse-Neige, but the basic point stands.) The Two Legends, written in 1863, represent unprecedented attempts at musical naturalism and religious expression - Liszt’s total mastery of pianistic colour and texture only rarely found vehicles of expression as pure as these. The first work narrates the tale of St Francis of Assisi stopping along his travels to deliver a sermon to the first in the trees; as he speaks, the come down and surround him until he blesses them. The second depicts St Francis of Paola, having been denied use of the ferry to cross the Straits of Messina, laying his cloak over the waters and crossing the straits on it. Both pieces are works of genius: the first adopts an unusual call-and-response structure and spins out a plethora of shimmering ornithological effects; it was by far the most sophisticated imagistic treatment of birds in music when it was written (you have to wait for Messiaen, really, to better it, or maybe Ravel’s Oiseaux Tristes, although the listless, depressed birds in the latter seem hard to compare to this). The second has one of the most beautiful themes ever written (somehow Liszt, when in his religious mode, came up with some fantastic melodies: see also Benediction of God in Solitude), underpinned by rippling harmonies and some ingenious deployment of the piano’s deep bass register. The surging waters eventually build up into a storm that nearly overwhelms the theme, until it reasserts itself in massive and glorious fashion.
Both performances here feature some truly exalted sound-painting. Jando is magisterial, with the ability to build up with perfect control into some huge soundscapes (see the long buildup from 11:23 or 18:16 in St Francis of Assisi, for instance). Striking textures abound: see the crystalline 2:09, the eerie LH legato at 11:57, the ragged clusters at 13:54, or the dissonance which leaps out at 17:19. Pierdomenico’s stunning recording is altogether more intimate, and perhaps of all the Liszt keyboard recordings I have comes closest to evoking real spiritual feeling in the manner of late Beethoven. There are too many nice touches to count: the smoky disintegration of the chromatic line starting from 20:52; the careful delineation of inner voices at 29:54; the microscopic pulling-back at 31:45, the resplendent refraction of the right hand through the left at 34:06.
(Notes on structure in the comments section) 
Видеоклипы
![Liszt: 3 Petrarch Sonnets [From Years of Pilgrimage: Italy], S.161 (Tiempo, Chamayou)](http://i.ytimg.com/vi/7K67MCQZgy0/mqdefault.jpg)
![Liszt - Deux Légendes, S. 175 [Yunchan Lim]](/img/1.gif)
Jando:
00:00 - St Francis of Assisi Preaching to the Birds
10:08 - St Francis of Paola Walking on the Waves
Pierdomenico:
19:04 - St Francis of Assisi Preaching to the Birds
28:59 - St Francis of Paola Walking on the Waves
*St Francis of Assisi Preaching to the Birds*
00:00 - Introduction. A downward arpeggiated B min chord integrating an C#-A# enclosure and an added 6th, dissolving into a chromatic swirl. Likely meant to evoke the fluttering of wings, while the embellished 3rds which enter represent birdcalls. This pattern is repeated/developed.
00:46 - Theme 1; the birds gather. The 3rds now organise themselves into a melody, while the LH accompanies with repeated chords containing an A pedal. The inside texture consists of a vibrating filigree that continually transforms: sometimes turning into semiquaver triplets, sometimes widened from a neighbour-tone trill into a tremolo, sometimes doubled (m.35), sometimes turning into a chromatic line (m.39).
02:09 - the fluttering returns, implying a descending bass line.
02:39 - Theme 2 = Dialogue 1. St Francis’ sermon is represented by a monodic recitative which repeats 4 times. Each time it is followed by the birds’ response in the high registers.
03:55 - Blessing in Db, represented by the cross motif (Ab, Bb, Db - see also the Chapel of William Tell) in m.72. Builds into a climax in Bb.
05:03 - Theme 3 = Dialogue 2 = development (?). St Francis’ words are heard from mm.85-87, while the birds’ response in the high registers follows in mm.88-89. Strong contrast between the call and response - St Francis is solemn, the birds rhapsodic. Also striking that the harmonic relationship between both sections can be read as a gap of a tritone (G# dominant 7th, and a D chord with an added 6th over an E pedal). This call/response pattern is repeated 3 times, reaching F# in m.97, and a short cadenza (m.102, 5:58). Then the whole section is repeated, but with more intensity: the repeated RH chords are now a tremolo, the LH recitative in octaves. At m.116 (6:34) the climax of this section is reached, incorporating the recitative from Theme 2 (6:37 in the LH, and similar). This grand statement repeats itself twice, modulating up by a major 2nd each time. Eventually it trails off into a stark statement in bare LH octaves that rises up again into the high register.
07:24 - Blessing, now in Bb = recapitulation? followed by a rapt modulation back to A.
08:22 - The recitative from Theme 2 returns and is followed by a fragment of Theme 1, while now takes the place of the birds’ response. This pattern repeats twice.
09:21 - Closing cadence, taking up the harmonic pattern of the preceding section by oscillating between a C# dominant 7th (3rd inversion) and the tonic A. the birds continue to flutter on the C# -- this fluttering intensifies (while staying in ppp), before three arpeggiated chords close.
*St Francis of Paola Walking on the Waves*
10:08 - Introduction. The theme is intoned deep in the bass, ancient and inward. The dotted note rising fragment in m.2 (= Motif A) will be developed extensively later.
10:29 - Variation 1. The theme takes on the character of a chorale over a magisterial tremolo in the bass. From 11:07, the second half of the melody in introduced, in which Motif A is developed. The LH grows more agitated. At m.32 (11:56), Motif B is introduced before a dramatic LH passage evoking the rising and falling of waves enters (m.36; 12:07).
12:23 - Variation 2. The chorale (St. Francis) remains steady over churning waters below. At m.52 (12:56), a variation of Motif B is introduced which culminates in a shift from C# to F - a harmonic shift upward by a major third which Liszt associates strongly with religious feeling. This pattern is repeated once, (now in Eb to G). The upward arpeggio flourishes at mm.54 and 60 evoke light flashing through gathering clouds (the latter is suggested by the flattened 6ths low in the bass at mm.56 and 62).
13:30 - Variation 3 = development. The tone darkens and shifts - one moment swathed in glory, another in menace. The harmony becomes unsettled in the manner of a sonata’s development section. The waves in the RH are craggier now, leaping through different octaves. Moves through C, F min, Db, F# min. At m.72 (13:50) the storm arrives and we are treated to a blizzard of violent effects: large leaps (m.72), cluster-like chromatic figures (m.73), chromatic double thirds (m.79 - a passage that is actually a transformation of Motif B), alternating diminished 7th chords (m.86), and a passage of Liszt octaves (m.91 - reminds you of waves beating higher and higher against the shore).
14:57 - Variation 4 = recapitulation. A magnificent arrival, reminiscent of the Grandioso from the B minor sonata. At m.113 (15:21) you get a passionate variation of Motif A.
16:08 - Recalling the passage at m.52, ending again with a major third harmonic shift.
16:24 - Recitative. The arrival on the opposite shore.
17:46 - Coda, incorporating the theme in the bass. Builds into a haze of glory.
Ashish Xiangyi Kumar
@@johnchessant3012 ok
Thank you for sharing
Absolutely love the Légendes! Glad to see Liszt is getting more recognition for his unprecedented musical naturalism :)
I'm glad I'm not the only one to think Liszt was the first impressionist composer
Interestingly, the general consensus is that Liszt paved the way for impressionism ("The Fountains of the Villa d'Este" is most commonly cited as a proto-impressionist work), but there is more reluctance to call him a properly impressionist composer. It's kind of understandable -- Liszt's works still employ what is basically diatonic and functional harmony (I challenge you to find a single V-I in Miroirs), and even the 2 Legends are (a) religious and (b) programmatic, which is not really something you can say about most impressionist keyboard works. But I think it would be accurate to say that the basic impressionist urge -- the supremacy of capturing a _response_ to an image (as opposed to the image itself) over any rules of harmony or structure -- is present in a lot of Liszt's music.
I suppose what puzzles me more is that (a) this impressionist urge is not acknowledged more in Liszt's music -- it's present not just in Villa d'Este but a whole vein of his work, especially the Annees de Pelerinage; and (b) there isn't more serious examination of the impressionist _features_ of Liszt's music -- for instance, the gorgeous use of modal colour in Au bord d'une source.
Scriabin is my dog pelicula
Ashish Xiangyi Kumar OH yep, I understand. Liszt opened the gates to 20th century music (just think about Bagatelle sans tonalité aka 4th Mephisto Waltz), but is technically wrong to call him part of the 20th century club. Thanks for the response. "I challenge you to find a single V - I in Miroirs actually made me laugh :D
@@darkstudios001 oh, I see. Actually he named the Bagatelle sans tonalité "Mephisto Waltz no. 4" but then he realized he couldn't finish it and then changed the name to Bagatelle sans Tonalité, thanks for the information btw.
What about Chasse-Niege? That piece is so "snowy"
This just occurred to me, but given the ingenuity and diversity of water-related works Liszt wrote, he really ought to be taken more seriously as an impressionist, especially since stuff like Reflets dans l'eau, Ondine (both of them), Poissons d'or, Jardins Sous La Pluie, La Cathedrale Engloutie, and Jeax D'eau are all considered impressionist calling cards.
As far as I can recall, Liszt's output includes (apart from St Francis of Paola) Orage, Au lac de Wallenstadt, Au bord d'une source, and Les jeux d'eau à la Villa d'Este. All of them are incredibly well-written, especially the last two. And only the last is really acknowledged as part of the impressionist tradition, which is weird.
Another fun tidbit: Liszt met Debussy once, in 1884, when he played Au bord d'une source for him. Not much evidence of what Debussy thought of Liszt, but in any case I love Debussy's description of Liszt's pedaling: "a kind of breathing".
It is certainly interesting that Liszt met Debussy. Considering how impressionistic Liszt's later works are, could one draw the conclusion that Liszt, at least to some extent, inspired Debussy?
@@FireliqhtzItsBecauseITry does it matter?
@@hansmemling7605 Only insofar as it is an intriguing idea.
@@FireliqhtzItsBecauseITry we will never know.
@@FireliqhtzItsBecauseITry I think it's uncontroversial to say that Liszt had a substantial influence on Debussy (think Harmonies du soir/Reflets dans l'eau, St Francis of Assisi/Poissons d'or), though Debussy probably wouldn't acknowledge it. But then this is an almost trivial claim, since Liszt had such an outsize influence on every composer after him who wrote for piano.
Ravel, on the other hand, is pretty well-known to have been an admirer of Liszt. That man can literally do no evil.
2:09 This part is so beautiful, I wish it lasted longer
The melody and harmony are both amazing in these ripples
I would also recommend Cziffra's stunning rendition of the 2nd Legend. He truly manages to conjure those waves.
Bela Siki. Also great. Pupil of a pupil of Liszt his whole Liszt recital LP was great
For me a. Good versión from the second legend its claudio arrau version, but brendel and kempff are very stunning. Performance. For me czifra its more fireworks.
This piece was ahead of its time, for sure.
The effect of waves in the second legend is great, I feel water under my feet
I enjoy reading the descriptions of the pieces you post just as much as the pieces themselves. Thank you for always sharing such interesting and relevant info ❤️
These two pieces are among my favourite piano pieces of all time. Thanks for this wonderful upload!
Thanks a lot for all your videos. The more I discover about Liszt, the more I love him.
Liszt was one of the most “diverse” composers (apart from Ornstein) of all time. His early works screamed virtuosic, then he wrote typical Romantic style music (and orchestral transcriptions), then he grew to like a proto-impressionist,
23:23 not only birds but angels! divinely
Thank u so much for this content.
Omfg I can't believe this is Liszt. Super impressed.
Pun intended?
@@sama.4471 what is the pun...
@@sama.4471 impressionistic?
I like this piece, really
Les 2 Légendes font partie des œuvres aquatiques ou impressionnistes de Liszt avec en plus son emphase qu’il savait donner aux morceaux ! Du grand art aussi dans l’interprétation de Jando . Clidat était aussi merveilleuse.
Parfaitement d'accord avec vous
Bravo super music
Thank you! 🙏🏻😊🎶🎶🎶
Thank you for using recordings of Jenő Jandó
! He is, in my view, the most terribly underrated pianist. Perhaps, considering the wide reach of your channel, this video could introduce his pianistic greatness to some new people.
Yes, a good Lisztian. I wish Jando recorded more Bach, the partitas & english suites.
@combination I couldn't agree more, Jenő Jandó should seen on an equal footing with Andras Schiff, Leslie Howard, Alfred Brendal etc.
An amazing Liszt performer, and of Beethoven too. 'Vital' is the only single word i can think of.
This is awesome
18:00 this finale is so so so powerful
Great Ashish !!! 👍👍👍
I am a pianist and this is a great performance, full of virtuosity and subtlety !!! respect 👍
thanks
I can just feel my fingers getting tired doing all those trill-y things just by listening to this.
For some reason, the late introspective Liszt pieces always remind me of Parsifal.
Famously, even admitted by Wagner, the opening of Parsifal is taken from Liszt's Excelsior.
Your channel makes me less of a normie pianist when it comes to pieces I've never heard before.
Another amazing and uniquely creative “impression” work by Liszt and piano playing. Although it is each day evident that many pianists only know of one tempo (the vivace, the presto, the allegro), and ignore the sustenuto, the maestoso, lento; and prefer to ignore heartbeat, do not know subtleness and sensibility as when the tempo ordinario was the basis of music; and prefer to ignore “staccati”, while indications of smorzando are treated as pedestrian ritardandi. Have we seen someone dying? It’s way more dramatic than what our spirits of frenetic fastness (and institutions) dictate us. Good luck with those accelerandi at the end.
Playing like these artists is truly a human achievement through really hard work. Thank you for your work in sharing and narrating/explaining these works.
Rest in peace, Jando.
13:50 This is metal 🥶
Thanks for this.. the last page of the 2nd Legend reminded me of Rachmaninoff’ prelude op 23 no 2. An influence perhaps?
No conocia Las Leyendas ,Lizst ,me hipnotiza BELLISIMAS
Fátima
A mí no me hipnotizan. Me hacen escuchar con atento deleite y gozar por completo.
Es una dolorosa lástima que a ti te hagan perder el conocimiento y te hagan dormir contra tu voluntad. Cuán lamentable es tu situación!!!
@@raulfranco7452tranqui, seguro era una expresión jaja
Only LEGENDS can play these pieces
Legends?? What do you mean
I hear some similarities between Leg. n2 and Etude Transcendent n.11, anybody else?
PS. Horowitz waves are the best (imo), check here on YT.
Lol, I got an ad for the Franciscan Friars.
„LiSzT iS jUsT a ShoWoFf“
The theme of the second legend sorta recalls the Art of Fugue...
Not exactly 2 peas in a pod.
Are you ever planning on uploading non piano works? Or is there a reason why you haven't yet? Just curious
Of course. (Bach's cello suites are already up on this channel. But they're unlisted.)
But I might never upload full large-scale works, as the scores are too cumbersome to present properly in a video like this.
Got sleep at the first legend, got dreamy with the second.
Love Liszt. Is this a friggin opera?
I think he once said he wanted the piano to sing like the famous tenor of his time Rubini. In any case, for me far more than Chopin's, Liszt's melodies sing.
I suppose the first Legend had a very personal meaning to the master given that he chose to join the Franciscan Order late in life.
34:59
Liszt two legends. Who is the other one😂
Pausa
11:33, 13:54
Dear Ashish Xiangyi Kumar,
May I offer a recommendation for you to upload?
I suggest Liszt's two piano treatment of major orchestra music and Beethoven's 9th. He transcribed both the Faust and Dante Symphonies for two pianos as well as the first 12 symphonic poems. They are marvelous transcriptions. The two piano version of Beethoven's 9th is nothing short of amazing as well. The "Franz Liszt Piano Duo" recorded all of this music perhaps with the exception of Beethoven's 9th to the best of my knowledge. I do own recordings of all these works but I'm too afraid to upload them to RUclips because I don't know the technicalities associated with copyright law and I simply don't want to get in any trouble.
In regards to the Faust symphony - Liszt's transcription for solo piano of the Gretchen movement is gorgeous. I'd recommend a listen :)
@@AndreiAnghelLiszt Yes I've lisztened to it already and it is indeed gorgeous. Liszt's student August Stradal transcribed all the symphonic poems and symphonies for solo piano and they're too quite remarkable:)
'LEGENO'
ss
There's more black on the page than white...
Liszt, when he talks about his friendship with Chopin:
Please, let me say this... Italians do it better.
Do what better? The only Italian composer for the piano of any merit at all is Busoni, and his compositional style was opposite of Liszt's, although equal in difficulty (if not higher).
Sciarrino is also a composer of merit
@@pjimenez08 He's a general composer, not a pianist-composer. Italians compose best for the opera, but not anything else
@Hose2wAcKiEr We don't use the fortepiano anymore though. And a Scotsman pretty much laid the foundation of the modern piano, and there are essentially no Scottish composers in the common repertoire.
Brady Dill It’s called sarcasm....