Liszt - Préludes et Harmonies poétiques et religieuses, S171d (Kosyakov)
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- Опубліковано 7 гру 2020
- The history of Liszt’s Harmonies poétiques et religieuses is long and painfully complex; the eventual series of ten works (S173) was published by Kistner in 1853, having been finally revised and prepared by the end of 1851, but many of the pieces in that collection started life somewhat earlier and many pieces considered for it were outright discarded. Preceding the less incongruous S172a cycle of 1847, was an attempt at grouping several pieces together under the extended title "Préludes et Harmonies poétiques et religieuses", dated from 1845/6. With the exception of the opening prelude this set is a far cry from the 1853 cycle (it is clear that the religious aspect of this project grew more firm over the years) and an analysis of the Tasso Sketchbook wherein these works were originally penned reveals that Liszt even briefly considered including the second Petrarch sonnet, the Élégie sur des motifs de Prince Louis Ferdinand, and a work in the style of Chopin (echoes of Schumann’s Carnaval), in the Harmonies cycle.
These pieces would have remained overlooked and unpublished were it not for the excellent work of the indefatigable Leslie Howard, who not only provided codas for the unfinished works (No.4 and 6) but also a fully developed completion in homage to Liszt of the eighth piece.
The first piece is headed ‘Nancy 16 nov 45’; the musical material is the only part of the 1845-6 series which makes its way through the 1847 set and into the 1853 set-as part of Bénédiction de Dieu dans la solitude. The second piece (‘20 nov 45’) is very indistinctly titled; if "Langueur?" is correct (and whatever else it may be, the question mark is Liszt’s), it is not especially reflected in the content of the piece, which is a yearning melody punctuated by a more hymn-like section-derived from the same theme-which, after the reprise, forms the coda. This is an excellent piece and Liszt’s subsequent neglect of it is inexplicable. The third, untitled piece (‘4 dec 45’) is also effectively monothematic, but the appassionato transformation of the material is of such a different character that the kinship with the opening may not seem apparent upon a first hearing. The fourth piece is a much larger work, and its principal theme will be easily recognized as the forerunner to that of the First Ballade; this complex work, which ranges over an extraordinary array of key changes, also contains (albeit in a very different guise) the theme of the last Consolations' coda. The fifth piece (untitled, but dated ‘6 dec 45’) is again monothematic, and is an early example of a kind of piano writing often found in Liszt’s compositions in the enharmonic F-sharp major, especially those of a religious serenity. The sixth piece is entitled Attente, but there is no further clue as to its application to this piece. Liszt has indicated the reprise of some of the opening material after the contrasting middle section, but has not supplied the coda. The seventh piece bears the title Alternative, and whether it is merely an alternative to the sixth piece is impossible to tell; this work is complete on one page, and has virtually the same melody (but with an unfamiliar introduction) as the song Gestorben war ich (best known in the later piano transcription as Liebesträume No.2). The eighth piece is really only a sketch: an eight-bar Andante ending with ‘etc’, and a rough nine-bar sketch for a middle section. The title almost certainly refers to Marie Kalergis, a Polish noblewoman, pianist, salon hostess and patron of the arts; Liszt recuperated at her hospitable home after the difficulties of the Bonn Beethoven festival in 1845. Howard's completion is remarkably idiomatic.
1. Prélude - 00:00
2. Langueur? - 04:34
3. [untitled] - 12:20
4. Dernière illusion - 16:42
5. [untitled] - 29:17
6. Attente - 35:11
7. Alternative - 39:44
8. M.K. - 41:23 [completed by Leslie Howard]
What's your source for the scores?
@@TheAbstractparadox If you'd like to find out how to acquire these scores please drop me an email at the address in my channel description.
The 5th piece (in G-flat) is so angelically beautiful.. Did Liszt wrote any other work with this melody?
@@Felix_Li_En according to howard's notes from S.171d No.5, its an œuvre from S.173 No.3, liszt probably was based on No.5 for compose benediction de dieu dans la solitude
Sorry to be so offtopic but does anybody know of a way to log back into an Instagram account..?
I was stupid lost the account password. I would appreciate any tips you can give me
20:43 is the best moment. Such a mysterious but gorgeous section!
yeah that's why i love this part so much xd
also 22:45 too
Attente is absolutely gorgeous - reminds me very much of Scriabin. Liszt was such a great innovator.
The third piece is a stunning little hidden gem!
Thank goodness for this I couldn’t even find a human performance of most of these
What a beautiful upload, very happy that you’re still bringing to light Liszt pieces which are unknown to many :)
I find out this entire set so interesting because, as it seems, in later compositions by liszt, liszt used or probably went based most of these pieces which later became well known (for example Liebestraum S.541 No.3 which liszt probably were based on Attente, so thats why the first version of Liebestraum No.3 it is in A major, and also the well known benediction de dieu which liszt later took this piece for the Harmonies Poetiques et Religeuses set that sadly wasn't published (S.172a No.11) and later revised it for a section from S.173 No.3), Anyways it could be interesting if liszt later reused the middle theme from Derniere Illusion because for some reason i just think that it fits so pretty well with Ballade No.1.
This is Such a beautiful work that i am glad that you share y'all this wholesome piece of art :)
He reused the middle theme of Derniere Illusion in the coda to the sixth consolation.
@@TheModicaLiszt yeah xd
Amazing! Always excited to hear "new" works of Liszt with such a spectacular performance, thank you!
Thank you for posting these pieces. It's very interesting to hear these earlier versions and alternate material; as always with Liszt, we can learn so much about his process and development as a composer. In addition to the indefatigable Leslie Howard, however, I must give a shout out to Albert Brussee, a pioneer in recording and publishing the earlier HP&R material. It's a pity his two CDs (1998 & 2000) are not more readily available, as they are beautifully performed and recorded. I hope those viewers who are not yet intimately familiar with the definitive HP&R will get to know that peerless work before exploring the "discards"! There are now at least three superb performances of Liszt's complete final version posted on UA-cam: by Andrea Bonatta - the only recording on a "period" piano - Pascal Amoyel and François-Frédéric Guy. Thank you. UPDATE (2023): And do not miss the wonderful Saskia Giorgini interpretation, whether the "live" video here or the studio CD!
I totally agree with you. Love the idea to compare the work in progress of a genius like Liszt. It's a continuous learning process and a joy for ears, brain and heart.
Wow, Andrei, this sure is a special treat! Thanks a million! Really lovely playing by Maestro Kosyakov, too.
Found something interesting recently!
36:50~38:02 Imitation of Chopin (Nocturne)
38:03~38:29 Liszt using his own style on that imitation😆
Just my own hypothesis, not the official testimony.😁
Beautiful piece
So, so beautiful. Please give us more Liszt....
Fantastic!
Beautiful
I discovered the set two years ago year from Howard recording, and I was delighted when I knew a new recording by Naxos was imminent. The pieces I got obsessed with are Langueur and Dernière illusion. Good stuff as usual.
Very nice....I wish you could play on a Boesendorfer empire grand for the lawers notes.....But it's a very meaningful and sensitive (?)! Interpretation.congrats
Doesn't the melody of the first piece also appear in Bénédiction(...)?
Anyway excited to listen to the rest. Thanks for sharing
the starting bits sounded so familiar but unexpected stuff kept happening wha-
Comment est-il possible que Liszt ne soit pas reconnu comme le plus grand musicien de tous les temps?
Je suis parfaitement d’accord avec vos sentiments. C’est un grand mystère. Pour moi, il est un des plus sublime des compositeurs. (Excusez s.v.p. le français imparfait !)
I believe the reason for this is that some composers at that time made very critical comments about his compositions.
Even schumann made some critical comments. Obviously he was not too excited when Liszt dedicated his sonata
H-moll
je dirais qu'il est connu dedans la communaute des pianistes. mais oui la majorite des non-musiciennes ne sont pas familier avec liszt.
pardon pour le francais
Preludeは練習しました。
Ces pièces semblent être les premières esquisses des Harmonies poétiques et religieuses et sont intéressantes pour montrer le cheminement de Liszt dans sa recherche de l’absolu ! Interprétation remarquable de Korsakiov .
Bien dit!
much appreciated for this grand recording. any such way of finding the sheet music to these pieces?
Many Ballade No.1 materials during 4th piece
Leslie Howard is a God.
Since the first ballade is out of reach, I may give the similar Dernière illusion a try.
Hi Andrei, can you please make a video of France Clidat's performance of s252? I don't know if it's copyrighted or not.
Where was the theme in Alternative also used?
Liebesträum #2
Does anyone else notice the similarities between the introduction of the third and the Valse mélancolique (S214/2)?
Wait so did Liszt revise the Dernière Illusion into the first ballade?
Yeah, so Liszt wrote a few sketches of the theme like S.189a and stuff, then wrote this, then revised it into a Ballade
Yeah, but also Liszt original conceived the main theme for the first ballade as early as his teens from what I remember reading. This as well as many others, such as the 2 piano concertos, valse bravura, and valse impromptu, were composed based on his 'juvenile' works.
@@user-pz4ot2ye5l Yes, the theme from his third concerto, transcendental etudes and many other works stem from his juvenile works
Did Liszt use theme at 19:49 on any works? I feel like I heard this melody before but I'm not sure.
He reused it for Consolation S.172 No.6 as coda, but it is slightly different though
29:18 Chopin's Aeolian Harp
14:37
Hey! Where can I get the sheet music for this? I've lookede everywhere and can't find it :(
Where I can get the sheet music?
ACA do you like liszt grand galop chromatique(the hard one)? on a scale of 1-10 how much?
10, it's great fun!
@@AndreiAnghelLiszt lmao its my favorite piano piece along with hr2 and 12
1
@@gojewla i assume that you hate it
@@gojewla maybe cause it’s too hard to play 😂
also why is there no funerailles i thought that was in harmonies poetiques et religeuses
lol
game: perfect piano
👏
7:50
21:08
Spanish Romance??
What is your favorite piece by Liszt, your No. 1 top dawg?
grand galop chromatique
@@amgx9670 that’s a solid choice! I think I’m a Faust symphony kind of guy myself
HR 6, or Un Sospiro
@@JoshyG wdym
@@amgx9670 his piece “A Faust Symphony” I think it’s S.108
Too bad you couldn’t find all the music for the last piece. It was very beautiful and one of the most polished of this set.
Because there is no published sheet "music". If you want Howard's completions, speak to him.
Can you find the sheet music?There are so many sheet music which are not easy to find in Andrei's channel. What I can get is just a sheet music made by ears becuase it is written by Howard. To bad that you don't know gratitude.
Is that melody in the benediction?
Yes
I find 171d:1 and s172a:11 have no resemblance to 173:7
173/3 actually, and yeah, you'll hear the melody in "Piu Sostenuto Quasi Preludio" and "Ritenuto ad libitum"