Thanks for the upload! A fantastic performance from Kanazawa and Admony. You can tell that they love this work as they took care to insert the wonderful chromatic inner voice from the original orchestral version at 3:45 and 5:06 which Liszt somewhat inexplicably left out from this two-piano arrangement. If I were them I would have made one more (purely textural) change: at 1:05 and similar passages I believe the hectic nature of the music would be well-served if there were triplets instead of eighths (when played by the orchestra the acoustics of an army of strings in a concert hall make the eighths more than hectic enough:), also the pounding contrabass heart-beats beginning at 0:24 woud be great to carry uninterrupted through till 00:37 (as in the orchestral score), I don't know why Liszt stops writing them in when the dinimished chords arrive. It is such a great moments in his orchestral original. Great recording, thanks again for uploading!
From the original Symphonic Poem : ruclips.net/video/hb4H_9TKQ8I/видео.htmlsi=gh3qc0zk_tUpXzxP&t=306 (Exactly this part) Performers decided to add this little, but astonishing detail.
I always wonder how many households in the 19th Century had two pianos standing around. I can get behind the idea that you would find at least 2 competent enough pianists in each that had a piano in the first place, but having two instruments, and even in the same room? I doubt there were enough to make publishing these versions financially viable. I guess these versions were produced for venues that did not have orchestras big or good enough, so that the pieces could be at least perfomed publicly without the appropriate orchestral forces available. By the way, I'm glad they observe the repeat sign. It's so hard to find orchestral recordings that do so. It's kind of funny, considering that this is Liszt's only orchestral work that does have one. And yet the majority of the conductors who recorded this, ignore it.
Yes, it was firstly arranged by Liszt's pupil, Theophil Forchhammer, and revised by Liszt himself in 1870s, but it was not published until 2008 by the Liszt Journal. Because of the copyright law the accessment of the sheet music is difficult except for journal members, but you may listen to its studio recording by Leslie Howard in Hyperion.
@@oleed8516 "The manuscript of the unpublished Forchhammer version is to be found in the Liszt Research Centre in Budapest, and thanks are due to Mária Eckhardt for arranging for the present writer to study it in situ and to bring away a copy of it. The manuscript is full of Liszt's corrections, although from time to time these are written in shorthand - in parallel passages, for example - and at one point at the very end he has deleted Forchhammer's text for four bars without indicating its replacement, but that could easily be supplied with reference to the orchestral score." Ludwig Stark's arrangement was published without Liszt's signature, as you can easily find at IMSLP. Also, that one is NOT S.511c, and therefore not included in the Liszt catalogue. S.511c is unpublished arrangement of Forchhammer, with of course Liszt's correction.
@@dd8436 Oh, really. If "published" - by Liszt, then he found that the version of Ludwig Stark is better than the version of Theophil Forchhammer? No normal score of the Forchhammer's version available, only draft?
I know what you mean.. It's the slow and slight diminuendo they as the transition into the slower interlude starts. That is not in the score and when orchestras play it they usually stay forte throughout, which gives the whole thing a relentless energy. I guess the problem is that you have to make up for the lack of orchestral colours somehow and that is why they decided to not keep banging on at full force, like Liszt asks and instead softened gradually towards the interlude.
Thanks for the upload!
A fantastic performance from Kanazawa and Admony. You can tell that they love this work as they took care to insert the wonderful chromatic inner voice from the original orchestral version at 3:45 and 5:06 which Liszt somewhat inexplicably left out from this two-piano arrangement. If I were them I would have made one more (purely textural) change: at 1:05 and similar passages I believe the hectic nature of the music would be well-served if there were triplets instead of eighths (when played by the orchestra the acoustics of an army of strings in a concert hall make the eighths more than hectic enough:), also the pounding contrabass heart-beats beginning at 0:24 woud be great to carry uninterrupted through till 00:37 (as in the orchestral score), I don't know why Liszt stops writing them in when the dinimished chords arrive. It is such a great moments in his orchestral original.
Great recording, thanks again for uploading!
Es impresionante😮...bravoooo❤❤
1:05
3:17
4:43
6:12
7:07
5:06 I can hear notes that aren't in the sheet music. Where did that come from?
From the original Symphonic Poem : ruclips.net/video/hb4H_9TKQ8I/видео.htmlsi=gh3qc0zk_tUpXzxP&t=306 (Exactly this part)
Performers decided to add this little, but astonishing detail.
@@DefinitelyNotFelis. thank you
10:00
10:00 Allegro
I always wonder how many households in the 19th Century had two pianos standing around. I can get behind the idea that you would find at least 2 competent enough pianists in each that had a piano in the first place, but having two instruments, and even in the same room? I doubt there were enough to make publishing these versions financially viable.
I guess these versions were produced for venues that did not have orchestras big or good enough, so that the pieces could be at least perfomed publicly without the appropriate orchestral forces available.
By the way, I'm glad they observe the repeat sign. It's so hard to find orchestral recordings that do so. It's kind of funny, considering that this is Liszt's only orchestral work that does have one. And yet the majority of the conductors who recorded this, ignore it.
Where did you find the sheet music？
vmirror.imslp.org/files/imglnks/usimg/3/3c/IMSLP17989-Liszt_-_S640_Symphonic_Poem_No6_Mazeppa_(breitkopf).PDF
@@dd8436 thanks‼️‼️‼️
I'm really happy because I've been looking for it for a long time‼️‼️‼️
14:15 This sounds different from Risto-Matti's trans.
Because that is for one pianist only and this one is for two pianos
@@dwacheopus No like the pedal is gone. Now this just sounds like a carnival theme.
Are you sure that Liszt arranged it for piano solo, not someone else (Ludwig Stark, August Stradal)? Do you have the score?
Yes, it was firstly arranged by Liszt's pupil, Theophil Forchhammer, and revised by Liszt himself in 1870s, but it was not published until 2008 by the Liszt Journal. Because of the copyright law the accessment of the sheet music is difficult except for journal members, but you may listen to its studio recording by Leslie Howard in Hyperion.
@@oleed8516 You should read the rest of the description of the article...
@@oleed8516 "The manuscript of the unpublished Forchhammer version is to be found in the Liszt Research Centre in Budapest, and thanks are due to Mária Eckhardt for arranging for the present writer to study it in situ and to bring away a copy of it. The manuscript is full of Liszt's corrections, although from time to time these are written in shorthand - in parallel passages, for example - and at one point at the very end he has deleted Forchhammer's text for four bars without indicating its replacement, but that could easily be supplied with reference to the orchestral score."
Ludwig Stark's arrangement was published without Liszt's signature, as you can easily find at IMSLP. Also, that one is NOT S.511c, and therefore not included in the Liszt catalogue. S.511c is unpublished arrangement of Forchhammer, with of course Liszt's correction.
@@dd8436 Oh, really. If "published" - by Liszt, then he found that the version of Ludwig Stark is better than the version of Theophil Forchhammer? No normal score of the Forchhammer's version available, only draft?
Frankly, i find this recording a bit soft. IMO mazeppa should be edgy, aggressive, but heroic at the same time
I know what you mean.. It's the slow and slight diminuendo they as the transition into the slower interlude starts. That is not in the score and when orchestras play it they usually stay forte throughout, which gives the whole thing a relentless energy.
I guess the problem is that you have to make up for the lack of orchestral colours somehow and that is why they decided to not keep banging on at full force, like Liszt asks and instead softened gradually towards the interlude.
What a vulgar piece
What a bizar comment.
@@j.vonhogen9650 What a deaf commentator