As already said above, the chords are an "ossia" version by Liszt so the taste is in complete order. It would be interesting to find out his rationale behind the choice of playing two chord bars instead of the "usual" interrupted diminished 7th arpeggio. It could be in order to smooth out the sudden change in texture between scales and triplets, or to give the climax an even more "maestoso" feel. Whatever the reason is, it is most certainly not because of lack of technique!
Er, no… no-one here has correctly stated what he has done. He has missed out bars 284 to 291 (the theme with the short scales followed by two climactic tremolo bars), then put in an upbeat semiquaver chord of his own invention, played the ‘ossia’ (scales) version of 292-295, and then the ‘non-ossia’ (chords) version of 296-297. It’s the missing out of a critical chunk of music that I object to, not the combination of two legitimate versions. Horowitz did this as well, but that doesn’t make it good.
@@DavidArdittiComposer That's true, he does indeed skip the whole grandioso bit ! I didn't even notice it. Maybe he finds that section to be repetitive? Very odd, and not sure it does the piece justice.
That B6 at the end is simply wonderful 😊😊
Arcadi Volodos simply the best. Magic.
Volodos makes roaring fire flourish 🔥🔥🔥
The space between his ring finger and little finger...
One of my favorite liszt pieces but plenty more so difficult to choose
This is my favorite interpretation
Extraordinary!
Un Genio!
Respect!
10.10 One of the best themes written.. and this Is the best execution
Bravo maestro
Yes I haven't heard this for years .so beautiful
The cool thing is that it is a transformation of the theme from the opening bars.
This is magic.
Nicht nur ein Musiker, sondern ein großartiger Musikant.
One of the best Liszt's pieces in the best interpretation by great Volodos!
le plus grand musicien du 20eme siecle et du 21eme.
Liszt is the number one...
Volodos straight up fire
10:10
10:10 we entrer heaven
What venue is this?
The great master!
Transcendent.
jesus that wasincredible voicing, probably the best i've ever heard to this piece. too bad he missed the bars at the end
What happened at the end? Just sort of stopped.
La musica di Listz piace ai giovani
very bad taste at the end, he only plays only 4 scales... or memory leak???
That's an alternative written by Liszt himself.
@@albertomartin4812 You are right and Volodos made an interesting combination of this two versions
As already said above, the chords are an "ossia" version by Liszt so the taste is in complete order. It would be interesting to find out his rationale behind the choice of playing two chord bars instead of the "usual" interrupted diminished 7th arpeggio. It could be in order to smooth out the sudden change in texture between scales and triplets, or to give the climax an even more "maestoso" feel. Whatever the reason is, it is most certainly not because of lack of technique!
Er, no… no-one here has correctly stated what he has done. He has missed out bars 284 to 291 (the theme with the short scales followed by two climactic tremolo bars), then put in an upbeat semiquaver chord of his own invention, played the ‘ossia’ (scales) version of 292-295, and then the ‘non-ossia’ (chords) version of 296-297. It’s the missing out of a critical chunk of music that I object to, not the combination of two legitimate versions. Horowitz did this as well, but that doesn’t make it good.
@@DavidArdittiComposer That's true, he does indeed skip the whole grandioso bit ! I didn't even notice it. Maybe he finds that section to be repetitive? Very odd, and not sure it does the piece justice.