As a side note to this fantastic piece: one of the reasons why I am so glad Andrei made this scored video is that we get to see how many unusual performance instructions Liszt wrote in the sheet music. I have never seen PIANGEVOLE (weepingly), FIERAMENTE (proudly), INQUIETO (worriedly), DISPERATO (desperately) and DELIRANDO (deliriously) in a score before (that might just speak to my ignorance, though).
It's probably because it's a transcription of an opera, where not only oral, but visual aspects of Meyerbeer's work would be important in a performer's understanding of the piece.
@@user-fu7zf4ck9z the real king of super specific instructions is Percy Grainger. Just look at some of his pedal markings and you'll realize that he was the world's greatest composer-micromanager.
@@leonlinton634 actually, Liszt wrote notations in his other non-operatic pieces as well. He was a pioneer in his time; when others thought one only had to beat time to a metronome to perform, Liszt infused his scores with the 'literal' passion one needs to "feel" the music.
This is pure madness and I love it… Meyerbeer was one of those composers (as Rossini) who gave the most challenging vocal works in history and Liszt’s transcription is super mega exciting and fitting fantastically!!! Looove it! 🔥
@@LM-oz2sc absolutely, these are key moments/ transitions as well 👌 I just opted to mention one of them because I tend to leave too many timestamps for score/ performance videos. Still, I’ll list some more for this piece. 2:29 (leading into 2:48), 3:33, 3:59, smooth downturn at 4:30, melody shift at 4:48, 5:22 (leading into 5:33), 5:54, 6:05, 6:26, theme return at 6:50, 7:18, 8:05, 8:27. All of these great moments, only confined to the first half of it all. To keep going- especially into the Finale- would practically involve listing every second. For simplicity’s sake, my favourites would have to be 2:48 (2:58), 3:59, 6:26 (6:50), 7:18 through Largo Dramatico’s close (9:45), 11:37, 12:57 (13:09), 14:27, 15:21 (obviously), 16:24, 16:51, 17:20 through the end of the piece (especially 17:54 & 18:22). The point I’m trying to make is that I typically just listen to the entire thing without paying much attention to timestamps because all of it is packed with splendor and I find it hard to pick which moments to jump to. Again, the transitions you mentioned are also very notable- the middle section is not one to be undervalued!
I was confused when I read the description: "A stunning operatic fantasy, with an incredibly badass Finale. " - I'm little over 3 minuttes in, and already stunned by the badass-ness! I thought I was near the ending, when I read that description... ;)
The disc from Arnaldo Cohen that features this recording is AMAZING. He has some other supervirtuosic works on it, as well as some austere late works - all played in a very unique, technically perfect, musically exciting way. I never listened to this recording with the score before - only now I noticed that Cohen consistently defies the pedal directions regarding the characteristic left hand deep chromatic runs (starting from right at the beginning). For some that might be a negative (Howard would certainly strongly disapprove), but I like it - good to have different recordings, and it lends a certain rough, percussive quality to those passages that really fit the music.
While I do admire opera and the opera composers who came up with the melodies, I would certainly agree with you. Liszt's keyboard treatment of operatic material is unparalleled.
@@antonygonzalez1672 You mean mazeppa, or this piece? With mazeppa, I've played it around 10 years ago. :) But this piece, I'm around halfway through so far.
Andrei Cristian Anghel there's nothing wrong with it... At least it's not like the video of Mahler's 10th Symphony with that unreadable handwritten score...
In fact Arnaldo Cohen doesn't play the third version but the second, which is the best version made by Liszt according to Leslie Howard. Anyway, Cohen's interpretation is very good.
For an operatic paraphrase this contains surprisingly little material from the opera. If you want to hear what Liszt took from it you have to sit through 4 of 5 acts before we finally get to it.
Interprétation brillantissime d’A Cohen pour cette paraphrase sur Les Huguenots de Meyerbeer de Liszt si rarement donnée car d’une difficulté telle qu’elle rebute plus d’un !
it's because he was using the score of the first version (S.412i) pretty much the whole time because it has better quality and the first version is really similar to this version (only a different ending and other very minor changes)
Mucho más que un despliegue virtuosístico. Mucho más que un "técnico". Acá hay "sustancia musical" hay una elaboración y una transformación de los originales
And also below that tempo mark, "il piú f possible", as loud as possible. Basically the pianist should attempt to break a string of the piano in this part! xD
Generally speaking, Liszt's opera paraphrases and "reminiscences" are focused on evoking the atmosphere and dramatic situations of the work in question, something that he accomplishes again and again in imaginative and memorable ways. Bellini's Norma, Mozart's Don Giovanni, Gounod's Romeo and Juliet, Verdi's Aida... all different and indelible! Thalberg's are about making virtuosic and charming salon pieces, in which the the original opera is exploited solely for usable tunes.
Chopin disdainfully called this kind of playing : "catching pigeons", also "vertical playing". I see his point. However it can be pleasant and a change from the annoying mozartian predictable cadences and trills. I think Chopin secretly understood that this music deserved its place in entertainment, he even liked Berlioz music which is going in the same direction for the orchestra (minus Liszt virtuoso treatment). Chopin said after i'm gone if you want to play something in memory of me, play some Mozart i will always appreciate it. I think this is a calculated interested statement because he thought his composition style was one of the legitimate successor of Mozart and that Liszt "catching pigeons" was not. By talking highly of Mozart he was indirectly complimenting himself or rather trying to gild his own style. I can only imagine how amused Liszt must have been and knew that Chopin didn't like his highly popular technical terror and fascinating energic soundscapes compositions and probably took an extra pleasure to compose more of them.
Bei aller Brillanz, bei allen gefühlvollen Stellen (wunderbar ausgekostet gespielt!) - die Schwachstelle der Komposition ist ihre Länge... und dagegen ist selbst ein so gewandter Pianist wie Arnoldo Cohen machtlos!
17:54 Those leaps are insane
Even Cohen approaches them quite cautiously 😂
It’s like bilateral La Campanella. :)
It isn't insane It is..
Super duper Fu**ing crazy
@@dominicvansever oui bon la campanella c'est rien dutout comparé à ça
As a side note to this fantastic piece: one of the reasons why I am so glad Andrei made this scored video is that we get to see how many unusual performance instructions Liszt wrote in the sheet music. I have never seen PIANGEVOLE (weepingly), FIERAMENTE (proudly), INQUIETO (worriedly), DISPERATO (desperately) and DELIRANDO (deliriously) in a score before (that might just speak to my ignorance, though).
It's probably because it's a transcription of an opera, where not only oral, but visual aspects of Meyerbeer's work would be important in a performer's understanding of the piece.
Because it's from a opera
You should take a look at Busoni's comments and instructions, they're hilariously specific
@@user-fu7zf4ck9z the real king of super specific instructions is Percy Grainger. Just look at some of his pedal markings and you'll realize that he was the world's greatest composer-micromanager.
@@leonlinton634 actually, Liszt wrote notations in his other non-operatic pieces as well. He was a pioneer in his time; when others thought one only had to beat time to a metronome to perform, Liszt infused his scores with the 'literal' passion one needs to "feel" the music.
This is pure madness and I love it… Meyerbeer was one of those composers (as Rossini) who gave the most challenging vocal works in history and Liszt’s transcription is super mega exciting and fitting fantastically!!! Looove it! 🔥
7:10 wow I love these smooth key changes
9:45 that transitions makes me melt every time
10:57 What about this?
or 12:17 ad 13:47
@@LM-oz2sc absolutely, these are key moments/ transitions as well 👌 I just opted to mention one of them because I tend to leave too many timestamps for score/ performance videos. Still, I’ll list some more for this piece.
2:29 (leading into 2:48), 3:33, 3:59, smooth downturn at 4:30, melody shift at 4:48, 5:22 (leading into 5:33), 5:54, 6:05, 6:26, theme return at 6:50, 7:18, 8:05, 8:27. All of these great moments, only confined to the first half of it all. To keep going- especially into the Finale- would practically involve listing every second. For simplicity’s sake, my favourites would have to be 2:48 (2:58), 3:59, 6:26 (6:50), 7:18 through Largo Dramatico’s close (9:45), 11:37, 12:57 (13:09), 14:27, 15:21 (obviously), 16:24, 16:51, 17:20 through the end of the piece (especially 17:54 & 18:22). The point I’m trying to make is that I typically just listen to the entire thing without paying much attention to timestamps because all of it is packed with splendor and I find it hard to pick which moments to jump to. Again, the transitions you mentioned are also very notable- the middle section is not one to be undervalued!
Cohen is one of most underrated pianists. His performances are magical
Majestic. Liszt has a transcription for everything!
I was confused when I read the description:
"A stunning operatic fantasy, with an incredibly badass Finale. "
- I'm little over 3 minuttes in, and already stunned by the badass-ness!
I thought I was near the ending, when I read that description... ;)
Same thing over here!!
The disc from Arnaldo Cohen that features this recording is AMAZING. He has some other supervirtuosic works on it, as well as some austere late works - all played in a very unique, technically perfect, musically exciting way. I never listened to this recording with the score before - only now I noticed that Cohen consistently defies the pedal directions regarding the characteristic left hand deep chromatic runs (starting from right at the beginning). For some that might be a negative (Howard would certainly strongly disapprove), but I like it - good to have different recordings, and it lends a certain rough, percussive quality to those passages that really fit the music.
Liszt transcriptions are so much better than the originals
While I do admire opera and the opera composers who came up with the melodies, I would certainly agree with you. Liszt's keyboard treatment of operatic material is unparalleled.
Depends which opera
Schoenberg is my daddy there too
@Schoenberg is my daddy Maybe not for my symphonies.
@Schoenberg is my daddy "Definitely".
This is by far the best piece i have listened to that made me soo lively and excited towards the end, i just love that ending my goodness!
18:35 The moment I realized that even Liszt had an arrangement of “A Mighty Fortress is Our God.”
I thought I recognized that part
That is solely on Meyerbeer's part. That is the battle song of Huguenots in the opera.
Yes, afterall it's no surprise that an opera about the Huguenots would feature Luther's "Ein fest burg"
Noticed this too.
Going to play it in church.
A beautiful piece.. one of my favourites from Liszt.. I'm learning this too, and it's incredibly rewarding.
mazeppa1231 love ur name can you actually play it tho??
@@antonygonzalez1672 You mean mazeppa, or this piece? With mazeppa, I've played it around 10 years ago. :) But this piece, I'm around halfway through so far.
@@mazeppa1231 looking forward to your performance!
@@mazeppa1231 damn u aren't messing around
i hope you could upload some performances
17:54 - fingers proceed to catch on fire
That ending is so majestic. We do know where Jarrod Radnich takes his inspiration when he arranges pieces 😏
what an insane pianist for this sick piece.
Felleg 4 sick?
@@samthepianoman I believe "sick" is British slang for awesome ?
Oh lol sry I ain’t British
@@samthepianoman It's also used in the U.S. to mean the same thing.
Cohen is a fantastic pianist. His Totentanz is seriously great also.
18:31 that was quite unexpected
The music or the sheetmusic lol
Andrei Cristian Anghel both 😂😂
@@scriabinismydog2439 😂 Yeah sorry about the sheet I had no access to a clean copy of this version's ending
Andrei Cristian Anghel there's nothing wrong with it... At least it's not like the video of Mahler's 10th Symphony with that unreadable handwritten score...
It made m laugh actually haha
a legend, amazing work from the great composer and virtuoso!
@Enescu stfu ravel simp
Indeed
yaguz
An Incredible tour de force!! Virtuosic from start to finish!! And a truly awesome performance!! Bravo!!
Absolutely beautiful.
6:05 One of the most beautiful melodies I've ever heard
Another masterpiece from Liszt. *sigh*
brand new to this channel as an old time Liszt lover-and am amazed, it's gonna be a fun journey!
17:54 yeah, that's officially badass. Respect.
15:46 Peer Gynt : In the Hall of the mountain king.
Nou
hi
no
@Schuyler Bacn rip felis skalkotris sorabjitus he will be missed
17:56 Beautiful
2:59 sry but I don't think the LH of the score doesn't match what Cohen's LH is playing?
A Great interpretation !
Arnaldo Cohen está grandioso nessa peça de dificuldades diabólicas!
In fact Arnaldo Cohen doesn't play the third version but the second, which is the best version made by Liszt according to Leslie Howard. Anyway, Cohen's interpretation is very good.
10:38 chasse-neige
Listening to this for the first time
8:37 Kinda reminds me of the B minor Sonata.
@Zarathustra Wait which part is it? Sorry, would you mind showing me a timestamp?
Bravo bravo bravo brilliance
For an operatic paraphrase this contains surprisingly little material from the opera. If you want to hear what Liszt took from it you have to sit through 4 of 5 acts before we finally get to it.
Interprétation brillantissime d’A Cohen pour cette paraphrase sur Les Huguenots de Meyerbeer de Liszt si rarement donnée car d’une difficulté telle qu’elle rebute plus d’un !
15:20
18:31 score had change(?)
it's because he was using the score of the first version (S.412i) pretty much the whole time because it has better quality and the first version is really similar to this version (only a different ending and other very minor changes)
Full good
NoW tHiS iS sOmE qUaLiTy MuSiC uNlIkE jUsTiN bIeBeR
sOrRy Mr BiEbEr
2:59, 6:26, 9:09, 17:19
yes
Mucho más que un despliegue virtuosístico. Mucho más que un "técnico". Acá hay "sustancia musical" hay una elaboración y una transformación de los originales
2:58 reminds me of Eroica
I also thought Beethovenian epicness
@@marcmitchel25 lol I meant the Liszt etude but sure
数あるリストの曲、編曲の中で最も難しい曲の一つ。😂
私はエステ荘の噴水や、リストのバラード二番までは弾けますが、この曲は本当に難しくて弾けない😂
Is that anyone knew this peice in Great Pianist's technique: leap?
2:58 Inspiration for the Eroica etude?
18:35 chorale
감사 😁
why are there so many liszt pieces that almost no one plays
3940159 yes
zooommmmmmmmmmmm zummmmmmmmmmmmmmm
177013
ee ee ee beep bleep boing
343296
@@pleasecontactme4274 298828282 nooooooooo
Mooooooz muuuuuuzzz
918272 2829 gniob gnoib
@@pleasecontactme4274 Looks like someone had a seizure on the keyboard today.
@@therealrealludwigvanbeethoven shh
@@pleasecontactme4274 shh
6:12 almost like jazz
This would have been the perfect recording for this piece, if Cohen did not decide to play the ossia at 2:58 instead of the original.
17:54
Absolutly insane
8:02 as fast as possible? Lol
And also below that tempo mark, "il piú f possible", as loud as possible. Basically the pianist should attempt to break a string of the piano in this part! xD
@@theangel123456789 lol typical liszt
@@theangel123456789 -- Great! BRAVO from Acapulco!
he knows when to play heavy and lighten on the keys
Does the original 1836 version of this monster exist anywhere?
Yes
Une si belle musique polluée en plein milieu de l’œuvre par des pubs outrancières !😫
Actually, it's quite easy to say who is more talented, Liszt or Thalberg. Just comparing their Opera Fantasies and Paraphrases, very obvious! 😆
thalberg wrote beautiful peaces too though
@@stoppelhopser1848 Yes of course.
Generally speaking, Liszt's opera paraphrases and "reminiscences" are focused on evoking the atmosphere and dramatic situations of the work in question, something that he accomplishes again and again in imaginative and memorable ways. Bellini's Norma, Mozart's Don Giovanni, Gounod's Romeo and Juliet, Verdi's Aida... all different and indelible! Thalberg's are about making virtuosic and charming salon pieces, in which the the original opera is exploited solely for usable tunes.
@@treesny Totally agree! 👍🏻
Where did you get the sheet music for this?
Thumbnail at 17:54
4:47
Is an insult that you add a commercial in the middle of this artwork ma friend.
Chopin disdainfully called this kind of playing : "catching pigeons", also "vertical playing". I see his point.
However it can be pleasant and a change from the annoying mozartian predictable cadences and trills. I think Chopin secretly understood that this music deserved its place in entertainment, he even liked Berlioz music which is going in the same direction for the orchestra (minus Liszt virtuoso treatment). Chopin said after i'm gone if you want to play something in memory of me, play some Mozart i will always appreciate it. I think this is a calculated interested statement because he thought his composition style was one of the legitimate successor of Mozart and that Liszt "catching pigeons" was not. By talking highly of Mozart he was indirectly complimenting himself or rather trying to gild his own style. I can only imagine how amused Liszt must have been and knew that Chopin didn't like his highly popular technical terror and fascinating energic soundscapes compositions and probably took an extra pleasure to compose more of them.
Where do you get sheets?
I can't say, but if you would like my help in acquiring any sheets on this channel, send me an email at the adress in my channel description.
@@raphaelandre4618 Some are on IMSLP, but some not.
Ok thx
I have Russian published score
last page is taken from a mighty fortress is our god
Looks like “reminiscences of huge nuts”😂
lol
I wish there WAS an opera called 'huge nuts' and Liszt made a fantasy on it
@@19thCenturyGuy we could only dream lmao
Bei aller Brillanz, bei allen gefühlvollen Stellen (wunderbar ausgekostet gespielt!) - die Schwachstelle der Komposition ist ihre Länge... und dagegen ist selbst ein so gewandter Pianist wie Arnoldo Cohen machtlos!
The Piece is interesting but not good...
No, it's fantastic. Your lack of a brain doesn't make this any less good.
15:20
9:51
17:54
18:35
15:20
15:21