I was going to say... He also plays it at the right tempo... The thing is, most people play Liszt too slowly... Because they can't play it at the tempo that actually makes it sound musical. Liszt wrote impossible fucking music. People only think Rachmaninoff is harder than Liszt because they don't understand how fast Liszt actually should be played.
@@Ash1nerTVWell, Top G… I think he’s the closest that we’ve ever had to Liszt technically. Maybe Hamelin is on par after hearing his Alkan stuff. I’m open for any recommendations though
This is terrifying. The only pianist I have heard who plays the lyrical 2nd theme (B flat) at the printed "stesso tempo" !!! And the final section before the coda is truly unbelievable. Even Godowsky might not have been able to do that.
This is an excellent performance of Liszt's Mazeppa. Kind of what one might of expected from Liszt. I personally knew a pupil of von Sauer, from the golden age of late Romantic period, a virtuoso pianist in his own right, Ozan Marsh. Who had also been a pupil of another Liszt prodigy, Egon Petri. Von Sauer, although credited as a Liszt pupil, was actually a pupil of Anton Rubinstein's brother, Nikolai Rubinstein. Von Sauer even admitted, Liszt couldn't teach him much, being he was quite elderly and von Sauer well developed as a pianist.
Perhaps the best Liszt interpretation ever heard! And... I'm say this having been a friend of Jorge Bolet, a great Liszt' music Master. I was so fortunate to play to Angèlica Morales Von Sauer, his wife, in Mèxico City (1979)
Wonderful, and what a real privilege to hear the actual playing of a direct and highly admired pupil of Liszt. I believe Emil von Sauer what Liszt's favorite pupil.
@@jamesbrennan6022 Yes, but Liszt and Brahms style had influenced way more von Sauer, just listen to his Piano Concerto no.2, seems a mix of Brahms and Liszt, and when it comes to playing, is like listening to Liszt himself, tremendous.
@@Awairaz IMPERIAL FAR ABOVE the COMPETITIONS BUILT GUYS of nowadays....... let me say ... now with this cyber-korean there will not be any improvisation....... read the comments for example on the last CLIBURN.......... people change GOOD with GOD...... but I think this is all planned..... to destroy history and build (in tthat country for example) a NEW HISTORY.. with artists choosen by the system and no other...... ALSO THIS TIME WE WILL SEND ALL OF THEM DIRECTLY INTO THE SUN! like every time...... in the millennia.......
Used to listen to "Keyboard Immortals Play Again In Stereo" on KCBH FM in southern California, on weekend late afternoons and evenings, with my Sony reel-to reel at the ready. Over fifty years ago, but my first introduction to Golden Age pianists.
His interpretation is unusual, but he's the only one who really clarifies the texture and phrases behind this piece. It explained and expressed more than anything. It really nourished the horse and adventure feeling. It was more than a masterclass. Thank you so much for such unique and special performance
I listened to Emils wonderful music yesterday and it brought about feelings . . . . unbelievable. It also makes me so sad, that germany - the home country of Emil v. Sauer - has been on the road of utterly artistical decay since those days. 2 Worlds wars have destroyed almost everything, this previous g r a n d cultural nation (Goethe ! Schiller ! Beethoven ! Nietzsche !) has achieved before 1914 . . . The exodus of intelligent people after 1933 has been unprecedented in history ! I will never EVER overcome that grieve in my heart . . . (me personally, I am h a l f german of ancestry)
This is how Mr. Sauer wants it..., and I enjoy how he plays it... This piece can be played a million different ways, and it depends on how you depict a person tied undressed to a galloping-raging-bucking horse, being between life and death... -my most prefered version for M is Nyiregyhazy`s.
Assieme a Cziffra ed Arrau , sono gli unici ad eseguirla con la perfetta pulizia di suono ! tatale assenza di torbidita'......! nessuno come loro tre riesce ad ottnere una cosi limpida esecuzione
Ti consiglio di ascoltare Fiorentino e Nyíregyházi . Mantenendo una pulizia del suono simile, riescono a enfatizzare molto meglio la melodia alla mano destra. Davvero incredibili.
3-19-17 Thank you Allegro vivace piano. A student of Liszt. Great! What happened to Emil von Sauer, though? - I am amazed that I had never learned about him in all my music education. I went to the High School of Music and Art in NYC 1955-1959. I will tell them to learn more about him. He is like a Nobel Prize winning pianist.
Iamk, really do you have a lot of documents? Emil was my great grandfather and I am interested to know more. I have his autobiography but please can you write me? Giulia biagetti
@@giuliabiagetti9900 your great grandfather was one of Liszt's star pupils. He was one of the greatest and underappreciated concert pianists who ever lived. Listening to his playing is almost like listening to Liszt play. That's all I know about him.
One of the most virtuoso of his time, Liszt student but also Nicholas Rubistein. German school, very techinicall pianist, but has a very good set of compositions. Has also edited for Brahms, which for me, made some influence in his composition Style, but listening to him is nothing like listening to Liszt himself.
This is insane not even Berezovksy could play like this, and him and Trifonov are the best when it comes to Liszt Transcendental etudes nowadays, truly a gem I'm so glad to have found this. Edit: I know he deviates quite a bit from the score but that's part of what makes it unique and special, I wish that more people nowadays feel that it's acceptable to make modifications to a piece in this manner so that each performer can have some artistic freedom. Because quite frankly, hearing the same piece played the exact same way in competitions or recitals gets old and mundane. Too many pianists try too hard to emulate recordings from the greats, as you always see people comparing performances of Chopin Ballades to Zimmerman's performances but no matter how good Zimmerman is it would get old listening to the same performance time and time again, and I feel that the artistic freedom of the performer is what keeps 200 year old music interesting.
Francisco: I was a student of Jorge Bolet in the 1970's. He would be the first to completely discount this piano roll as having anything to do with the art of Emil von Sauer. The playing is stiff and rough, with none of the give-and-take for which Sauer was well known. There is not a hint of poetry in the middle section, no subtle dynamic or tempo changes. The only cure is to listen to some authentic Sauer. Marston Records issued a 3-cd set of Sauer's commercial recordings. 12 performances were made for the German Vox label, from ca. 1925, the same year as the roll. The difference is night and day. I'm not one to blame anyone for enjoying a recording... but I will advise them they can up their game, and become a more refined listener.
@@TheMightyFork_- No, I don't think so. I own a large collection of pianorolls and have published about them, and I've done a lot of research on a number of rolls. I also worked on early digital transfers of a bunch of important Ampico rolls when Yamaha had not even started digitizing pianorolls for the Disklavier Pro system they were designing. I believe I also know a thing or two about pianorolls, but please feel free to disagree with me!
Strm: This is a piano roll and a pretty good one, but it still sounds stiff and mechanical. If you fancy you're listening to the real von Sauer, then by all means ascribe the mode of playing to Liszt. But both played much more freely, as attested to by von Sauer's real recordings, and hundreds of accounts of Liszt's recitals. Would be music critics who don't know any of this tend to sound a little cranky in their posts.
Welte Mignon recording that was done 20 years earlier had even more panache, power and technical brilliance than this one, clearly Sauer began to age (he was somewhat 60+ in the time of this recording).
It's all about the balance between composer's intention and performer's interpretation. A pianist should add his little "extra" to something but it shouldn't be to the point that the pianist just plays for his own indulgence But it is ok for someone to say that they don't like an interpretation, so pianisteny, I think you definitely deserve an opinion and I'm sorry that people jumped all over you. still, the composer is IMPORTANT to hte piece!
@StrmUndDrng You're so right, though I personally don't like the way he played 0:06 - 0:11 of the piece. It's a little fast for me but other than that the rest is perfect. Too bad it's just a piano roll. It might have sounded better.
How very curious - this sounds absolutely nothing at all like Sauer's playing. The Welte roll of this work from Sauer was made in 1905. I presume that this roll is the Aeolian/Duo-Art one then....? This might explain it: those rolls did not record the dynamics of the performance, but the dynamics were added in later, onto a edited copy, once the initial live-time roll had already been created. (cont.)
Is this real? I do not think that this piece can be played as such. It is like a robot playing so clearly that no human can. Furthermore, I see that in the title (piano roll) is mentioned and this is the reason everyone is amazed by how clear some passages are carried through. Correct me if I am wrong.
I have seen criticism of Columbia's piano albums at the time for being too closely miced, and I agree with it. I got Berman's autograph on the Transcendental Etudes album in 1976.
They were a way of recording pianists in the late 19th and early 20th centuries. A Roll was placed inside a specially adapted piano and small holes would be made after each key was played. Thé finished roll is put inside a player piano, and reproduces what the pianist played.
Friendly reminder that Von Sauer was in his 60's recording this piece...
Holy. Shit.
Scary isn't it? Insanely crazy, just as Liszt intended. I've never heard a modern interpretation that matches the sheer mayhem here.
If this guy played right before me in a competition, I'd make a run for it.
Well he is a student OF LISZT HIMSELF
I was going to say... He also plays it at the right tempo...
The thing is, most people play Liszt too slowly... Because they can't play it at the tempo that actually makes it sound musical.
Liszt wrote impossible fucking music. People only think Rachmaninoff is harder than Liszt because they don't understand how fast Liszt actually should be played.
@@hellomate639 isn't Rachmaninoff supposed to be fast in some pieces as well?
@@hellomate639 I agree! What are your thoughts on Cziffra?
@@Ash1nerTVWell, Top G… I think he’s the closest that we’ve ever had to Liszt technically. Maybe Hamelin is on par after hearing his Alkan stuff. I’m open for any recommendations though
This is terrifying. The only pianist I have heard who plays the lyrical 2nd theme (B flat) at the printed "stesso tempo" !!! And the final section before the coda is truly unbelievable. Even Godowsky might not have been able to do that.
Arrau does it too (or almost), and very beautifully.
Oh i think he could have. But this music does not seem to suit Godowsky's temprement.
I’m pretty sure this is as close as it gets
@@bestpranks1884 yes
Young Nyíregyházi also made a roll. I would suggest listening to it also!
@@CziffraTheThird Just checked EN out on Mazeppa. Amazing stuff. One of the best Mazeppas ever.
@@bestpranks1884 Just simply put, utterly frightening!
@@CziffraTheThird Yeah, the pianism in that era absolutely blows out todays pianists contrary to popular belief.
This is an excellent performance of Liszt's Mazeppa.
Kind of what one might of expected from Liszt.
I personally knew a pupil of von Sauer, from the golden age of late Romantic period, a virtuoso pianist in his own right, Ozan Marsh.
Who had also been a pupil of another Liszt prodigy, Egon Petri.
Von Sauer, although credited as a Liszt pupil, was actually a pupil of Anton Rubinstein's brother, Nikolai Rubinstein.
Von Sauer even admitted, Liszt couldn't teach him much, being he was quite elderly and von Sauer well developed as a pianist.
I've heard countless interpretations of mazeppa, and this is the best in my opinion.
Perhaps the best Liszt interpretation ever heard! And... I'm say this having been a friend of Jorge Bolet, a great Liszt' music Master. I was so fortunate to play to Angèlica Morales Von Sauer, his wife, in Mèxico City (1979)
Wow what a precious experience you have !!
Francisco you’re pretty pretentious man
Hi Francisco! I’m Emil von Sauer great great granddaughter and I’m searching informations about him. So far I have few informations can you help me?
@@bjarca3639 are you serious??🤨
Look! IT'S NICK yes!
Wonderful, and what a real privilege to hear the actual playing of a direct and highly admired pupil of Liszt. I believe Emil von Sauer what Liszt's favorite pupil.
Jedi 511 no. He was D’ Albert and before Tausig.
@@MrAalin1 He said himself he owed most to Nicolas Rubinstein.
@@jamesbrennan6022 Yes, but Liszt and Brahms style had influenced way more von Sauer, just listen to his Piano Concerto no.2, seems a mix of Brahms and Liszt, and when it comes to playing, is like listening to Liszt himself, tremendous.
Exactly the interpretation I’ve been searching for. I feel like this gives us a glimpse of how lizst would have played it
Liszt's music was meant to be ephemeral, so good to hear it played closer to its time.
I have never heard anyone either pianist teacher or academic make such a sweeping statement about Liszt's music. Would you care to explain?
3:35 he has a tiny memory lapse and improvises his way back through the octave passage. that's insane
The "improvisation" is probably deliberate, notice how he also adds some notes before the last note of the piece.
@@Awairaz IMPERIAL FAR ABOVE the COMPETITIONS BUILT GUYS of nowadays....... let me say ... now with this cyber-korean there will not be any improvisation....... read the comments for example on the last CLIBURN.......... people change GOOD with GOD...... but I think this is all planned..... to destroy history and build (in tthat country for example) a NEW HISTORY.. with artists choosen by the system and no other...... ALSO THIS TIME WE WILL SEND ALL OF THEM DIRECTLY INTO THE SUN! like every time...... in the millennia.......
Na, he was just following the sheet music from his edition of the piece.
'Nothing like hearing the pianists of the Golden Age on a Saturday evening.
Saturday evening for me too!
@@davisatdavis1 ah glad to meet a knidred spirit. Thank you.
"kindred"
Used to listen to "Keyboard Immortals Play Again In Stereo" on KCBH FM in southern California, on weekend late afternoons and evenings, with my Sony reel-to reel at the ready. Over fifty years ago, but my first introduction to Golden Age pianists.
@@pianomaly9859 Yes, I used to listen to that on WCRB-FM out of Boston.
His interpretation is unusual, but he's the only one who really clarifies the texture and phrases behind this piece. It explained and expressed more than anything. It really nourished the horse and adventure feeling. It was more than a masterclass. Thank you so much for such unique and special performance
I listened to Emils wonderful music yesterday and it brought about feelings . . . . unbelievable. It also makes me so sad, that germany - the home country of Emil v. Sauer - has been on the road of utterly artistical decay since those days.
2 Worlds wars have destroyed almost everything, this previous g r a n d cultural nation (Goethe ! Schiller ! Beethoven ! Nietzsche !) has achieved before 1914 . . .
The exodus of intelligent people after 1933 has been unprecedented in history !
I will never EVER overcome that grieve in my heart . . . (me personally, I am h a l f german of ancestry)
You are correct about Germany
You didn’t even mention the scientific achievements of the nation before the nazi plague.
This is how Mr. Sauer wants it..., and I enjoy how he plays it... This piece can be played a million different ways, and it depends on how you depict a person tied undressed to a galloping-raging-bucking horse, being between life and death... -my most prefered version for M is Nyiregyhazy`s.
Assieme a Cziffra ed Arrau , sono gli unici ad eseguirla con la perfetta pulizia di suono ! tatale assenza di torbidita'......! nessuno come loro tre riesce ad ottnere una cosi limpida esecuzione
alessandro scano la verita, that is true Arrau Czifra Richter, Radu Lupu
Ti consiglio di ascoltare Fiorentino e Nyíregyházi . Mantenendo una pulizia del suono simile, riescono a enfatizzare molto meglio la melodia alla mano destra. Davvero incredibili.
Grazie, Tino, per il tuo commento! Emil von Sauer era mio bisnonno e mi fa tanto piacere il tuo commento!
Giulia biagetti
ok , Grazie del consiglio
:-)
Wow! What a fascinating and virtuosic interpretation!
a travers de ce recording nous avons une conception solide de cette composition ainsi la demonstration de la technique Liszt. Tres interessant.
3-19-17
Thank you Allegro vivace piano.
A student of Liszt. Great!
What happened to Emil von Sauer, though? - I am amazed that I had never learned about him in all my music education.
I went to the High School of Music and Art in NYC 1955-1959.
I will tell them to learn more about him.
He is like a Nobel Prize winning pianist.
i do not fully know his story but i know he was kinda sick becaus i have alot of documents of him
Iamk, really do you have a lot of documents? Emil was my great grandfather and I am interested to know more. I have his autobiography but please can you write me?
Giulia biagetti
@@giuliabiagetti9900 your great grandfather was one of Liszt's star pupils. He was one of the greatest and underappreciated concert pianists who ever lived. Listening to his playing is almost like listening to Liszt play. That's all I know about him.
One of the most virtuoso of his time, Liszt student but also Nicholas Rubistein. German school, very techinicall pianist, but has a very good set of compositions. Has also edited for Brahms, which for me, made some influence in his composition Style, but listening to him is nothing like listening to Liszt himself.
this is a really nice sounding roll....
not piano roll, von Sauer was 60.
Brilliant!! thanks a thousand for uploading this jewel!
This is insane not even Berezovksy could play like this, and him and Trifonov are the best when it comes to Liszt Transcendental etudes nowadays, truly a gem I'm so glad to have found this.
Edit: I know he deviates quite a bit from the score but that's part of what makes it unique and special, I wish that more people nowadays feel that it's acceptable to make modifications to a piece in this manner so that each performer can have some artistic freedom. Because quite frankly, hearing the same piece played the exact same way in competitions or recitals gets old and mundane. Too many pianists try too hard to emulate recordings from the greats, as you always see people comparing performances of Chopin Ballades to Zimmerman's performances but no matter how good Zimmerman is it would get old listening to the same performance time and time again, and I feel that the artistic freedom of the performer is what keeps 200 year old music interesting.
Horowitz labeled von Sauer a "salon pianist". Don't ask me why. THis surely dispels that notion.
Trifonov is in no way a reference for these études
@@MathieuPrevot- I agree 100%. Trifonov is one of the most overrated pianists of today, along with L@ng L@ng.
@@j.vonhogen9650 How do you "rate" ?
@@MathieuPrevot- It's an opinion.
playing piano like a greec god would play
His performance which exists also violently and is flipping it handsomely is interesting.
Francisco: I was a student of Jorge Bolet in the 1970's. He would be the first to completely discount this piano roll as having anything to do with the art of Emil von Sauer. The playing is stiff and rough, with none of the give-and-take for which Sauer was well known. There is not a hint of poetry in the middle section, no subtle dynamic or tempo changes. The only cure is to listen to some authentic Sauer. Marston Records issued a 3-cd set of Sauer's commercial recordings. 12 performances were made for the German Vox label, from ca. 1925, the same year as the roll. The difference is night and day. I'm not one to blame anyone for enjoying a recording... but I will advise them they can up their game, and become a more refined listener.
there are some very helpful alterations to the text here - the way von s. plays it is the most coherent i've ever heard. thank you!
Michael Brown you do understand that piano roll usually tend to play faster than the actual recording?!!
It's not his actual speed . Like Don Juan ..
@@TheMightyFork_- That is simply not true, at least not for reproduction piano rolls. It's true for lots of low-tech 'pianola' rolls though.
@@j.vonhogen9650 you’re wrong. I’ve checked the matter
@@TheMightyFork_- No, I don't think so. I own a large collection of pianorolls and have published about them, and I've done a lot of research on a number of rolls. I also worked on early digital transfers of a bunch of important Ampico rolls when Yamaha had not even started digitizing pianorolls for the Disklavier Pro system they were designing. I believe I also know a thing or two about pianorolls, but please feel free to disagree with me!
This is amazing. Mazeppa could actually be a great piece of music? Here we are.
Fue lo máximo . Interprte de Franz. y lo sigue siendo.
God he was able to see Franz Liszt
남다른 디테일 과 자연스러움과 풍성한음감이네요
I heard this over a radio station in the late 60's and taped it. Long since lost, but I don't remember it being quite this fast.
Strm: This is a piano roll and a pretty good one, but it still sounds stiff and mechanical. If you fancy you're listening to the real von Sauer, then by all means ascribe the mode of playing to Liszt. But both played much more freely, as attested to by von Sauer's real recordings, and hundreds of accounts of Liszt's recitals. Would be music critics who don't know any of this tend to sound a little cranky in their posts.
3-8-17
Such a great artist.
Who was he?
He was a student of Liszt.
This is the best version of Mazeppa. I've listened many. Second best version is Ervin Nyíreghyházy. I think the third best player is Cziffra.
Is there a piano roll of EN playing this? Because he was horrendous in all the later recordings
@@marksmith3947 Yes, just search it up.
Excellente interprétation !
Wow. This is perfection.
Wonderful *****
Welte Mignon recording that was done 20 years earlier had even more panache, power and technical brilliance than this one, clearly Sauer began to age (he was somewhat 60+ in the time of this recording).
Thank you for sharing this.
do you know the history of mazeppa?This sound is like liszt wanted it to.
Wow! this is wonderful!!!
It IS an interpretation...and interpretations should always be of interest to the student, as long as the performer is competent and well intentioned.
unparalleled
Amazing playing!
i get your point, but you have to admit this is excellent
It's all about the balance between composer's intention and performer's interpretation. A pianist should add his little "extra" to something but it shouldn't be to the point that the pianist just plays for his own indulgence
But it is ok for someone to say that they don't like an interpretation, so pianisteny, I think you definitely deserve an opinion and I'm sorry that people jumped all over you. still, the composer is IMPORTANT to hte piece!
this is some old school panache!
wow the recording quality is superb for a 1925 recording
The sound we hear there was not recorded in 1925. The roll was made in 1925 but then replayed later for modern recording. ;)
You should add that this is a recording of a piano roll. The roll may be from 1925, but the recording is not.
@StrmUndDrng You're so right, though I personally don't like the way he played 0:06 - 0:11 of the piece. It's a little fast for me but other than that the rest is perfect. Too bad it's just a piano roll. It might have sounded better.
These pianists of the past play so much better cause their brains were not stuffed and polluted by mainstreammedia trash.
Cziffra avrà ascoltato spesso questa esecuzione
@boohellokitty they are just virtuosos, but arrau its both virtuoso and musical
Emmanuel Padilla Holguín this is a roll man, and not the same style…
How very curious - this sounds absolutely nothing at all like Sauer's playing. The Welte roll of this work from Sauer was made in 1905. I presume that this roll is the Aeolian/Duo-Art one then....? This might explain it: those rolls did not record the dynamics of the performance, but the dynamics were added in later, onto a edited copy, once the initial live-time roll had already been created. (cont.)
I appriciate your comment. Could you explain more ? I notice too the abnormal lack of dynamics.
This is the real TRANSCENDENTAL isn't it?
Is this real? I do not think that this piece can be played as such. It is like a robot playing so clearly that no human can. Furthermore, I see that in the title (piano roll) is mentioned and this is the reason everyone is amazed by how clear some passages are carried through. Correct me if I am wrong.
Die Piano-Rolle läuft um 20-30% zu schnell!
Si capisce!
They were frequently heavily edited to "tidy" arpeggiations as well. Anyway - it's sort of exciting, but shows nothing of Sauer's art really.
Hey I remember you
Too good a Quality to be from 1925
Piano roll, it was actually recorded recently.
Cziffra the goat
@dragonforce81 I'd say sometimes maybe a performer can perform it better than the composer? Such as the whole Rachmaninoff/Horowitz thing...
Nothing is like Cziffra's version.
❤🎵🤩🏆🫲.
Berman is great, but he recorded in tone-better and more flexibility studios
I have seen criticism of Columbia's piano albums at the time for being too closely miced, and I agree with it. I got Berman's autograph on the Transcendental Etudes album in 1976.
@dragonforce81 lol
🇮🇷🏆 🙏👋
This and Arrau's versions are the best!
Only ARRAU !!!!!!!!!!!!!!!!!!!!
Pero solo es maldad la comparacion
Hum... Il avait une technique surhumaine ce garçon... 🤔
what is piano roll?
It's a roll that you can insert into a player piano so it plays a certrain piece for you.
They were a way of recording pianists in the late 19th and early 20th centuries. A Roll was placed inside a specially adapted piano and small holes would be made after each key was played. Thé finished roll is put inside a player piano, and reproduces what the pianist played.
Piano roll is not real piano playing.
조급함이 없었다면 좋았겠네요