Funny to see the melodical freedom Liszt took to bend the piece towards his own taste. That G#-A at the very beginning is especially bold! And you can tell he does these on purpose, because the voicings of the left hands in the first two measures are note to note the same as the viola and the second violin in the original score. Thus, Liszt knew what he was doing and was purposedly changing the melody to turn the Lacrymosa into a more romantic piece!
Listz was a greater composer than Sussmayer. Listz had full liberty to modify Mozart's work, the same way Sussmayer did. In truth we'll never know how the Lacrymosa was meant to sound. We just have a really good idea of how it was meant to sound. Truly heartbreaking, as this piece was so unlike Mozart. It's certainly one of the most moving and depressing pieces I've ever heard.
@@divinodayacap3313 I believe that he changed it so that the violin line range (played by the LH), would remain above the choir melody (played by RH)-It was actually a fairly practical reason, based on the keyboard layout. I do an analysis and performance of this piece on my channel also, and I talk about some of these changes.
Actually, interestingly enough, Mozart only wrote the first 8 bars of the Lacrymosa before he died. A man named Joseph von Eybler was asked to complete the Requiem for Mozart but to no avail, was unable to complete the task. It was Franz Xaver Süssmayr in 1792 who completed Mozart's famous Requiem possibly using some of the notes of Eybler as well as his own creation, and it is Süssmayr's version that has become apart of the standard repertoire today as the most commonly heard version of the Requiem. Later, sometime in or before 1865, Franz Liszt made this piano transcription of Süssmayr's Lacrymosa which you are currently listening to right now.
Well you are a bit wrong. .Who tryed to play this music didnt understood that he is not playing anymore Mozart´s Requeim . Thise peace should to be played as Liszt and chopin style with full passion . The big big problem int not the music but who play it. Its like in Opera , bad singers can destroy the music. But Yes there are few notes i would not put it, becouse changed a lot the mood of the original music.But the Start was good.
Sure, the Thalberg is probably more authentic, but this is Liszt turning it into a romantic piece, sort of like what Busoni did the to Chaconne. I think it's convincing, though I'd definitely take the original over any transcription.
The Thalberg transcription is more authentic to the spirit of the original choral work, but since it's Liszt, it's expected that the piece has a more virtuosic approach. And I think it's alright. No need to compare; it's just different.
I disagree, Liszt is trying to capture the densitiy of an orchestra in his transcriptions, something that is usually lost when people arrange for piano. The loud chords, and three hand effect comes from Liszt trying to stay as true to the source material as he can.
The Thalberg one is more authentic, but Liszt tried more to have the orchestra in the piano. I'd say the Liszt version is more disturbing to listen to lol. I like both.
daniel fahimi For me, this portrays the fear of judgement the most. The lyrics are about begging for mercy and for humanity to not be judged when the time comes.
@@DanielFahimi It is completely true that Wolfgang's music calls for grace. In fact, I even presented to him some of my transcriptions of his work! However, Liszt's transcriptions are full of rich textures and intricate consistencies. Although I prefer Thalberg's transcription for this piece, try listening to Dessauer's Lieder transcribed by Liszt.
That day of tears and mourning When from the ashes shall arise All humanity to be judged That day of tears and mourning When from the ashes shall arise All humanity to be judged Spare us by your mercy,lord Gentle lord Jesus Grant them internal rest Grant them internal rest AMEN /Wolfgang Amadeus Mozart/ It's better with its lyrics
Dies irae Dies illa Solvet saeclum en favilla Teste davidcum sybilla Quantus tremor est futurus Quando judex est venturus Cunta stricte discus surus Dies irae Dies illa Solvet saeclum en favilla Teste davidcum sybilla Quantus tremor est futurus Quando judex est venturus Cuncta stricte discus surus Quantus tre-e-mo-or e-est fu-u-turus Dies irae, Dies illa Quantus tre-e-mo-or e-est fu-u-turus Dies irae, Dies illa Quantus tre-e-mo-or e-est fu-u-turus Quando judex est venturus Cuncta stricte discus surus Cuncta stricte Stricte discus surus Cuncta stricte Stricte discus surus It's even better with it's original lyrics
The actual problem of this work is the author’s indecision: too literal to be a concert arrangement (like he did on his Schubert song arrangements) and too free to be a transcription. If you read it as a transcription you prefer Thalberg faithfulness to the original score, if you read it as an arrangement you expect some more “lisztisms”, more octaves, more chord changes, some original developement and so on.
I’m really interested in this point. Could you clarify what you meant by “too literal to be a concert arrangement” though? I don’t want to misinterpret you
@@TheExarion Nothing too fancy: if you read for example the études after Paganini you can see that Liszt copies the structure of Paganini's piece, but then either he expands or elaborate it or he inserts slight variations in harmony or melody (like fhe did in his "Ave Maria by Arcadelt"). In this Lacrimosa we get at once the small melodic variations, but no actual original reprise, variation, development that we could expect from Liszt. It sounds like Liszt would restrain himself to pay homage to Mozart, but nonetheless he introduces those sharps in the accompaniments and some little melodic variations which sound like a slip of the pen in an almost literal piano reduction of the original score.
i know this is two years later and you probably don’t care anymore/already found out, but if you want a closer transcription to the original (Liszt took some creative liberties here) Thalberg’s is amazing
Since I didn't like Liszt's version, I made my own transcription, faithful to Mozart..: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-L-RVBiuCuMA.html
What I said. It just doesn't work. Mozart/Sussmayir's Requiem is a gorgeous piece, but this transcription just strips it away of its color, fluent sound, singing tune and soft texture. And it's not the piano, it's the transcription itself that is bad.
Odisseu de Ítaca Maybe that's why this is one of Liszt's lesser known works, despite his and Mozart's names to fame. I think most people would agree that Thalberg transcribed a much better rendition for piano.
