Fantastic! This performance of the Transcendentals is second to none! For me it is right up there with the legendary recordings of the 20th century giants... We are truly spoiled to live in an era when a number of brilliant young pianists are actually touring with the entire set of these etudes. I don't think Liszt ever dreamed of such a happy fate for this work. Maestro Zhang embodies everything that is "transcendental" about these studies, he rose above technical difficulties, physical barriers are indeed transcended - it really is just the music what's left. Beautiful depth and poetry in every number, every phrase carefully thought-through this recital truly does Liszt justice. Many people already mentioned the spectacular Mazeppa, and I agree the use of Liszt's 4-2/2-4 fingering is mind-blowing, which creates a truly striking percussive effect rarely encountered with other performers. But it is not just Mazeppa, every single one of the etudes are played to perfection and with a distinct personal touch. Some of the contrary-motion textures in No.2 and No.5 were given a completely new treatment here, the end of No.6 was likewise blended differently (but musically convincingly) to anything I've heard before. No.7 is given a unique almost scherzo-like character. No.3 and No.9 are each played with a strong sense of an overarching narrative (the latter made me feel like being in a romantic-horrifying Grimm-story). My favourite performance here might be that of No.12, though. Amazing atmosphere, and some of the most impressionistic chromatic runs in the left hand I've ever heard. Thank you so much to Maestro Zhang for sharing this recital with us! Please keep on performing these etudes, and other Liszt pieces too! You have a unique gift for interpreting his music!
For those who never heard Haochen perform live, RUclips sound could never possibly pick up all of his CONSTANT subtlety. He has matured into a shockingly great musician and pianist. And dont judge by this covid era piece he learned and had little chance to perform. Listen to his recent recording of it. And listen to his Beethoven concertos which are flawless and ingeniusly expressive.
@@composerjalen I disagree, Liszt’s fingering apparently prevents legato, augmenting the galloping effect. If you think the fingering is there solely to challenge the pianist, you are certainly in the minority
To organboi: His Feux Follets borders on the miraculous, with its wondrous, imaginative nuances which he manages even while employing the fastest tempo possible. And how refreshing to see such a fine, young pianist perform in a thoroughly professional manner, without the slightest trace of the tasteless, often outrageous, theatrical, audience-manipulating, pseudo-emotional antics of that other Asian pianist (you know. . . the one whose initials consist of the doubling of the 12th letter of the alphabet).
@@richardvolpe7664 😄 well said. I agree. All I know is HZ played the Beethoven 5th concerto with the Atlanta Symphony several months ago and it was the best concerto performance I've ever heard in my long life. The most musical and expressive playing imaginable. I'll never forget it.
@@organboi I'm not surprised. This young pianist has everything: musical intelligence and sensitivity, a lofty degree of technical mastery, and a professional, distinguished stage presence. Have you heard his Prokofiev toccata? I couldn't imagine a more effective performance. I believe we can look forward to more superb work from this extraordinary artist.
His interpretations sound like different and new- keeping the music alive in an interesting way. And the technique - whaaaaat?! Shoutout to tonebase for pointing out he using the O.G. Fingering in Mazzepa - and boy can you hear it and it makes such a difference
Oh man... I listened to your performance from beginning to end and I feel obliged to say it was a wonderful experience and a very refreshing performance of these Etudes. BRAVO!
I was at MiCo, Milan for EACTS 2023 annual meeting, and my teammates were lucky to see you at the rehearsal at the La Scala. They told me you waived "Hi" to them, and you were so lovely and your pianism was so beautiful!
No one ever uses the triple voice ossia in Vision. :( I mean that doesn't change that fact that your interpretation of the piece is really good, but it just sucks since it really is a nice addition to the work which everyone just ignores.
Quite good. Expressive. It is an individual interpretation. Seems to me to not have enough power in the fortissimi. Perhaps too much reliance on excessive rubato and long breaths. Feux follet rather fast, but better and clearer when he plays in time. Eroica sounds creepy and humorous. Don't know if this was intentional! I think he completely missed the character in Wild Jagt, and played it too fast. He often seems to play lightly when he should be playing more forte. This is not 'romantic' in the usual sense. Ricordanza has little forward motion; too lax. Better later. No. 12: he plays loud too soon and then plays soft when it should be building up! Again, he is being romantic when it calls for atmosphere.
To cynic: His 'fortissimi' aren't lacking in power at all! His use of 'rubato' (a word so overused and misunderstood that it's becoming meaningless) is anything but excessive (he's not playing Haydn), and what's with "overly long breaths?" His Feux follets is extraordinarily effective, almost miraculous with wonderful nuances and inventiveness (forget the 'playing in time' idea). There were places in Wild Jagd that were too fast. . . you're right, but the lyrical theme was ravishingly executed, and the overall shaping of the piece was quite good. Not liking to repeat adjectives, I nevertheless have to judge his delivery of the last etude (which I've always translated as "snowdrifts") as miraculous. This tone picture may be the most difficult of the set to "bring off," and Zhang interprets it marvelously, despite your comment about dynamics. Sorry, but I don't know what you mean by ending your paragraph with, "He's being romantic when it calls for atmosphere." ?????
이게 불투명이면 투명한건 뭐 손이 유리로 되어있어야함? 뭉게는 소리가 많아? 첫부분 듣고도 그런소리가 나옴? 리스트가 남겨놓은 핑거링으로 치는거 보니까 진짜 경이로울 수준임. 저부분은 차라리 임윤찬이 뭉겠다고 해야지. (물론 임윤찬이 나쁘다는게 아님. 그냥 니가 뭉게는 소리 많다는게 말이 안된다는거) 음색이 탁하는건 대체 무슨 개소리냐....? 존나 추상적인 말로 아는척 해대는 극성 임윤찬빠 아줌마로밖에 안보인다. 클래식 듣지도 않다가 반클라이번 뉴스에 뜨니까 그거 영상 보고 그냥 아는척하는거 그 이상 이하도 아님
Fantastic! This performance of the Transcendentals is second to none! For me it is right up there with the legendary recordings of the 20th century giants... We are truly spoiled to live in an era when a number of brilliant young pianists are actually touring with the entire set of these etudes. I don't think Liszt ever dreamed of such a happy fate for this work.
Maestro Zhang embodies everything that is "transcendental" about these studies, he rose above technical difficulties, physical barriers are indeed transcended - it really is just the music what's left. Beautiful depth and poetry in every number, every phrase carefully thought-through this recital truly does Liszt justice.
Many people already mentioned the spectacular Mazeppa, and I agree the use of Liszt's 4-2/2-4 fingering is mind-blowing, which creates a truly striking percussive effect rarely encountered with other performers. But it is not just Mazeppa, every single one of the etudes are played to perfection and with a distinct personal touch. Some of the contrary-motion textures in No.2 and No.5 were given a completely new treatment here, the end of No.6 was likewise blended differently (but musically convincingly) to anything I've heard before. No.7 is given a unique almost scherzo-like character. No.3 and No.9 are each played with a strong sense of an overarching narrative (the latter made me feel like being in a romantic-horrifying Grimm-story). My favourite performance here might be that of No.12, though. Amazing atmosphere, and some of the most impressionistic chromatic runs in the left hand I've ever heard.
Thank you so much to Maestro Zhang for sharing this recital with us!
Please keep on performing these etudes, and other Liszt pieces too! You have a unique gift for interpreting his music!
For those who never heard Haochen perform live, RUclips sound could never possibly pick up all of his CONSTANT subtlety. He has matured into a shockingly great musician and pianist. And dont judge by this covid era piece he learned and had little chance to perform. Listen to his recent recording of it. And listen to his Beethoven concertos which are flawless and ingeniusly expressive.
that mazeppa was to die for…
Just wondering - I couldn't tell - but was he using Liszt's intended 24,24,42,42,24,24... fingering for the thirds?
@@igo.spekkyjarvonvreich he was indeed
@@igo.spekkyjarvonvreich The fact that most people can only tell if they watch the video at 0.25 just shows how silly this criterion is
@@eugenelevin9809 the fingering is not meant for the viewers, it's a challenge for the pianist
@@composerjalen I disagree, Liszt’s fingering apparently prevents legato, augmenting the galloping effect.
If you think the fingering is there solely to challenge the pianist, you are certainly in the minority
Magnificent on all levels. Bravo. Liszt would be thrilled.
I guess I have found my new favourite TE set
The best mazeppa I’ve ever heard!
Do you have any plan to make studio recording of these etudes? I’d love to hear it :)
@@sungjinlee2835he's done it now!
Wow - never heard Mazeppa played like that
first time I enjoyed it. ever!
(some other time I'll try to understand why)
It's because he uses Liszt's original fingering for the thirds, just 2,4
@@chrisy367 thanks, I thought of that (didn't check yet)
Who needs an endless frontal shot of Haochen during the climax of Feux-Follets?
Why is no one mentioning the shockingly superb and mind blowing performance of Feux Follets? You're all up in Mazeppa for some reason.
To organboi: His Feux Follets borders on the miraculous, with its wondrous, imaginative nuances which he manages even while employing the fastest tempo possible. And how refreshing to see such a fine, young pianist perform in a thoroughly professional manner, without the slightest trace of the tasteless, often outrageous, theatrical, audience-manipulating, pseudo-emotional antics of that other Asian pianist (you know. . . the one whose initials consist of the doubling of the 12th letter of the alphabet).
@@richardvolpe7664 😄 well said. I agree. All I know is HZ played the Beethoven 5th concerto with the Atlanta Symphony several months ago and it was the best concerto performance I've ever heard in my long life. The most musical and expressive playing imaginable. I'll never forget it.
@@organboi I'm not surprised. This young pianist has everything: musical intelligence and sensitivity, a lofty degree of technical mastery, and a professional, distinguished stage presence. Have you heard his Prokofiev toccata? I couldn't imagine a more effective performance.
I believe we can look forward to more superb work from this extraordinary artist.
i like the bouncyness in the mezzapa!
昊辰太棒了 这就是艺术啊！！！
His interpretations sound like different and new- keeping the music alive in an interesting way. And the technique - whaaaaat?!
Shoutout to tonebase for pointing out he using the O.G. Fingering in Mazzepa - and boy can you hear it and it makes such a difference
Agreed. I remember when he won the Cliburn in 2010? I think? Maybe my memory is f'd
To 1389Chopin: Yes it does. I've never heard other performances (however excellent) where the 3rds sound this crisp (quasi staccato).
This is truly excellent.
Oh man... I listened to your performance from beginning to end and I feel obliged to say it was a wonderful experience and a very refreshing performance of these Etudes. BRAVO!
Chasse neige.. Beautifully played 😢
Everything is beautifully played.
Amazing and incredible performance!!
Nothing less than brilliant !
I was at MiCo, Milan for EACTS 2023 annual meeting, and my teammates were lucky to see you at the rehearsal at the La Scala. They told me you waived "Hi" to them, and you were so lovely and your pianism was so beautiful!
Brilliant playing with refined imagination. BIG THANKS, Maestro. PS: Would be nice if we could see more of your hands and not the beautiful piano, the big walls and the floor. Many times we only saw your face from faraway!
同感。撮影者が下手くそですね。もっと彼の演奏する手元を撮して欲しかったです。
Wonderful ! Congratulations !
This is one awesome performance !
Enjoyed watching this video my friend Really awesome views Thank you Stay connected
Excellent !
Excellent job on the rarely played as a cycle on account of immense technical difficulty.
Very impressive!
Good interpretation
the best Mazeppa
To graceting: Without question!
Well done.
Perhaps the most frequent una corda user of this set.
No one ever uses the triple voice ossia in Vision. :(
I mean that doesn't change that fact that your interpretation of the piece is really good, but it just sucks since it really is a nice addition to the work which everyone just ignores.
wow!
👏👏👏💐💐💐
I like the playing better than the music. There's a lot of Liszt I prefer
최고의 TE...
Subscribed👍
❤
헉~ 하오첸 장: 2009년 20살에 반클라이번 1위를 하였다. 중국을 대표하는 피아니스트, 유자왕, 랑랑 과함께 어깨를 나란히하는 연주가 이다. ... 어쩐지~ 귀를 사로잡은 연주♡
思い出しました。この方だったんですね。辻井信行さんと共に１位になった 方。確かコンクールでは夜のガスパール弾いていた記憶が。
@@kamint2258 와~~ 노부유키 너무 대단한 피아니스트 네요~ 시각장애인 피아니스트 인데 너무 감동스럽습니다.
감사합니다 ^^
1:01:24
눈치우기 표현이랑 강약조절에 미스 한번 안들렸고 진짜 잘했네
키신하고 거의 맞먹는거 같다ㅎㄷㄷ
👏👏👏👏👏👏👏👏
太有才了
Quite good. Expressive. It is an individual interpretation. Seems to me to not have enough power in the fortissimi. Perhaps too much reliance on excessive rubato and long breaths. Feux follet rather fast, but better and clearer when he plays in time. Eroica sounds creepy and humorous. Don't know if this was intentional! I think he completely missed the character in Wild Jagt, and played it too fast. He often seems to play lightly when he should be playing more forte. This is not 'romantic' in the usual sense. Ricordanza has little forward motion; too lax. Better later. No. 12: he plays loud too soon and then plays soft when it should be building up! Again, he is being romantic when it calls for atmosphere.
what an idiot you are
To cynic: His 'fortissimi' aren't lacking in power at all! His use of 'rubato' (a word so overused and misunderstood that it's becoming meaningless) is anything but excessive (he's not playing Haydn), and what's with "overly long breaths?" His Feux follets is extraordinarily effective, almost miraculous with wonderful nuances and inventiveness (forget the 'playing in time' idea). There were places in Wild Jagd that were too fast. . . you're right, but the lyrical theme was ravishingly executed, and the overall shaping of the piece was quite good. Not liking to repeat adjectives, I nevertheless have to judge his delivery of the last etude (which I've always translated as "snowdrifts") as miraculous. This tone picture may be the most difficult of the set to "bring off," and Zhang interprets it marvelously, despite your comment about dynamics.
Sorry, but I don't know what you mean by ending your paragraph with, "He's being romantic when it calls for atmosphere." ?????
와 진짜 잘친다
It's car that HaoChen Zhang is a far better pianist than Lang Lang and YuChia Wang. He is of a different class.
Notes. Lots of notes. Lots of pedal stomping too.
Alas to no avail.
素晴らしい演奏🎹✨🤗 だけど鬼火、幻影等演奏している手元見たいのに、顔の表情ばかり撮すのは撮影する人が下手😅
You can see his performance clearly from several views if you log in this address:
ruclips.net/video/CcKFTJdVHE4/видео.html.
Bravo ma ce ne sono di meglio
Ma li mortacci ....
vado a bruciare i miei libri di tecnica pianistica... non sono degno rispetto a lui AHAHA
@@nicolasdenicolo40 i libri ?...io mi vendo il pianoforte
미안한데 임윤찬이랑 너무 비교되네 음색도 탁하고, 터치도 불투명하고 뭉게는 소리도 많고 전혀 공감도 안되고 실망스럽다
제발 쪽팔린다 좀 지우자 윤찬이안티냐
이런놈 때문에 윤찬이 욕을 먹는다. 초절 악보나 보고 와라. 악보에 기호 대로 아티큘 다 살려서 기가막히게 연주하는데 뭔 개소린지.
너는 이렇게 칠수도없잖어ㅋㅋㅋㅋ
형 엄마가 밥먹으래
이게 불투명이면 투명한건 뭐 손이 유리로 되어있어야함?
뭉게는 소리가 많아?
첫부분 듣고도 그런소리가 나옴?
리스트가 남겨놓은 핑거링으로 치는거 보니까 진짜 경이로울 수준임.
저부분은 차라리 임윤찬이 뭉겠다고 해야지.
(물론 임윤찬이 나쁘다는게 아님.
그냥 니가 뭉게는 소리 많다는게 말이 안된다는거)
음색이 탁하는건 대체 무슨 개소리냐....?
존나 추상적인 말로 아는척 해대는 극성 임윤찬빠 아줌마로밖에 안보인다.
클래식 듣지도 않다가 반클라이번 뉴스에 뜨니까 그거 영상 보고 그냥 아는척하는거 그 이상 이하도 아님