A channel dedicated to the magnificent Franz Liszt. I upload scored videos of his works, with an emphasis on bringing light to his obscure and neglected ones. If you would like to know more about Liszt, I strongly recommend Alan Walker's definitive three-volume biography. No copyright infringement is intended; these videos are uploaded in the spirit of Fair Use section 107. If a copyright owner has issues with any videos here, please contact me at andreiangel127@gmail.com and I will delete them.
Never heard that before or heard of it. Not at all sure that I want to hear it again, certainly not one of Liszt’s better pieces and I am amazed that anyone would take the tremendous effort to learn and play it. With talent like that there is so much better music to perform.
This Early Operatic Fantasy (which was sadly cut by the publisher) has probably the most unique structure of his early virtuosi life and actually has the feeling of the opera. The introductory material is based highly on the sextet but in the diminished setting with the first 2 bars based of the start of the sextet and the other 2 bars being based on the middle section in 9/8. The second part of the fantasy (Marche et Cavatine) captures the essence of the dramatic scenes of the opera. Truly a marvellous work.
Andrei Cristian Anghel, wonderful video and channel. Thanks for sharing so much content of Liszt. I would like to ask you what makes you like Liszt so much?
This is the first time hearing this. Credit to Naxos for recording this piece and other pieces. Many artistes from Eastern Europe would have remained unknown if not for Naxos.
7:37 this motif is from the cabaletta "I tuoi frequenti palpiti" Liszt also wrote a larger piece over this theme, "Divertissement sur "I tuoi frequenti palpiti" S.419"
Gunnar Johansen called this piece "a rousing affair" - I am sure that the much overrated Cziffra could not play this piece with such clarity, without his characteristic bombastic hammering, pounding of the keys and excessive use of the sustaining pedal when requirement of technique got the better of him, Clidat displays a purity of superior technique.
For an operatic paraphrase this contains surprisingly little material from the opera. If you want to hear what Liszt took from it you have to sit through 4 of 5 acts before we finally get to it.
Just unbelievable! He wrote music he could play. A real difference between the 1838 set and the 1851 set. Are we sure he only had 10 fingers? Play Liszt for and octopus and we say "i could do that easy!"
And here's another rendition of the piece with the added allure of the sonorities of an 1842 Pleyel piano: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2ojUfN-OcjU.html
