For all Liszt fans out here - we recently recorded his fantastic arrangement of Franz Schuberts »Die Stadt« with pianist Alexandre Kantorow in a very special setting. ruclips.net/video/-gmQve_Sp8c/видео.html
When I was in HS back in 1977, I asked a girl out who played classical piano to see this played in concert. My offer was rejected 0: so I went with my dad. I had on-stage tickets (no idea--it was actually the last sold and seating feet away on stage) and the pianist was none other than Vladimir Horowitz. He played the Sonata in B Minor and got an ovation in the first half of the show! The only one not on their feet was this old lady sitting next to me..when I asked her why she wasn't standing...she said "he plays it much better at home." Little did I know: It was Wanda! And the next year, managed to get stage tickets again and she sat right in front of us remembered me and stuck up a little conversation. She did stand that time after Horowitz ended with the Mephisto Waltz (like one could not even imagine). Sadly, I saw Horowitz a few years later (audience seats) and playing the Chopin Op.25 in the second half was riddled by big mistakes...whereas at the other concerts, he played like 6-7 encores, this one he played none. It was amazing to hear him, and the Sonata in B-minor from his fingers to my ears spawned a life-long love of classical piano (as a non-pianist). Excellent analysis of the piece here...I learned a lot!
Thank you for this lovely anecdote! In fact, Horowitz has clearly contributed to the popularity of the Sonata in B Minor! How nice that you were able to listen to his interpretations! It must have been exciting to have experienced these personalities live! Or to sit right next to Wanda Toscanini 😉
Thank you,lucky man. On stage with the Piano God and his devoted wife. He came through those bad years of mistakes (Meds and alcohol) and gave some of the best performances 1985 to 1989 when he died while recording his last album at age 86.
Well done Nahre! I've loved this piece for years especially from Bolet and Arrau. It's great you're introducing new people to this great piece. It will enrich their lives greatly going forward. Best.
The octave jump at 1:56 is very reminiscent of the opening to Beethoven's "Hammerklavier" Sonata. Liszt must have really been inspired by that sonata since he was the first to perform it in public in 1836.
"the sonata is how life is" Knew I wasn't the only one who felt this way. I've loved this piece for the past 4 years, and different parts stand out to me at different phases of life. Joys of a new relationship, moving out, the break up of that new relationship, death of a loved one. These are some of the events that the piece has seen me through.
I found this piece in music undergrad. I’m a double bassist, not a pianist, but I couldn’t stop listening to it and studying the score. It resonates so deeply with me
Looking forward to exploring this piece in more detail now. Love the high-end production bump here. The moving camera and slick graphics definitely kick things up a notch. All this while still allowing Nahre’s appealing personality to shine through and lead the way through the depths and details of this interesting piece.
I think there is too much movement. If you were sitting in a room face-to-face with someone talking and every three seconds they turned their head or jumped two feet to the side you would find it disorienting. We want to watch the face of the presenter to aid our reception of their ideas, and too much motion breaks that process. A little movement and cutting is "stylish" but it must not detract from the presentation.
@@KarlRKaiser I agree with you Karl. Video editing trends have been getting even more and more jumpy and spliced up all over the place these days. Such cuts seem to be more frustrating to those of us who really like to (and can) focus and concentrate on a video, especially educational content. Higher quality resolution, lighting and graphics have improved. Perhaps a longer version with fewer cuts could be made available for the more devoted viewers.
The piece doesn’t start with a descending scale. Starts with a motive of three notes that will be transformed into the last three chords at the end of the piece, the ones we hear at the end of the video, representing the transformation from darkness to light.
This is my favourite piece of classical piano. You are so right in saying that his motives can be applied in so many different ways. I never stop loving to listen to it.
This is my absolute favourite piece of all time. I played it two years ago, but I still play some part of it weekly, just for the pleasure of it. Excellent explanation by @NahreSol! I still wish this deep dive was much deeper, i.e. much longer and more comprehensive.
That is the summary of the work mentioned by Sol: the contrast and coexistence of the devilish motives and the loving and tender moments! It is a very rewarding sonata!
Liszt is one of my favorite composers. My hands are too small for the 10ths that are common in the piano music of my favorites - Chopin, Liszt, Rachmaninoff, Scriabin, and Brahms. Thank you for the great analysis.
I studied the B minor Sonata and presented live for me conservatory final diploma recital … in front of a commission of conservatory teachers/professors …. Pure panic … but somehow I went through it all in one piece and I managed to earn my degree 😂😂😂😂
I can't believe I played this sonata & Brahms Paganini Variations both books my undergrad junior recital @ the Anchorage Historical & Fine Arts museum Fast forward many years ,after playing Petroushka/ Islamey/ Gaspard de la nuit & all the Liszt Transcendental & Paganini Etudes----I enjoy playing the b minor sonata more because while still adoring every note of it --it's manageable & quite frankly on a par or easier than the aforementioned repertoire I came to own. ( did I mention I played the 27 Chopin Etudes every day for @ least 3 years) Obsession? Definitely. Great video ,very well appointed & thoughtful.
Thank you for your perspective! In this case, we are referring in particular to the difficulties at the beginning of the piece - certainly an obstacle for many pianists! Definitely a wonderful repertoire you mention! And certainly one of the most desirable obsessions, isn't it? 😉
Thank you for the light but pithy introduction! I've heard another analysis (maybe with literature characters - Faust? - it was a while ago), but your breakdown of some detail of the composition of the piece gives me a fresh take on the changes, transformations, therein. I'll listen again, and I have the feeling more will be revealed now. I've heard the word development used in many cases explaining the transformations of mood from a motive seed. That seems too unclear. Your example and verbiage was easy to grip.
In fact, Schubert's influence is absolutely worth mentioning! You might also be interested in our session with Alexandre Kantorow, who plays the Liszt arrangement of Schubert's »Die Stadt«. Enjoy! 🎥 ruclips.net/video/-gmQve_Sp8c/видео.html
Brilliant video! Thank you. I will say... the title is definitely clickbait, as while this masterpiece is very difficult, it's still probably not even in the hardest top 50 solo piano standard rep. It's definitely in the top 100 though!
When Liszt retired from solo piano concertizing in 1847, it was especially because he accepted the post of conductor of the Weimar court orchestra. He continued conducting through to the end of his life, conducting at Bayreuth just days before his death. He was actually active as a conductor for more years than he was as a pianist.
According to Claudio Arrau, whose teacher Martin Krause had studied with Liszt, it was always clear that the B minor sonata had been inspired by the Faust myth, hence the themes representing the hero, God, Mephistopheles, the loving Marguerite…
Beautiful! Now, please go back a few years and do the Bminor sonata by Chopin, his last -- arguably even a better piece of art that came first and influenced Liszt.
Schubert's Wanderer Fantasy has done it before (thematic transformation, a four movement played without a break corresponding to a sonata form, with the themes being transformed). It was written in 1822, 30 years before Liszt wrote his Sonata in B minor. In fact, Liszt has been fascinated/influenced with the Wanderer Fantasy, he wrote several transcriptions of it and even made it a piano concerto. Really shows how misinformed is the pianist.
Of course, and isn't it the beauty of music history that keeps a string of influence going? This does not take away from the innovative-ness of how Liszt pushed this multi/whole structure further. He was certainly the first to take it to this extraordinary level, with much more layers of complexities, double functionality, and a cohesiveness that influences many composers today, including myself.
Of course, Schubert's influence on Liszt is unmistakable! That's why you might also be interested in our session with Alexandre Kantorow, who plays the Liszt arrangement of Schubert's »Die Stadt«. Enjoy! 🎥 ruclips.net/video/-gmQve_Sp8c/видео.html
I'm 72, a musician of 64 years, and I've never heard 'motif' pronounced they way you pronounce it, which is closer to 'motive'. I've always heard it pronounced as a 'mohTEEF'.
no mention of #grandsonate4ageop33no2 and how the repeated note motif was inspired from it and no alkan's fans are not overly chauvinistic. He uses to a lesser extent the repeeated note motif and transforms it throughout the piece, from tender and loving to grandiose and virtuosic jokes aside i am simply astounded at this being avalaible! about the binge watch to the whole series of videos as i practice UwU
Actually, I've tried the double octave leap on the piano after you've mentioned it. I find that it's actually not as hard as one might think it should be. This is because of the extra space in front of the F#s on the keyboard, that give more "safety zone" for safe arrival.
The ship-yard background through the window looks familiar. I was thinking Hamburg, and I then realized that Hamburg is part of the title. I realize now that Hamburg was where I saw the weird concert hall on the river. That must be where her practice room is.
It’s all in English, title and description, but when I reduce it to mini player size on my iPhone, the title reads »Das furchteinf... Which I find curious as there is no German text to be found anywhere else, despite the video’s originating from Hamburg. Anyway, interesting video and I wish she would go more into depth in it someday on her own channel. Thanks for uploading
Thanks for the feedback! RUclips always adjusts the language settings to the localized IP address. If you are interested in more content, please have a look at our mediatheque. Here you will find content in both German and English. Enjoy! 🔎 www.elbphilharmonie.de/en/mediatheque
I didn't know those opening chords are scary for performers. I guess it's like the Beethoven Violin Concerto where the opening has to be played perfectly in tune, or the Lalo Symphonie Espagnole which has a double challenge. The beginning has to be nailed. Then there's a long orchestral tutti and the violinist has to come in again with a big exposed arpeggio, played twice.
It seems not too hard, the first measure, as if anyone could play it and probably could. The challenge is in imbuing those notes with mood and atmosphere. Trifonov in 2013 plays the very beginning crisp and precise but imbues it with an awesome undercurrent of ominous, sinister threat. He then goes on to play the rest of the sonata with incredibly, visceral fiery excitement.
The B minor Sonata is a major piece, but I would say many pieces are much harder such as Ravel's Gaspard, Beethoven's Hammerklavier, and Rachmaninoff 3rd. Liszt is very pianistic and fits the hand easily.
Okay --the point of music isn't to do a comparative analysis of difficulty. When you're good enough nothing is necessarily " difficult " other than length( endurance) & interpretive conceptualization & delivery. Hard & easy don't exist.
Thank you for your perspective! You're right, there are certainly comparable, technically challenging pieces. In this case, we are referring in particular to the difficulties at the beginning of the piece - certainly an obstacle for many pianists!
i love the Liszt Sonata, but personally, i just never liked the middle section, that part just puts me to sleep lol, but I love the 1st and last though
How to make absolutily security over the Scores composite? Zum Beispiel, Ich Schreiber ein Text.. Aber.. minhas composiçōes aparecem camufladas em outros lugares!! So.. I will do ?!
Nice presentation, but the video editor should be less active with switching views and the moving camera. This much movement of camera and editorial cuts adds little to the presentation, but each cut requires the viewer to reorient their point of view and refocus on the face of the presenter.
Liszt did not have large hands - that's a myth. He demonstrated to another pianist how he could - only just- span the 10th in a Beethoven sonata: F# - C# -A#
Its a shame that so many capable pianists (sufficient in technique) are too early on distracted by the low hanging fruit of Chopin's lyricism, to never realize the greater musical maturity and sensibility necessary to Liszt. He might have grown in popular appreciation had he the legions of sophomore pianists necessary to turn 'fan', and grow and sing Liszt's praise in common musical culture. For more of the same (minus the architecture), listen to any and all of the 3 hours of music that comprise Liszt's, Annes De Pelerinage. This one is monumental in its scope and scale: ruclips.net/video/kH6bFu7la5g/видео.htmlsi=ZZNflUxtiwL0Kx5G
Let's hope that a whole lifetime is enough to discover the Liszt repertoire and to explore it technically and interpretatively. 😉 In any case, we also believe that Liszt is an absolute must! So if you are ever in Hamburg, feel free to check out our concert programme - Liszt for sure is on there repeatedly! 🔎 www.elbphilharmonie.de/en/whats-on/
I hate such videos because you never get to hear at least some of the music and not just a bit here and a bit there, which never gives you an impression of how lovely this music is.
Apologies for the negative feedback, but I found this video disappointing. It doesn't have the charm and fun of Nahre Sol's usual content, and feels very generic, even sanitised. Is this because she partnered with a big organisation?
Keep in mind that this video is on the Elbphilharmonie channel - it's produced by a different team and directed a different audience, so the context is different than that of my channel. There's room for different approaches! but I appreciate the feedback 😊
There's a difference between a buncha octave jumps in the LH and both hands jumping at the same time. Also this is much faster, and if you mess it up, you ruin the entire introduction, if you mess up a LH jump in a raggy, no one will really notice. Still, I think she kinda overrates the difficulty of that part.
For all Liszt fans out here - we recently recorded his fantastic arrangement of Franz Schuberts »Die Stadt« with pianist Alexandre Kantorow in a very special setting.
ruclips.net/video/-gmQve_Sp8c/видео.html
When I was in HS back in 1977, I asked a girl out who played classical piano to see this played in concert. My offer was rejected 0: so I went with my dad. I had on-stage tickets (no idea--it was actually the last sold and seating feet away on stage) and the pianist was none other than Vladimir Horowitz. He played the Sonata in B Minor and got an ovation in the first half of the show! The only one not on their feet was this old lady sitting next to me..when I asked her why she wasn't standing...she said "he plays it much better at home." Little did I know: It was Wanda! And the next year, managed to get stage tickets again and she sat right in front of us remembered me and stuck up a little conversation. She did stand that time after Horowitz ended with the Mephisto Waltz (like one could not even imagine). Sadly, I saw Horowitz a few years later (audience seats) and playing the Chopin Op.25 in the second half was riddled by big mistakes...whereas at the other concerts, he played like 6-7 encores, this one he played none. It was amazing to hear him, and the Sonata in B-minor from his fingers to my ears spawned a life-long love of classical piano (as a non-pianist). Excellent analysis of the piece here...I learned a lot!
Beautiful story :’) loved reading it, that’s so cool. Thanks for sharing.
Thank you for this lovely anecdote! In fact, Horowitz has clearly contributed to the popularity of the Sonata in B Minor! How nice that you were able to listen to his interpretations! It must have been exciting to have experienced these personalities live! Or to sit right next to Wanda Toscanini 😉
Epic story
great story.
Thank you,lucky man.
On stage with the Piano God and his devoted wife.
He came through those bad years of mistakes (Meds and alcohol) and gave some of the best performances 1985 to 1989 when he died while recording his last album at age 86.
It's an absolute honour to hear you unpack musical ideas and share music in our community! Thanks for this gift!
a 'battle of forces' so well put. Enjoyed this so much.
Thank you kindly!!
Well done Nahre! I've loved this piece for years especially from Bolet and Arrau. It's great you're introducing new people to this great piece. It will enrich their lives greatly going forward. Best.
The octave jump at 1:56 is very reminiscent of the opening to Beethoven's "Hammerklavier" Sonata. Liszt must have really been inspired by that sonata since he was the first to perform it in public in 1836.
Interesting catch. I actually performed both the Liszt B minor and Beethoven Hammerklavier when I was 22 years old in my Bachelor's Degree recital.
Wow imagine you are there and listen to Liszt's performance live... I bet it was gigantic
"the sonata is how life is"
Knew I wasn't the only one who felt this way. I've loved this piece for the past 4 years, and different parts stand out to me at different phases of life. Joys of a new relationship, moving out, the break up of that new relationship, death of a loved one. These are some of the events that the piece has seen me through.
I always appreciate your lessons being so mindful, innovative, settled in the musical content, skillful, and so charming. You are an inspiration. 😊
well said!
Thank you!! :)
Love this collab! She’s fantastic
Yes she is 💖
I found this piece in music undergrad. I’m a double bassist, not a pianist, but I couldn’t stop listening to it and studying the score. It resonates so deeply with me
Looking forward to exploring this piece in more detail now.
Love the high-end production bump here. The moving camera and slick graphics definitely kick things up a notch. All this while still allowing Nahre’s appealing personality to shine through and lead the way through the depths and details of this interesting piece.
I think there is too much movement. If you were sitting in a room face-to-face with someone talking and every three seconds they turned their head or jumped two feet to the side you would find it disorienting. We want to watch the face of the presenter to aid our reception of their ideas, and too much motion breaks that process. A little movement and cutting is "stylish" but it must not detract from the presentation.
@@KarlRKaiser
I agree with you Karl. Video editing trends have been getting even more and more jumpy and spliced up all over the place these days. Such cuts seem to be more frustrating to those of us who really like to (and can) focus and concentrate on a video, especially educational content.
Higher quality resolution, lighting and graphics have improved. Perhaps a longer version with fewer cuts could be made available for the more devoted viewers.
Nahre Sol , i want ro thank you for telling about this channel. I support you on Patreon , follow you on RUclips , and Facebook
Thank you!!!
The piece doesn’t start with a descending scale. Starts with a motive of three notes that will be transformed into the last three chords at the end of the piece, the ones we hear at the end of the video, representing the transformation from darkness to light.
Learning this piece is a journey. I hope to return to it sometime.
I don't know who this Liszt guy is but if Nahre Sol analyses your music, you probably made it.
We´ll let him know 💀😜
You need to get out less 🤣 Liszt is one of the greats
Are you serious ? Never saw tom and Jerry piano cartoon scene ? 😜
So many people missing your delightful joke in the replies.
When you stagger home from the pub, you are Chopin & Liszt!
This is my favourite piece of classical piano. You are so right in saying that his motives can be applied in so many different ways. I never stop loving to listen to it.
Brilliant interpretation of this Liszt piece I am hearing about for the first time! Hope I get to play this one day!!
As someone who learned this sonata I can't even nail the first octave jump 90% of the time 😆
If we pianists could cross our fingers while playing it, we could!! 😅
This is my absolute favourite piece of all time. I played it two years ago, but I still play some part of it weekly, just for the pleasure of it.
Excellent explanation by @NahreSol!
I still wish this deep dive was much deeper, i.e. much longer and more comprehensive.
That is the summary of the work mentioned by Sol: the contrast and coexistence of the devilish motives and the loving and tender moments! It is a very rewarding sonata!
Liszt is one of my favorite composers. My hands are too small for the 10ths that are common in the piano music of my favorites - Chopin, Liszt, Rachmaninoff, Scriabin, and Brahms. Thank you for the great analysis.
Rach had some pretty big hands also!
Liszt Sonata in 5 min. Next challenge Goldberg Variations in 2 and half minutes.
I studied the B minor Sonata and presented live for me conservatory final diploma recital … in front of a commission of conservatory teachers/professors …. Pure panic … but somehow I went through it all in one piece and I managed to earn my degree 😂😂😂😂
Congrats!!!! 😀
I can imagine the pressure!!
Thank you,Nahre⭐🌹⭐
I can't believe I played this sonata & Brahms Paganini Variations both books my undergrad junior recital @ the Anchorage Historical & Fine Arts museum
Fast forward many years ,after playing Petroushka/ Islamey/ Gaspard de la nuit & all the Liszt Transcendental & Paganini Etudes----I enjoy playing the b minor sonata more because while still adoring every note of it --it's manageable & quite frankly on a par or easier than the aforementioned repertoire I came to own.
( did I mention I played the 27 Chopin Etudes every day for @ least 3 years)
Obsession?
Definitely.
Great video ,very well appointed & thoughtful.
Thank you for your perspective! In this case, we are referring in
particular to the difficulties at the beginning of the piece -
certainly an obstacle for many pianists! Definitely a wonderful
repertoire you mention! And certainly one of the most desirable
obsessions, isn't it? 😉
Katsaris’ interpretation is top top notch. In my humble opinion, he plays it the best I’ve ever heard ❤
Cziffra
Hough
For sure Emil Gilels live revords from the 60s is by far the very best. In modern times, Zimerman.
There is no best or greatest interpretation. There is simply one's favourite. Who cares? Offering some reasons WHY would be interesting.
Thank you for the light but pithy introduction! I've heard another analysis (maybe with literature characters - Faust? - it was a while ago), but your breakdown of some detail of the composition of the piece gives me a fresh take on the changes, transformations, therein. I'll listen again, and I have the feeling more will be revealed now.
I've heard the word development used in many cases explaining the transformations of mood from a motive seed. That seems too unclear. Your example and verbiage was easy to grip.
So wonderful, Nahre Sol
It’s worth noting that Liszt was inspired by Schubert’s Wanderer Fantasy when writing this, so it all started with Schubert!
In fact, Schubert's influence is absolutely worth mentioning! You might also be interested in our session with Alexandre Kantorow, who plays the Liszt arrangement of Schubert's »Die Stadt«. Enjoy! 🎥 ruclips.net/video/-gmQve_Sp8c/видео.html
Brilliant video! Thank you. I will say... the title is definitely clickbait, as while this masterpiece is very difficult, it's still probably not even in the hardest top 50 solo piano standard rep. It's definitely in the top 100 though!
That room has cool reverb. Very appropriate for this piece.
When Liszt retired from solo piano concertizing in 1847, it was especially because he accepted the post of conductor of the Weimar court orchestra. He continued conducting through to the end of his life, conducting at Bayreuth just days before his death. He was actually active as a conductor for more years than he was as a pianist.
According to Claudio Arrau, whose teacher Martin Krause had studied with Liszt, it was always clear that the B minor sonata had been inspired by the Faust myth, hence the themes representing the hero, God, Mephistopheles, the loving Marguerite…
Beautiful! Now, please go back a few years and do the Bminor sonata by Chopin, his last -- arguably even a better piece of art that came first and influenced Liszt.
Wow I just visited Elbphilharmonie on Friday, I didn’t know Nahre was there too!
We hope you enjoyed your visit anyway! 😄
How many bars are in B minor - 2 in Theme 1 in the Expo, and 2 in Theme 1 in the Recap? Did Liszt name it the B minor Sonata?
Schubert's Wanderer Fantasy has done it before (thematic transformation, a four movement played without a break corresponding to a sonata form, with the themes being transformed). It was written in 1822, 30 years before Liszt wrote his Sonata in B minor. In fact, Liszt has been fascinated/influenced with the Wanderer Fantasy, he wrote several transcriptions of it and even made it a piano concerto. Really shows how misinformed is the pianist.
Of course, and isn't it the beauty of music history that keeps a string of influence going? This does not take away from the innovative-ness of how Liszt pushed this multi/whole structure further. He was certainly the first to take it to this extraordinary level, with much more layers of complexities, double functionality, and a cohesiveness that influences many composers today, including myself.
@@NahreSolI love your analysis. Keep it the great work.
Of course, Schubert's influence on Liszt is unmistakable! That's why you might also be interested in our session with Alexandre Kantorow, who plays the Liszt arrangement of Schubert's »Die Stadt«. Enjoy! 🎥 ruclips.net/video/-gmQve_Sp8c/видео.html
how wonderful and interesting !
Mehr von Nahre bitte !
An abbreviated but very insightful commentary.
I'm 72, a musician of 64 years, and I've never heard 'motif' pronounced they way you pronounce it, which is closer to 'motive'. I've always heard it pronounced as a 'mohTEEF'.
Correct.
no mention of #grandsonate4ageop33no2 and how the repeated note motif was inspired from it and no alkan's fans are not overly chauvinistic. He uses to a lesser extent the repeeated note motif and transforms it throughout the piece, from tender and loving to grandiose and virtuosic
jokes aside i am simply astounded at this being avalaible! about the binge watch to the whole series of videos as i practice UwU
Excellent. I have troubles with List's sonata. It is polemic sonata.
Do you know Ginastera sonatas?
Hey it's Nahre! I hope you are enjoying your new position!
Liszt composed this sonata in dedication to Robert Schumann, in the style of Schumann, and Clara Schumann hated it.
Actually, I've tried the double octave leap on the piano after you've mentioned it. I find that it's actually not as hard as one might think it should be. This is because of the extra space in front of the F#s on the keyboard, that give more "safety zone" for safe arrival.
Wow your studio looks great!
It's one of the rehearsal rooms at the Elbphilharmonie!!
The ship-yard background through the window looks familiar. I was thinking Hamburg, and I then realized that Hamburg is part of the title. I realize now that Hamburg was where I saw the weird concert hall on the river. That must be where her practice room is.
We‘ll take weird as a compliment! 😊
Because I watch Nahre Sol all the time, RUclips guided me to this video.
🙏
It’s not terrifying It’s s tone poem for piano. One must understand Liszt in order to get it
It’s all in English, title and description, but when I reduce it to mini player size on my iPhone, the title reads »Das furchteinf...
Which I find curious as there is no German text to be found anywhere else, despite the video’s originating from Hamburg.
Anyway, interesting video and I wish she would go more into depth in it someday on her own channel. Thanks for uploading
Thanks for the feedback! RUclips always adjusts the language settings to the localized IP address. If you are interested in more content, please have a look at our mediatheque. Here you will find content in both German and English. Enjoy! 🔎 www.elbphilharmonie.de/en/mediatheque
I didn't know those opening chords are scary for performers. I guess it's like the Beethoven Violin Concerto where the opening has to be played perfectly in tune, or the Lalo Symphonie Espagnole which has a double challenge. The beginning has to be nailed. Then there's a long orchestral tutti and the violinist has to come in again with a big exposed arpeggio, played twice.
Great explanation even a violinist can follow.
What I would give to practise with that amazing view from the Elbphilharmonie!
he worked on it for at least 4 years, at the end of the MS he wrote "for the glory of God"
I can confidentially say I can play the first measure . After that I would walk off stage and take a bow anyway.
It seems not too hard, the first measure, as if anyone could play it and probably could. The challenge is in imbuing those notes with mood and atmosphere. Trifonov in 2013 plays the very beginning crisp and precise but imbues it with an awesome undercurrent of ominous, sinister threat. He then goes on to play the rest of the sonata with incredibly, visceral fiery excitement.
The B minor Sonata is a major piece, but I would say many pieces are much harder such as Ravel's Gaspard, Beethoven's Hammerklavier, and Rachmaninoff 3rd.
Liszt is very pianistic and fits the hand easily.
Okay --the point of music isn't to do a comparative analysis of difficulty.
When you're good enough nothing is necessarily " difficult " other than length( endurance) & interpretive conceptualization & delivery.
Hard & easy don't exist.
Thank you for your perspective! You're right, there are certainly comparable, technically challenging pieces. In this case, we are referring in particular to the difficulties at the beginning of the piece - certainly an obstacle for many pianists!
And again you extend my musical education.
i love the Liszt Sonata, but personally, i just never liked the middle section, that part just puts me to sleep lol, but I love the 1st and last though
Amazing video
It's Scriabin's 6th for me
Same
How to make absolutily security over the Scores composite? Zum Beispiel, Ich Schreiber ein Text.. Aber.. minhas composiçōes aparecem camufladas em outros lugares!! So.. I will do ?!
Nice presentation, but the video editor should be less active with switching views and the moving camera. This much movement of camera and editorial cuts adds little to the presentation, but each cut requires the viewer to reorient their point of view and refocus on the face of the presenter.
Didn’t Liszt have huge hands that could span a 14th on the piano. That’s scary. I think only Rachmaninov and Prokofiev had similar reaches.
Very large hands yes but not a 14th. I believe him and Rach could reach a 12th. e.g. C to G in the next octave.
Liszt did not have large hands - that's a myth. He demonstrated to another pianist how he could - only just- span the 10th in a Beethoven sonata: F# - C# -A#
@@1n9 that’s way more than me. I can get an 11th on a good day.
Liszt also transformed a simple theme and created Mazeppa symphonic poem and piano concerto 2
Its a shame that so many capable pianists (sufficient in technique) are too early on distracted by the low hanging fruit of Chopin's lyricism, to never realize the greater musical maturity and sensibility necessary to Liszt. He might have grown in popular appreciation had he the legions of sophomore pianists necessary to turn 'fan', and grow and sing Liszt's praise in common musical culture. For more of the same (minus the architecture), listen to any and all of the 3 hours of music that comprise Liszt's, Annes De Pelerinage. This one is monumental in its scope and scale: ruclips.net/video/kH6bFu7la5g/видео.htmlsi=ZZNflUxtiwL0Kx5G
Let's hope that a whole lifetime is enough to discover the Liszt repertoire and to explore it technically and interpretatively. 😉 In any case, we also believe that Liszt is an absolute must! So if you are ever in Hamburg, feel free to check out our concert programme - Liszt for sure is on there repeatedly! 🔎 www.elbphilharmonie.de/en/whats-on/
Like!!
I hate such videos because you never get to hear at least some of the music and not just a bit here and a bit there, which never gives you an impression of how lovely this music is.
Would there be a tackling of some Sorabji works? That'd be quite interesting!
Yes, especially because any number of those are FAR more terrifying than anything in Liszt's Sonata!
@@timothytikker1147: Sorabji’s piano works are notoriously difficult, but they remain fringe, specialist repertoire. 😎🎹
I don't want to brag but I am a virtuoso for like the first 8 measures.....then......
well then it all goes to sh.......quickly!!!
Most pianists will relate!
hi
Apologies for the negative feedback, but I found this video disappointing. It doesn't have the charm and fun of Nahre Sol's usual content, and feels very generic, even sanitised. Is this because she partnered with a big organisation?
Keep in mind that this video is on the Elbphilharmonie channel - it's produced by a different team and directed a different audience, so the context is different than that of my channel. There's room for different approaches! but I appreciate the feedback 😊
@@NahreSolI liked it. Wish it was longer though. Also isn’t Feux Follets more challenging?
Old Ragtime player
"just an octave jump? meh"
my dude, you have absolutely no idea of what you are talking about
@@Yhiith So true - even Ashkenazy has said that he decided not to play this piece because of the octaves.
There's a difference between a buncha octave jumps in the LH and both hands jumping at the same time. Also this is much faster, and if you mess it up, you ruin the entire introduction, if you mess up a LH jump in a raggy, no one will really notice. Still, I think she kinda overrates the difficulty of that part.
Cziffra
White mass is more dreadful - Scriabins Weiße Messe ist furchteinflößender
naice
I think gaspar de La nuit is worse
Really? Try playing one of Charlemagne Palestine’s piano pieces! Peace.
How could anyone not know who Liszt was?