No.1, Chapelle de Guillaume Tell (William Tell’s chapel), C major. ABA form, with a short introduction and extended coda. Opens with one of those striking hymnlike melodies, which - simple as it is - manages to imply vast space while maintaining a basically intimate character. Distant horn calls echo majestically in the middle section (1:22, m.21), before a storm erupts (2:11, m.38). The hymn then returns in a blaze of glory (2:35, m.52), before relaxing into a triplet accompaniment with a different harmonic contour (some gorgeous modulation here - the leap from Db to A minor at 3:38 is so moving). An extended coda, recalling the introduction’s figure and the middle section’s horn call, No.2, Au lac de Wallenstadt (At Lake Wallenstadt), Ab major. One of Liszt’s most inspired textures. The lilting LH ostinato is written so that its figural accent lands (confusingly) in the middle of the bar and off-beat, while the RH melody is rhythmically displaced so that it seems to enter on the beat (that first Eb is really a pickup). The harmonic is kept very simple with the exception of a modulation to E in the middle - in fact for the first 38 bars the RH only uses 6 pitch classes. No.3, Pastorale, E major. A straightforward rounded binary (ABAB). The LH engages in a jaunty tonic-dominant swing, while the RH descends with very carefully delineated counterpoint, sounding as if from a great distance. In the B section the LH occupies itself with a bagpipe-like drone while the RH obsessively repeats the same figure like some toylike automaton. No.4, Au bord d'une source (Beside a Spring), Ab major. Sonority, sonority, sonority. An out-and-out masterpiece, comprising 4 varied statements of a primary theme interspersed with a (closely related) secondary transition theme. Texturally and harmonically there’s hardly a bar here that isn’t extraordinary. Consider the opening (10:18): the second note of the melody is given to the LH, which leaps across the RH to pluck out a note in the high registers, while the RH’s melody notes are all rubbed from beneath by dissonant appoggiaturas that resolve as part of a running inner-voice semiquaver texture. When the main melody recurs (10:59; m.13) all the notes are now in the RH, but every other note is now sharply displaced upward to create these cometlike streaks of sound in the upper registers. The secondary theme which enters immediately after (11:13; m.17) sounds over an E pedal and combines the elements of the two previous variations (dissonant appoggiaturas and upward leaps in the RH) in a new configuration, and in its tail figures some heart-stoppingly beautiful modal mixture (11:31). And the whole piece keeps this exhausting level of brilliance going right until the end - not until Ravel comes along, I think, does a work of such figural intricacy come along. Some other highlights I’ll briefly mention: the shimmering trill-like textures of 12:13 (m.33), the quartal/quintal colour from mm.46-50 (12:55 - how a ii-V can be made to sound so ethereal I don’t know), and the clever callback to the opening appoggiaturas in the RH descent at m.53 (13:56). No.5, Orage (Storm), C minor. Another one of the high points of the set. Weirdly enough, it’s in sonata-rondo (rondo-sonata?) form: Introduction, A1 (14:39; m.8), B (15:12, m.38), A2 (15:30; m.55), C (16:01; m.74), A3 (16:27, m.93), A1 (recap - 17:04, m.116), Coda (recalling introduction - 17:58; m.151). Quite apart from the sheer brutal force emanating from this work (I will cling to the bass chords at m.15 as long as I live), its thematic efficiency is remarkable. The main theme gets two clever transformations, while the introductory material also doubles as transition material (mms.89-92, 115, 146-149). Where Liszt really lets loose, thematically speaking, is in the episodes, which are huge gestural outpourings perfectly shaped to build tension. No.7, Eglogue (Eclogue), Ab major. After the storm, an interlude of light and air. This work is structured rather organically, comprising three main motifs that freely associate (you could plot out a A/B1/B2/B1/B2/A/B2/A structure, but it’s fairly pointless). Despite this work’s apparent simplicity there are some nice touches there, like dominant 9ths treated almost as a stable sonority - stretched out for huge lengths before resolving in the weakest possible manner (19:0; m.22-26 and similar). There’s also the ending, in which the Neapolitan 6/3 “resolves” to a iim7/V that leads to a V9 - a fairly violent harmonic change that sounds incredibly smooth (we know Liszt was unusually proud of this cadence because he ended his 3rd Liebestraume - published a couple of years earlier - the same way). No.8, Le mal du pays (Homesickness), E minor. Rounded binary form, with the B section receiving significant development when it returns. The A sections are a clinic in generating feeling through sparse material; they are listless and faraway, essentially an improvisatory remix of a Ranz de chèvre (a sort of Swiss mountain-herding song) that Liszt heard on his travels. The extensive use of the sharpened fourth gives the harmony a wailing, piquant quality. The B section is derived from a Heimwehlieder (song of homesickness) by Johann Rudolf Wyss, but Liszt modifies the ending to create the briefest moment of tenderness: 23:48 (m.24-25). The ending features the sharpened fourth prominently, now time with the RH providing chords which imply a French aug 6 in a very dissonant inversion. The closing IV-iv(Fr+6)-i is quite clever, chaining a major (dorian), minor (tonic) and unstable (+6) harmony via neat voice-leading. No.9, Les cloches de Genève: Nocturne (The Bells of Geneva: Nocturne), B major. A touching lyric work in A/B/Coda (=A’) form. It opens with the evocation of distant bells; this transforms into an oscillation between ii and I over which a tender melody unspools. There’s a sudden but very expressive modulation into C (28:51; m.15), after which the bells descend into the deep bass. Their faint rumblings return us to B. Now the bells are in the RH (the ii is now a viiø7), with the melody transferred to the LH. The melody grows more hopeful with a chromatic mediant shift to D - but we just as quickly slip back into the home key, and into the B section’s cantabile nocturne. This new melody is repeated once (not before making an extended foray into Bb and G minor), growing into a big, glorious appassionato over quasi arpa accompaniment. This relaxes into the coda, where the bells from the beginning return, but this time Liszt changes the harmony for colour. The viiø7 is now a V9, while the I is an I7. More radically, a G chord appears as a transition to iim7. Distant bell-peals in the bass close.
The very beginning of No.1 always made me think of the motto "One for all, all for one" - the way the first solitary G opens out in contrary motion first to F-A and then to an e-minor triad (then further expanding) seems very symbolic to me (same for the Coda - this time transposed and transformed a little). I might be hearing something into it which Liszt didn't mean, but I can't help it. :) Another interesting detail: "Le mal du pays" ends in e-minor - but Liszt keeps the "wrong" key signature (two sharps). Again, I might be imagining it, but it's just so fitting for a "homesick" piece to end in the wrong place.
These pieces are among Liszt‘s absolute greatest contributions to piano composition. Especially the first year (Switzerland) is so easy to get into, even for non-classical music listeners. The so universally admired, instantly recognisable beauty of these works is what fascinates me most about them. Liszt was a genius and my favorite Romantic composer, especially because of the Annees de Pelerinage.
Those who missed the live premiere will never get the chance to witness the great, all-powerful Baron. We are sorry we did not realize the truth in time before he left us for good.
Le Mal de Pays is one of Liszt's most underrated pieces that he wrote. There are so many wonderful parts in the piece, 25:38 to the end is some of the most profound music I think he wrote. Not to mention, it's technically not super difficult.
Recent years had been extremely stressful and disappointing for me and my family. However, things changed ever since I met Baron. He had opened my eyes to a great new world. I am now a multi-millionaire and CEO of a tech empire. Thank you, Ludwig van Baron.
I have a rather similar experience. Before Baron came, I was extremely depressed. When he arrive he show me and my friend how orange is bad because it does not sound like a lake to him. This changed the way we see the world. We quickly became cultured and followed him to the hall of the 4 🅱️. We will never forget you, 🅱️aron!
Wow, for me what made me stop and say Wow this is a reassure to be handed down for generations at least in my head is when you said that and then I read it
Damn, this upload gave me a lot of nostalgia. I remember being obsessed with Liszt as a teen and trying to play the first piece of this set (Cziffra was my hero back then haha). I didn't realize my life changed so much since that time until this upload made me think about it. Time flies...
Thank you, Mr. Kumar! Fantastic choice of recordings. I haven't been familiar with Piemontesi - his interpretations are really individual and he brings out the drama intrinsic to these works wonderfully. Sometimes he does seem to rush a few sections: e.g. in Le mal du pays, the Adagio dolente and Piú lento episodes are quite fast. Of course the music works at this tempo as well, because Piemontesi is such a great dramaturge and Liszt's material always rewards a sincerely seeking pianist. Pace I have been familiar with, happy to see him featured on your channel. Reliably enjoyable in every number. The more I listen to the cantabile section of the Bells of Geneva the more I come to regard it as one of the most gorgeous melodies Liszt has ever composed. Thanks again looking forward to Vallée d'Oberman and the other Années!
Liszt's Années de pèlerinage are, without a doubt, perfect demonstrations of his impressionist music. Not to mention that they were composed in the Romantic period, not the 20th century, which shows his innovation
37:03 Baron arrives 51:21 Baron leaves 53:32 Liszt realizes Baron is gone, gets depressed 54:44 Baron's cause of death is determined 56:23 Baron Remembrance Movement
I've always enjoyed Pace's playing, but my goodness Piemontesi is something else. He brings to life these pieces in a way I never heard before. Thank you so much for this amazing collection!
the highlight of première année seems to me to be 'Vallée d'Obermann', like 'Après une lecture du Dante' from the second year and 'Les yeux d'eau à la Villa d'Este' from the 3rd.
For some reason, AdP1 is not nearly as familiar to me as AdP2 is. Some really beautiful writing here, showing off Liszt's chops as a melodist. I think he's underrated as a writer of heart-stoppingly beautiful melodies (Au lac de Wallenstadt especially, in this set) overall.
The Switzerland AdP is more of tribute or description of Switzerland's landscapes, while the Italy AdP is more of a homage to Italian literature. I think that's part of the reason why the first year has more "welcoming" melody writing.
Ashish reminds me very much of my English teacher in school. He used to explain poetry and prose lessons just like this, finding deeper meanings than what even the author might have imagined when writing it 😂
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aErIwC1NhF0.html ashish is making a seperate upload for the larger works like valle d'obermann and dante sonata
