Lovely analysis! Was spellbound when I first listened to this, and eventually had to learn it just to satisfy myself - tremendous fun to play, and so terribly underappreciated. The textural genius Liszt displays here is awe-inspiring.
Thank you for this very interesting information. Although I am german I didn't know that a poem from Schiller was a kind of inspiration for this piece. Schiller is still one of the two (the other one is Goethe) most famous authors and every pupil in Germany comes in contact with some of his works in school sooner or later. And besides he and Goethe also lived in Weimar for some time, where Liszt also lived for a while (but later). So Liszt surely was somehow familiar with works of these poets because he was living in this "air" of this cultural surrounding at that time. It must have been a very inspiring town, very many german and international poets and musicians live there for a while in 18. and 19. century. Unfortunately such eras usually come to an end sooner or later, but maybe this must be for some reasons, and then something new comes up somewhere else.
I have ardently been watching your videos and am overwhelmed by your expertise, eloquence, charm and grace, and resounding phenomenal talent that extends into the realms of utter genious, and particularly how you find the time and energy to respond to so many of your viewer's comments. I am not a pianist but love classical music and the lore and stories of the composers and performers responsible for all of the immortal masterpieces which with the world has been blessed. I shall be commenting on the vidoes I have already watched as I find the time. But for now, I simply wanted to inquire of an issue which I have read about regarding the transcendental etudes of Liszt, as I have only found vague information and speculation about. I randomly selected this video on Liszt so I could at least be on topic. Claudio Arrau mentioned that nobody today could perform the etudes the way he originally composed them, and used simplified scores that he made around 1850. Feruccio Busoni reputedly was one of the few pianists who played the original versons. I also read that what was lost by the virtuosic difficulty and achievement of being able to play the original versions was compensated for by the increased beauty of the re-worked pieces. I understand Howard Shelley recorded the originals but some critcs bashed his execution and interpretations. At your convenience, perhaps you can give me, and in essence, all of your admirers your insight into this. In closing, on my way here I stumbled upon your Jorge Bolet video and just listened to the beginning about the correct pronunciation of his last name, but I wanted to find out about the Liszt etudes. I am 78 years old and nobody impressed me more than Bolet in his recordings and stage presence, his commanding speaking voice, etc. I saw him in live recitals and concerto performanes I attended several times. When he walked out on stage, his height, with his visage, his perfectly tailored tuxedo, and his "animal magnetism," he looked the part of the most refined and dignified maestro of the keyboard in the history of classical music. 🎶🌠🎶🌠🥂🌠🎶 💎🦢💎🦢💎🦢💎
Amazing analysis. I am currently working on Au borde d'une source and it is such a joy to practice... The different variations of the main theme are alwayas rich in counterpoint while still being simple enough to recognise the main theme. An example of how Liszt was able to deliver beauty when he was not thinking about pure virtuosism
I really enjoyed your highly informative analysis, Cole, of this most elegant and beautiful 'water piece' from Liszt's 'Swiss Year of Pilgrimage', inspired by Schiller's: "In murmuring coolness the play of young nature begins." Your performance (as always) is just exquisite. Even if those episodes which look so complicated do lie comfortably under the hand as claimed by you, there is no denying such Lisztian filigree cadenza-like passages are quite breathtaking. The final plagal cadence is truly enchanting, with its gently rising dissonances and elegant descent, just before the four last chords. Virtuoso playing from you, first to last note! It was also wonderful to hear you include the (nine?) extra bars Liszt wrote for Giovanni Sgambati. I have read that theirs was a friendship of mutual benefit and respect that brought pleasure to them both. Liszt helped to promote Sgambati and made him known to the wider musical world; Sgambati reciprocated by introducing Liszt into Italian Society. Liszt wrote: "I have gained a thorough affection for Sgambati and the remarkable development of his talent . . . He plays Bach, Beethoven, Chopin, Schumann - and my most troublesome things - with perfect independence and in a masterly style". Liszt went on to describe Sgambati's artistic tendencies and sympathies as ‘new German’ - a compliment which hopefully the young Italian appreciated! (And I'm sure Liszt would have been equally enamoured with your performances of his music, Cole!) B R A V O !❤
Thank you so much for your words about Sgambati. He (like many of the Liszt pupils) was a vibrant member of the larger musical community of the day. It's fascinating to learn about these wonderful musicians, too little remembered now!
Omg the 3rd version ending is so touching...that was lovely Cole. I was really moved the first time I heard this piece from Horowitz in the last romantic documentary but the highlight was how sensitively and lovingly he played the final cadence. Beautiful to hear it expanded in a way like that.
Certainly one of Liszt's greatest pieces.That it falls so well under the hands is a blessing making it a great joy to play and listen to. Very nice analysis!
I’ve never been a huge fan of the set but your analysis videos are helping them to grow on me LOL also that third ending is 100% better than the second imo
Such a refreshing piece of music that you’ve breathed new life into Cole. I caught wafts of Rachmaninoff’s Lilacs and proof to the contrary of another “clickbaitey” video that claims his “Hymne de l’enfant a son reveil” is his most beautiful piano melody (incidentally also in a-flat major). I prefer the 3rd version…Hope you enjoy your new apartment; looks like you have quite the view :)
Very illuminating video. This piece always conjured the sort of frenzied growth that may come after a long winter, and after being shown all the interlacing elements I am able to appreciate this so much more than ever. Thank you Cole!!!!!
Great show. Thank you. Supposedly Liszt played this for Debussy when Debussy visited him in Rome. Thanks for the end which I never knew about. Wonderful performance.
It is a tricky piece, although it is pretty comfortable to play once you learn it. It fits under the hand quite nicely. I don't know exactly what kind of rep you are playing at the moment, but maybe you could manage it sometime!
@@Bigblackpiano Well if you could handle the Ravel 3rd mvt, my guess is you could probably do this piece as well. It might take a while to learn, but I don’t think it is that much more difficult.
![Jack Harlow - Hello Miss Johnson [Official Music Video]](http://i.ytimg.com/vi/Q86_nlRoIGw/mqdefault.jpg)
Lovely analysis! Was spellbound when I first listened to this, and eventually had to learn it just to satisfy myself - tremendous fun to play, and so terribly underappreciated. The textural genius Liszt displays here is awe-inspiring.
Didn't expect to find you here for some reason, lol
Thank you!
This has been one of my favorite Liszt pieces for over 40 years. I never understood why it isn't played more. It would make a perfect encore.
Thank you for this very interesting information. Although I am german I didn't know that a poem from Schiller was a kind of inspiration for this piece. Schiller is still one of the two (the other one is Goethe) most famous authors and every pupil in Germany comes in contact with some of his works in school sooner or later. And besides he and Goethe also lived in Weimar for some time, where Liszt also lived for a while (but later). So Liszt surely was somehow familiar with works of these poets because he was living in this "air" of this cultural surrounding at that time. It must have been a very inspiring town, very many german and international poets and musicians live there for a while in 18. and 19. century. Unfortunately such eras usually come to an end sooner or later, but maybe this must be for some reasons, and then something new comes up somewhere else.
I have ardently been watching your videos and am overwhelmed by your expertise, eloquence, charm and grace, and resounding phenomenal talent that extends into the realms of utter genious, and particularly how you find the time and energy to respond to so many of your viewer's comments.
I am not a pianist but love classical music and the lore and
stories of the composers and performers responsible for all of the immortal masterpieces which with the world has been
blessed.
I shall be commenting on the vidoes I have already watched as I find the time. But for now, I simply wanted to inquire of an issue which I have read about regarding the transcendental etudes of Liszt, as I have only found vague information and speculation about. I randomly selected this video on Liszt so I could at least be on topic.
Claudio Arrau mentioned that nobody today could perform the etudes the way he originally composed them, and used simplified scores that he made around 1850. Feruccio Busoni reputedly was one of the few pianists who played the original versons. I also read that what was lost by the virtuosic difficulty and achievement of being able to play the original versions was compensated for by the increased beauty of the re-worked pieces. I understand Howard Shelley recorded the originals but some critcs bashed his execution and interpretations.
At your convenience, perhaps you can give me, and in essence, all of your admirers your insight into this.
In closing, on my way here I stumbled upon your Jorge Bolet video and just listened to the beginning about the correct pronunciation of his last name, but I wanted to find out about the Liszt etudes.
I am 78 years old and nobody impressed me more than Bolet in his recordings and stage presence, his commanding speaking voice, etc. I saw him in live recitals and concerto performanes I attended several times. When he walked out on stage, his height, with his visage, his perfectly tailored tuxedo, and his "animal magnetism," he
looked the part of the most refined and dignified maestro of the keyboard in the history of classical music.
🎶🌠🎶🌠🥂🌠🎶
💎🦢💎🦢💎🦢💎
Amazing analysis. I am currently working on Au borde d'une source and it is such a joy to practice... The different variations of the main theme are alwayas rich in counterpoint while still being simple enough to recognise the main theme. An example of how Liszt was able to deliver beauty when he was not thinking about pure virtuosism
I really enjoyed your highly informative analysis, Cole, of this most elegant and beautiful 'water piece' from Liszt's 'Swiss Year of Pilgrimage', inspired by Schiller's: "In murmuring coolness the play of young nature begins." Your performance (as always) is just exquisite. Even if those episodes which look so complicated do lie comfortably under the hand as claimed by you, there is no denying such Lisztian filigree cadenza-like passages are quite breathtaking. The final plagal cadence is truly enchanting, with its gently rising dissonances and elegant descent, just before the four last chords. Virtuoso playing from you, first to last note!
It was also wonderful to hear you include the (nine?) extra bars Liszt wrote for Giovanni Sgambati. I have read that theirs was a friendship of mutual benefit and respect that brought pleasure to them both. Liszt helped to promote Sgambati and made him known to the wider musical world; Sgambati reciprocated by introducing Liszt into Italian Society. Liszt wrote: "I have gained a thorough affection for Sgambati and the remarkable development of his talent . . . He plays Bach, Beethoven, Chopin, Schumann - and my most troublesome things - with perfect independence and in a masterly style". Liszt went on to describe Sgambati's artistic tendencies and sympathies as ‘new German’ - a compliment which hopefully the young Italian appreciated! (And I'm sure Liszt would have been equally enamoured with your performances of his music, Cole!) B R A V O !❤
Thank you so much for your words about Sgambati. He (like many of the Liszt pupils) was a vibrant member of the larger musical community of the day. It's fascinating to learn about these wonderful musicians, too little remembered now!
Delightful piece and wonderful video, Cole. Thanks.
Omg the 3rd version ending is so touching...that was lovely Cole. I was really moved the first time I heard this piece from Horowitz in the last romantic documentary but the highlight was how sensitively and lovingly he played the final cadence. Beautiful to hear it expanded in a way like that.
Thank you for this-it is quite a lovely thought on Liszt’s part. He was very discerning and generally only made his pieces better with time!
Certainly one of Liszt's greatest pieces.That it falls so well under the hands is a blessing making it a great joy to play and listen to. Very nice analysis!
I’ve never been a huge fan of the set but your analysis videos are helping them to grow on me LOL
also that third ending is 100% better than the second imo
Thanks so much-also thank you for sharing your preference. It is a pretty special ending isn’t it?
…also glad I might be able to change your mind. Many of my favorites are in this set!
Such a refreshing piece of music that you’ve breathed new life into Cole. I caught wafts of Rachmaninoff’s Lilacs and proof to the contrary of another “clickbaitey” video that claims his “Hymne de l’enfant a son reveil” is his most beautiful piano melody (incidentally also in a-flat major). I prefer the 3rd version…Hope you enjoy your new apartment; looks like you have quite the view :)
Thank you!
Very illuminating video. This piece always conjured the sort of frenzied growth that may come after a long winter, and after being shown all the interlacing elements I am able to appreciate this so much more than ever. Thank you Cole!!!!!
Great show. Thank you. Supposedly Liszt played this for Debussy when Debussy visited him in Rome. Thanks for the end which I never knew about. Wonderful performance.
Beautiful performance and insightful analysis as always. I love the third ending, tender and lovely.
Thank you!
BRAVO for your channel here. Success always! Maestro Roberto Sion, Sao Paulo, Brasil.
I took your title as a challenge to think of a more perfect piece by Liszt. After an hour I still haven’t thought of one.
There are so many good ones, but in this piece it does feel like there is not a single note out of place!
Please tell me you'll make a video about the dante sonata eventually
Yep!
I've always loved this piece but I believe it's a little too hard for me. Thank you for this analysis and I will very much enjoy your performance.
It is a tricky piece, although it is pretty comfortable to play once you learn it. It fits under the hand quite nicely. I don't know exactly what kind of rep you are playing at the moment, but maybe you could manage it sometime!
@@TheIndependentPianist tempest sonata and I have learned ravel sonatine. The only liszt recently for me was valse impromptu!
@@BigblackpianoNice pick, I love playing that piece.
@@Bigblackpiano Well if you could handle the Ravel 3rd mvt, my guess is you could probably do this piece as well. It might take a while to learn, but I don’t think it is that much more difficult.
@@TheIndependentPianist cool!!! I loved the anime
Cole, what is your hand span on the piano?
Practically a 10th, although I can squeeze to an 11th in a pinch.