Franz Liszt's transcription of Richard Wagner's Isoldes Liebestod (Isolde's love death) from the opera Tristan und Isolde. Marc-André Hamelin performs, live at concert.
@@griffinhaltom8144 Like a single person can change a thing in the real world. Even with millions of people on your side you aren't changing the minds of the world leaders
So this is exactly the piano version of Wagner´s piece I was looking for, great rendition with drama and virtuousness, thanks for posting, shall look out for more Hamelin play
Well, as a pianist myself, I suppose the difficult question one would have to tackle upon penning a transcription like this is: whose melodic lines does one follow, given the equal sharing of stunningly beautiful phrases between soloist and orchestra? I must admit, I held my breath at the end, as that ending, with the last 3 notes sung, is probably my favorite part, and there Liszt transcribed in favor of the orchestra. Yes, I was a little disappointed, but as a whole, it would be a daunting task to replicate such a score. I consider this aria one of the most sublime pieces for soprano and orchestra; opera or not.
Oh Kyle, I'm french and I often see you comment the videos where Hamelin's playing, and on Liszt mucis, but I've never seen you playing Liszt, that would be a great idea if you want to play this composer ! :D Moreover, it's the one I prefer, and you can't deny he was a wonderful piano player too ^^
A propos de Liszt, Lucien Rebatet nous rappelle : « La mort de Wagner, qu’il a quitté à Venise quelques semaines plus tôt le laisse serein : ‘Lui aujourd’hui, moi demain’. » Ses transcriptions pianistiques wagnériennes, telle que cette si somptueuse mort d’Isolde, me portent à songer qu’il avait entièrement raison.
Does anyone else find the climax (i.e. around 5:18) a little unconvincing? The repeated chords just scream "I am not an orchestra" in a really obvious way. The rest is sublimely done.
I myself have never cared much for the fast repeated chord technique of his, either; you simply can't replicate the sustaining string/orchestra sound on a percussive instrument where sound has a decay rate. It almost renders the effort unjustifiable; in some instances, repeated arpeggios (one or two handed) would be preferable. You know, I might just tackle this thing myself, and see what ensues. Try to create a "best of both worlds" situation utilizing all the sung lines and as much of the orchestral part as possible.
Man those opening chords are jazzy as hell! Wagner sort of has the reputation with the general public as being another typical "boring", stuffy, classical composer. But he was truly radical.
Astonishing playing. I must confess I can't stand operatic warbling even though I have degree in Music ... ... But on the solo piano all the harmonic shifts are crystal clear ... A Ravishing Revelation ...
Very pretty. Seems like it would be ideal backing music for a melodramatic silent movie, and I'm sure it has been utilized as such. Especially after the five minute mark.
The Jorge Luis Prats recording sounds very good, particularly his pp tremolos, but he makes a big cut, from bar 27 to 39; why? Furthermore, in the lead up to the big climax there are pairs of tied notes where he plays both, which gives a quite different sound to that intended by both Liszt and Wagner. I'll stick with Hamelin.
Great version, however, I still prefer Horowitz. I think the best part of this piece comes right after the climax: when it settles down, the beautiful theme returns one last time and finally, the resolution, the ending. Horowitz absolutely nails that part and makes of it a moment of eternity.
rachel starritt I really doubt so. It seems too over the top showy even for Wagner, and opera repetitious serving as the orchestra following the singer would opt for a more functional redition. But idk, just my guess.
