A very brave, energetic and inspiring performance of this far too underplayed wicked and witty showpiece. I would love to purchase your recordings of Liszt's Spanish works, should you choose to record them in the future for CD release; I'd also be particularly excited to see your performance of the criminally underplayed Grosse Concert-Phantasie über spanische Weisen, S253 :) Best Wishes.
Santosificationable The S.695c is much more difficult, but I would say the S.253 is more musically coherent... that’s just my opinion. I like both pieces a lot.
@@TheModicaLiszt I have to disagree, imo S253 would be harder both technically and musically. It's so difficult that we sadly don't have any (human) recording at a tempo that is even close to the intended tempo.
Liszt wrote five Spanish-inspired pieces up to this point - the first version of La romanesca, El contrabandista, Grosse Konzertfantasie über spanische Weisen, Feuille morte and this one, which I think is the best as it most successfully captures the essence of Spain in both the introvert and extrovert, whereas the others only convey one of those moods, and I think it has a more convincing Spanish flavour than El contrabandista and the Grosse Konzertfantasie. Generally pieces written round this time either by Spanish composers or non-natives based on Spanish themes didn't have that real taste of Spain that later works by Albeniz, Granados and Falla did, but I think this piece does a really good job of capturing that Spanish spirit, and this captivating and technically accomplished performance plays a big part in that.
May I ask if you are from Spain? Just curious...also yes, this might just be the best Liszt "Spanish" arrangement...though would you consider it superior to even the Spanish Rhapsody?
@@Santosificationable No, I'm from the UK and sadly I don't speak any Spanish and have only been to Spain once (Barcelona, would like to go to Madrid, Seville and some of the more unspoilt ports on the mainland and the Balearic Islands next though) but I love a lot of Spanish and Spanish-influenced music and am reasonably knowledgable about the style, though most of what I've heard is classical and jazz and not the pure stuff from natives. I don't think I've heard the Spanish Rhapsody and at the moment I'm going through Liszt's music chronologically - I'm up to 1847, and I believe I have a fair way to go before I get to that work?
3 года назад
In my opinion, this piece captures the "Spanish flavour", as you say, in all it's varieties! That's one of the reasons I enjoy playing it so much, in spite of the struggle, being Spanish myself. I appreciate your detailed comment!
Dear Maistro Dario you will always be a miracle to me. How do you manage to play this unplayable masterpiece of Franz Liszt unspeakably beautiful filled with the loveliest Spanish melodies and tenderest poetry that brings tears to my eyes. I could not go to dreamland before I had this extremely beautiful music in my inner being. Now my heart is filled with this music treasure you gift to us this lovely music world
2 года назад
My dearest Theo. I think of you often. Hope you and all your loved ones are doing well. Please email me sometime.
Start: Vivace 8:35 Liberamente 12:10 Allegretto 11:52 Grandioso 13:45 Vivace ma non troppo 16:42 Prestissimo 17:48 Maestoso (Bars written but crossed out by Liszt) 18:01 Prestissimo
At this point, it seems like this is a scientific study in difficulty rather than a work of music. Liszt was a great composer, but sometimes he was being difficult for the sake of being difficult.
Be that as it may, there are many passages in this piece that are among some of the most beautiful things I've heard from any piano piece. This is honestly one of my favourite pieces from Liszt.
Hmmmm, I hear you on it being technically VERY difficult. However, in my opinion, it is fun to listen to it. And isn't music about having fun at the end of the day? :-)
ngl difficulty for difficulty sake i think is part of showpieces. they're meant to display skill
3 года назад
This piece was composed when Liszt was actively touring and making the most out of his virtuoso show, it's true. The funny thing is Liszt used some crazy techniques in this piece he never used again. I can imagine him going "nope, too much!" in his head after playing it during his Spanish tour. As Liszthesis said, this piece contains all the hardest techniques for the instrument but, in my opinion, it does have way more musical depth than many people seem appreciate. Maybe it's just me, being Spanish and feeling all the folk themes so close to my heart…
¡Fantástico! ¡Se siente verdaderamente el espíritu Español en su interpretación, ah! Me encantaría, como ya lo mencionó antes Andrei, que en un futuro usted pueda grabar unos cuantos trabajos españoles de Liszt; la escasez de grabaciones es bastante notoria.
A mí me dió la partitura Leslie Howard, quien hizo el trabajo de recuperación y primera edición de esta genial obra, y creo que estrenó allí él mismo en EEUU. Felicidades igualmente. Por cierto que en un inicio me llamó la atención porque tiene el tema final de las 6 variaciones al minuet afandangado de Félix Máximo López, de cuando Liszt vino a España. Igual que la Grosse Konzertfantasie Über Spanische Weisen utiliza la cachucha que López expone en su ópera Los Locos. Liszt era frenético en transcribir y copiar todo lo que encontraba.
2 года назад
¡Gracias por tu comentario, Alberto! Es maravilloso ver cómo Liszt "filtraba" las melodías populares y composiciones locales de los lugares por los que giraba y los hacía suyos a través de sus transcripciones y fantasías. ¡Por cierto! El estreno en EEUU lo realicé yo en la actuación recogida en este vídeo, como afirmo. Lo comprobé con el propio Leslie, de quien soy amigo personal. ¡Un saludo!
@ Comprendo lo que dices, Darío, sobre hacer suyos los temas que le gustaban a Liszt. Era lo típico en el siglo XIX e incluso XVIII. Para los musicólogos sin embargo, hallar la fuente primigenia es fundamental, el origen. Según la ley de propiedad intelectual, si esto ocurriera hoy, que alguien improvisa o compone (inclusive en variaciones) sobre un tema previamente creado con derechos de autor, dichos derechos corresponderían 100% a quien primero lo hubiera compuesto.
2 года назад
¡Cierto! Hoy en día habría una gran discusión aparte acerca del tema de los derechos, las atribuciones y el correspondiente reparto de autoría y posibles ganancias. Ha cambiado mucho la sociedad, y es fascinante comprobar cómo ha evolucionado también la manera de componer para adaptarse a los modelos de monetización de las plataformas de streaming actuales. Hablando de la autoría de los temas sobre los que se basó Liszt en la composición de su Romancero espagnol, imagino que conoces el trabajo del investigador Antonio Simón. Un trabajo excepcional acerca del paso de Liszt por España en los años 1844-45.
@ Antonio Simón publicó en 2015, pero no me mencionó ya que ya había yo desvelado públicamente años antes, en varios artículos, que la Cachucha de López es la primera fuente de la que se tiene registro (que emplea Liszt en su Grosse Konzertfantasie). Sobre los derechos de autor, no ha cambiado la ley nada en estos años, sigue siendo la misma, lo único es que increíblemente nadie se la sabe. Yo he tenido ocasión de participar como perito en varios plagios musicales internacionales.
