Hardest piano piece! Liszt - Étude S140 no 4b by Yi-Chung Huang
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- Опубликовано: 22 дек 2024
- This is Yi-Chung Huang's interpretation of the Études d'exécution transcendante d'après Paganini, S140 no. 4b "Arpeggio", by Liszt. It is a crazy, absolutely phenomenal high-tempo performance for this piece, considered one of the most challenging etudes to perform on the piano.
Original video: Yi-Chung Huang-The 64th Ferruccio Busoni International Piano Competition-Glocal Piano Project-Hamburg
www.amadeus.tv/library/637a8285a149d31d133dd9c3
The performer (Yi-Chuang Huang)'s RUclips channel: / @ladivinafanatic
This piece is an alternate, harder version (compared to 4a etude) of the fourth etude in Liszt’s set of six studies based on the compositions of Niccolò Paganini, the legendary violinist. It is an arpeggio study that requires the pianist to play rapid and wide-spanning arpeggios in both hands, often crossing over each other, while maintaining a clear melody and a smooth legato. The piece is in E major and has a graceful and elegant character, but also a dazzling and virtuosic display of technique.
The piece is based on Paganini’s Caprice No. 1 in E major for solo violin, which is itself a very challenging work that tests the violinist’s agility, accuracy, and intonation. Liszt transcribed the caprice for the piano, adding his own embellishments and variations, and making it even more difficult by expanding the range of the arpeggios to cover the entire keyboard. The piece is divided into three sections: an introduction, a main theme with four variations, and a coda.
The introduction begins with a series of ascending and descending arpeggios in both hands, creating a shimmering effect. The main theme is then presented in the right hand, accompanied by arpeggios in the left hand. The theme is repeated with slight changes and more elaborate arpeggios. The first variation is a chromatic variation, where the theme is played in semitones, creating a more dissonant and expressive sound. The second variation is a rhythmic variation, where the theme is played in syncopated and dotted rhythms, creating a more playful and lively mood. The third variation is a harmonic variation, where the theme is played in different keys, modulating through various tonalities. The fourth variation is a melodic variation, where the theme is played in octaves, creating a more powerful and brilliant sound.
The coda is a recapitulation of the introduction, followed by a final flourish of arpeggios that end with a triumphant chord. The piece is a true test of the pianist’s stamina, speed, accuracy, and musicality. It is a stunning example of Liszt’s genius and virtuosity, and a homage to Paganini’s legacy.
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THIS IS INCREDIBLE!! How is this not viral?!!
Because there are wrong notes
@@Chipsomedipthat’s not a reason
I will make it viral!
So hard to find video recordings of good performances for S140 4b, this video deserves way more views!
Incredible performance.
Also it's the best interpretation recorded
@@ensiehsafary7633 no way
I've never seen such an amount of raw skill. This performance is largely unparalleled.
*raw technical skills
Agree
you wont understand how incredibly fucking difficult 2:25 is until you try it yourself. its an actual nightmare trying to keep my hands from overreaching or under reaching while doing this at less than half speed. this dude is lucky he has such large hands
Yes it's one of the most difficult parts for me as well, but 2:36 as well as the deadly jumps x3 is just too much for me
I thought he said he could only reach a tenth
@@Jartious maybe a big 10th. Besides they're broken 10ths so it matters less
@@SuperDieu_6666 yeah
You guys give him a break. Find someone else who can play like this and meet up to your harsh standards of musicality in a performance like this. This is historical. No one dared to approach Liszt's tempo ever since he wrote it, and when Alkan performed it. This is monumental.
Nikolai Petrov. He played all of the first version of Paganini etudes. The recording is on RUclips. You should check it out! This guy does a great job too!
When Alkan performed it?? What sort of nonsense is that? Further, “Liszt’s tempo” is marked Allegretto, deliberately not the “vivo” of Paganini’s original. Recordings by Howard, Petrov, Waleczek, Filipec and Minkyu Kim are all very fine and faithful to Liszt’s score.
@@TheModicaLiszt These guys are only focused on how difficult the score is to play, and boast the performer's physicality by playing it even harder regardless of the original composer's intentions. To me that sounds no different than listening to human Nanasakov piano..
@@TheModicaLiszt Alkan did not perform it where did you get that from?
@@dd8436 Can you play this? I'd like to see that.
This guy is the Liszt of this age, he actually did the original Allegro tempo, i want to be like him some day
Not Allegro, Andante quasi Allegretto.
@@thenotsookayguy right mb
Tocar como él no es imposible, pero hay que trabajar demasiado. A eso me refiero con tocar el clave bien temperado, los estudios 299 y 740 de Czerny, los estudios op 72 de moskowky, los op 10 y 25 de Chopin, y los estudios de ejecución trascendental de Liszt. Luego obedecer a este régimen disciplinario, ya se obtiene una técnica avanzada.
@@libertytaxburnaby616He is saying you probably want to play those pieces first😂
incredible. a real insight into liszt.
"real insight" i'm dying 🤣🤣🤣 he just played the notes (don't get me wrong, it's fabulous but still)
@@SuperDieu_6666bro forgot musicality exists
@@needmorepractice where did you find musicality into what he played ? Sorry if I'm understanding your answer wrong
@@SuperDieu_6666 tho it is like 99% technique theres still a bit of musicality there. idk how to point it its everywhere, u just have to listen for it
@@needmorepractice yes, he still put some nuances here and there, but as you said, it was 99% technique, so it's not really an insight into Liszt, but more of an achievement (which is great, but not as much as an insight)
This guy is probably the best pianist in the century in terms of technique god.
how bout Katsaris
@@jamesmayhew2538Not even fucking close.
Hmm not sure about that but I sure agree this guy is unbelievable
Этот парень играет грязно. Он производит впечатление, который стремится сыграть максимально быстро и технично. Но техничности там нет, быстро, да. Он тот вид пианистов, которых называют спортсменами виртуозами. Которые хотят удивить скоростью, высокой техничностью. Музыкальности тут не слышно. И он сильно старается играть максимально быстро. Именно, что старается, а не играет, не творит. Легкости и свободы в этом не видно, тем более непринужденности. Есть более способные азиаты. Где и феноменальная техника и абсолютное вдохновение, музыкальность соединяются. Вот, например Alkan: Scherzo Focoso, Yui Morishita ruclips.net/video/4DqdOqP75Q0/видео.htmlsi=qwVEFHn0gy-pWInc
Но все это полный детский сад. Ни один перфекционист, который уделяет внимание только технике, даже в этом случае, никто не сравнится с Марк-Андре Амленом в его молодые годы, в его лучшей феноменальной форме! Как по скорости, так и по абсолютной легкости исполнения, не говоря уже о филигранности, разных туше, динамике, темпе, ритме, четкости, чистоты, ясности, простоте исполнения сложнейших кусков в сочинениях, жемчужная игра это или настоящее легато! Послушайте этот легендарный концерт в Японии 1997 года! В Токио! Это его лучшая форма того периода концертов, по мнению многих фанатов. ruclips.net/video/9B3EAz0msjc/видео.htmlsi=rbd8UzkjuXooq09M
Включите там Годовского, обязательно Алькана, и его сочинение в конце. А вообще все послушайте. Ни у кого такой феноменальной техники и музыкальной свободы я не встречал. Если, только Аркадий Володось. Вот еще Алькан ruclips.net/video/SSxbao_Chq0/видео.htmlsi=bSU5JBSUl5e-EArG
А вот вам Листа почти на 2 часа концерт! ruclips.net/video/X9cdd3mgzis/видео.htmlsi=HpVy0wDHiaBsP39_
Вот Mozart/Liszt: Reminisceneces de Don Juan S. 418 ruclips.net/video/XoGSEK8F4JE/видео.htmlsi=NHMvd5diRnbmXEPe
Такого абсолютного контроля над пальцами можно встретить у единиц. Как в 20 веке, так и в 21 веке.
Хотя, возьму я свои слова обратно. Я посмотрел другие его записи. Там все намного чище и музыкальнее. Ну в общем не знаю, сверхчеловек он или нет, но удивил:)Но в этой записи невнятная грязная быстрая игра. Вот тут на конкурсе он невероятен!
ruclips.net/user/liveFHGrjmOKRxk?si=X213Z2ZeGI5IPWBx
1:47 nah is bro hacking?
He deserve way more fame,why taylor swift is more popular than him ? Why dont humanity praise talent and hard work
That’s what I was thinking!
💯
Because most people either don’t want to work or aren’t capable themselves. Sad I agree
Because this doesn’t sound pleasing to most people. You wouldn’t listen to this in the bus or in a car ride. You would just appreciate this once
@@oengd1696I listen to Scriabin's prometheus and Scelsi's Konx Om Pax quite often when on the bus ride to my grandparents. Maybe I'm just weird though...
What a inhumman performance how is this even possible at that tempo this is god like technique at this point
This performance is extraordinary… definitely unmatched by other live performances of this piece.
사실은 연주가 가능한지 아닌지 부터 의심이 많았던 곡이죠😂
그런 곡을 이 속도로 완주했다는게 진짜 대단하네요..ㄷㄷ
ㅇㅈ
bro has long hair just like liszt himself, unbelievable playing
i’m literally freaking out
Dang, this is even faster than those synthesia videos...
この曲Andante quasi Allegrettoにも関わらず、なるべく原曲のCaprice第1番のテンポに寄せて、さらに、分厚い和音も軽く弾けてる。彼は間違いなく人外であろう。
How is this not viral? I'm not even playing piano, where is the piano community?
Incredibly underrated performance
1 minute faster than other recordings!!
His performance from the Ljubljana piano competition is even better
Can you say where you found it? The thing I found was the S141 version, not the S140. There was a mistake.
The S140 is miles harder than the S141 version, you can judge for yourself by the score.
@keshavfoods7102 Where did you see he played the s141? I'd like to see that too.
he played the s140, also beethoven appassionata and the rest of the program is also great including rachmaninoff, tchaikovsky and chopin.
look up in Google for Ljubljana piano competition, in their site go to competition schedule > Round 1 recital > 2nd day > click on the first video and he is the first competitor, enjoy 😀
it's worse, there are a lot of slip ups and smudges, but the video quality from that competition is better
Hear his Alkan Le Preaux and Lucrezia Borgia. No one comes close technically
0:02 summoning Liszt
I love that piece
HOW IS IT POSSIBLE
ye it is possible their hands are fast that why it is possible
Bravo!
一部音外しているけど、この速さで弾ける事自体離れ業で凄い！！😮👍✨
btw liszt is said to play 1:48 all left hand 😊
How did you acquire this recording?? This is
incredible : D
Great! Awesome! Wonderful! The composer must have been a genius!
The person who transcribed it for piano as a study really was brilliant. The piece itself is pretty bad
@@pianista-mediocre Um...
Lol
A tad bit fast, but it's still amazing!
Legendary!
Agree
がちでえぐいｗｗｗｗ
Especially the WTF part
1:47
2:25
2:35
ТЫ ТОТ САМЫЙ ИСПОЛНИТЕЛЬ, КОТОРЫЙ СЫГРАЛ ИСПАНСКУЮ ФАНТАЗИЮ ЛИСТА, ОТ КОТОРОЙ ВСЕ В ШОКЕ???
Dude is insane
This piece is only for left hand 😂
Can I use this video?
All these years I thought it was impossible
Hi ldf baby girl I am your biggest fan ❤❤❤❤
He’s a boy.
Gay
In the description you say that this piece is "a revised and harder" etude, and while it certainly is harder, it's the first version (published together with S.140/4a and the other S.140 studies) and not the revised one.
I meant that it is a revised version of the S140/4a version. I'll clarify that in the description.
@@keshavfoods7102 it isn’t though. It is simply an alternate version. They were published at the same time.
@@loganm2924 Really? I didn't know that, most people told me the opposite. Can you provide some references for it? Then I'll change it in the description.
@@keshavfoods7102 there’s not much to say. The Etudes d’execution transcendente d’apres Paganini were published as a set (now referred to as S.140 in the Searle catalogue) in 1840. The original publication included the etudes 1, 2, 3, 5, and 6, an ossia for the fifth etude, an ossia for the first etude which incorporates ideas from Schumann’s own etudes on the Paganini caprices, and the two versions of the fourth etude. That can all be seen on the IMSLP page for the works. If I had to guess, the 4b version would’ve been written first and the 4a version was a simplification due to the difficulty of the 4b version, to make it more accessible for the other pianists of the time.
@@loganm2924 I don't think Liszt was really trying to make it accessible at the time, if you look at etudes 3 and 6. He later revised all of them in S141 to make them accessible. This etude is often referenced as S140 no 4 version II, I'm guessing he buffed it to make it harder.
What fingerings did you use for the first variation?
Don’t try
Don’t even try.
21345
NOiCE
OMG…
CRAZY
The best one
i think this is marked tempo
bro practiced as much, if not, more than liszt :0
It's as if Franz Liszt possessed him
If this is too fast and therefore too unmusical, then all the great violinists who've recorded/performed the original piece (Caprice no 1) are also unmusical by this logic. It's very easy to pick out the musicality and correct voicing and articulations and the pseudo-legato he manages to pull off where real legato is impossible, if you have any ear whatsoever. People who criticize this on these grounds don't have the ability to process the music at this tempo - that's your failing, not the performer's.
However to be fair to the other side, Petrov and Filipec could play this at this tempo as well if they wanted to participate in a speed/technique contest and Petrov could do it cleaner (Petrov was almost a double Cliburn-Queen Elisabeth winner). I think there is an ignorance on both sides here, and his fans assume other pianists can't play at this tempo if they had the schedule to do it.
You legitimately don't think Yuncham Lim or Yuja Wang or Denis Matsuev could play this at this tempo?
Ladies and gentlement...Liszt hinself!
And the keys on historical pianos were much lighter.
imo this is worse than filipec's but he makes up for it by playing it LIVE
Of course, studio recordings are always better than live performances because you can edit the sound and there is no stress of failure as you can simply restart.
There needs to be some work on the musicality but the technical skill is incredible.
@@notu483 he has a studio recorded version which is much more musical
Filipec's is far worse
how@@henrychang5361
Really? Did you really want to post a video of this performance? Not sure if you really know music
Carmen fantasy is harder
This guy has played it lmao, on his RUclips channel, laDivinaFanatic, he has a recording of Spanish fantasy and the Weiss Carmen fantasy. A LEGEND ❤❤❤
@SpanishFantasy-du8er you should call yourself LaDivinaFanatic fanatic or LDF fanatic
@SpanishFantasy-du8er he is frmo taiwan sry
@@matthewchang7252Wait this is LaDivinaFanatic? No way!
Is there any piece on par with this and Carmen fantasy? I can't name one
Good work. Too bad this piece is absolute trash.
w
Is this Liszt's fault or Paganini's fault who composed it?
@@pianista-mediocre This piece is not bad
@@pappi0202 I don't like Caprice n1 👍
@@pianista-mediocre its ok
Sloppy and disorientating... technique there for sure, but abused and misused. Why play at such an excessive tempo, where there's a slipped note in almost every single measure? As demanding as this étude is, it is incomprehensible to assume a position where wrong notes and sloppiness are considered acceptable.... yes, musicality does surpasses all mechanical errors, but this interpretation seems like playing for the sake of playing. It is difficult to fathom, as the same person's Spanish Fantasy is technically out of this world, and musically quite convincing also... absolutely unbelievable.
I love the ego classical music gives people. I laugh every time
bruh😂
Apparently she doesn't like this piece and actually played it just to say "I played it in violin tempo"
The piece itself doesn't help either. Paganini's whim n1 is pretty bad
it ain't beethoven. it's 19th century pop music. who cares about odd wrong notes. this is a great performance un exactly the right spirit of going for it with bells on.
It is because this piece is marked at a tempo that is nearly impossible to play at. This is harder than the Spanish Fantasy. I would bet you money that this is pretty similar to how Liszt's version of this sounded.
Musically it is distressing
Your comment is distressing
@@lunagardvonbingen Take advantage of the positive side. That's not music. Where are the breaths? It's all messed up.
@@AlbertoCobo This piece is a "hyper" etude meaning, since for the past 200 years, people have been trying to play it at tempo. It has become somewhat of a challenge- a record to beat. A few wrong notes here and there is completely offset by the speed and relative clarity. You completely miss the point of this performance, just as much as you don't realize how difficult it actually is. For a long time it was believed to be physically impossible. But this is just mere seconds slower than tempo.
@@lunagardvonbingen It would be better if you listened to the disciples of Liszt himself, who instilled in them that music had to flourish from the soul, that speed is not an end in itself. Even more so, if this supposed speed results in a musical coven, instead of a game, an exhibition of brilliant, virtuous but transcendental ideas...
@@AlbertoCobo Oh I'm well aware of the romantic philosophy when it comes to performance. Especially from the teachings of Clara Schumann, Brahms, and Rosenthal. Nonetheless, Liszt was in his early 20's when this was composed. Therefore you must account for the intention of a young Liszt who wanted to impress. Is the difficult itself not enough evidence?
This isn't real
It is real
🤡
@@Damian_Theodoridis you may have mistaken my comment which I posted 3 months ago relative to yours. it was supposed to be a compliment. I've also been seeing your comments around LDF lately, I think you need to relax buddy
@@aeroslothy lol. This was 4 months ago, so kinda makes sense you thought this was fake
your comment isn't real