It depends. You’d need to be able to play both instruments to accurately comment on this. I only play one of the two and can confirm at least that the piano is INSANELY difficult
@Harposphere Et pourquoi pas? Un de mes rêve serait d'entendre la Sonate au Clair de Lune de Beethoven... Le troisième mouvement serait de la pure voltige cependant...
I am sure he is playing as fast as humanly possible, great job, i surely couldnt do better. But you can't play any music on any instrument without losing too much. On the other hand, Kyukun, I am sure when you grow up you will manage to utter your feelings using bad-words-free sentences.
It's a fucking transcription, not the actual piece. If you want to hear what it actually should sound like, listen it on the piano not on the harp Jesus Christ. Liszt also made his own description on paginini's work and there is an obvious limit between a violin to a piano. For example, pianos can't do vibrato nor can it do crescendo on a singular note. How is that different when he transcribed a piano piece on a harp? Idk why you bitching about the speed rather than admiring him transcribing the damn piece or playing it on the harp in the first place.
Fede Pantera first of all that exclamition mark is for the start of a sentence in spanish that would have a exclamation mark in english and if it was only a bit slower i wouldnt have minded but the mazeppa is based of the story its named . Mazeppa is supposed to be played with galloping sttacoto of a horse which mazeppa was strapped on to .its also supposed to be very very fast lizst even give really wierd fingerings to make mazeppa sound like if the horse of the story came to life . in the end thise man has tremendous skill and i know that the piano allows you to play faster then the harp but in the end mazeppa was not played as intended by lizst it was supposed to be the storys incarnet.and i am sorry if i have been rude in any way to you thise is simply what i belive and is not written in stone and sorry but english is not my first language incase i made a few dum mistakes in my writeing
Randy Valiente it would not have been possible to play this at speed even on most pianos in Liszt's time. He had special pianos with more modern mechanisms. That this can be done at all on harp is quite impressive. Not a particularly informed observation from you.
Long reply from a music history/anthropology major, so get ready for a long ride if you care to read. Only the first five lines down there plus the EDIT at the end are essential; the rest is just because my medication has worn off but the caffeine is still in my system. Apologies in advance: Half the pianists who record this etude don't use the staccato "gallop" because they don't know the inspiration for the piece. They pedal the hell out of it. Note also that Liszt wrote the Paganini studies -- those won't sound anything like a violin; you can't pull vibrato out of a piano. He also transcribed orchestral works for one piano/two hands (Beethoven symphonies, his own "Dante Symphony" which you can find on UA-cam but is officially unreleased, Wagner's operas, and so on.) Liszt's dynamic and tempo markings were written with two things in mind: The mechanical limitations of the instrument; and what was considered loud, quiet, fast, and slow. I remember studying a Scarlatti sonata marked "Allegro" when I was in college (of course, the manuscript has not survived and Scarlatti himself wouldn't have written in a character/tempo indicator to begin with in most cases). I played it at the speed at which I was most familiar -- I'd heard a lot of recordings of it. My teacher stopped and asked "So, you're playing that at about [whatever] BPM. What was the fastest 'thing' or mode of transportation in everyday use in Scarlatti's time and location? It would have been a horse-drawn carriage moving along at a speed way slower than what you're pulling off. Think on that horse-drawn carriage and try again." Not to mention that the reason most Baroque- and Rococo-era musicians forewent dynamic markings in their works is because they were written so they could be played on a variety of keyboard instruments. Scarlatti died in 1750 and Liszt was born ~ 1815-1820 or so if I'm not mistaken. Thus fast" hadn't gotten THAT much faster. If you really wanted "FAST fast" beyond what your environmental cues could provide, you could add not only tempo directions (allegro, presto, etc.) but combine them with character descriptors (presto con fuoco, molto agitato, andante cantabile, etc.). Also, can one really object to the works written by Scarlatti, Soler, Bach, or Händel, being played on a modern piano? And what of Mozart's sonatas and concerti (or Beethoven's early works) as well? You should hear what they sound like played on a period pianoforte with period tuning. How do they sound? Frankly, re: the early pianoforte: like shit, to the modern ear. EDIT: (1) We only know composers' intentions through the markings they leave behind; sometimes, THEY don't leave the markings. Publishers are to be blamed for some of this stuff. E.g., never believe that the dynamic markings, tempo markings, staccato dots, legato slurs, metronome values, or even *most* ornamentation symbols in an "edition" of Bach's Well-Tempered Klavier were ever there in the manuscript. (2) We know their written intentions [sometimes theirs, and sometimes others' unsolicited scribblings]. If we were to hear those intentions realized through THEIR ears... we might very well find that all our assumptions about what we're taught in universities, conservatories, and private lessons about how to interpret a given composer's works are horseshit.
Who's also a pianist that is happy they got this in their recommended?
I would imagine playing on harp must be much more challenging than on piano. Good job! Please do Feux Follets!
Then you need a chromatic harp....
It depends. You’d need to be able to play both instruments to accurately comment on this. I only play one of the two and can confirm at least that the piano is INSANELY difficult
It's more harder than you imagine....🤦🏻♂️
@@ayhamshaheed7740 well I assume you haven't played harp yet...🤦🏻♂️
@@twosetviolinfan4047 i havent, no. i just said that piano can be very challenging, more than most people think
amazing as piano played!
Extraordinaire ! Bravo !! quel beau phrasé
Ok je me suis perdu sur youtube xD
Non, sérieusement, perfomance incroyable, merci !
Totally outstanding!!!!
Bravo
Una eccellente esecuzione e un bel video, grazie e complimenti dall'Italia.
@BorisCr
En effet, surprenant et inattendu !
Bien sur, le but n'est pas de faire concurrence au piano.
I'm out of words, this is incredible.
amazing!
this video is ten years old and got recommended to me today!
Hermosisimo....
Speechless!
Génial!! Félicitations!!
Please upload again
C'est vraiment incroyable !!
Just. HOW?! This is insane! I am flabbergasted!
nice
@BorisCr
Pourquoi pas, en effet, périlleux mais pourquoi pas.
Sylvain nous réserve encore quelques surprises et d'autres vidéos sont en préparation...
Unbelievable!
1.5x speed
The tempo here is roughly the same as some of Jorge Bolet’s performances
Hahaha
1.25x
@@xuly3129 0.75
Good job my guy
This is completely insane.
This is something that can only achieve by practicing 40 hours a day.
@Harposphere Et pourquoi pas? Un de mes rêve serait d'entendre la Sonate au Clair de Lune de Beethoven... Le troisième mouvement serait de la pure voltige cependant...
Are you a pianist?
Very good!
That is Piano version...This video clip he play by Harp....
Love your shadow!
Are you in a cave or something?
how
L'avez-vous enregistré sur CD?
Un peu surprenant, mais ça sonne très bien à la harpe!
Maybe not the best piece to transcribe, but impressive anyway!
Why??? This piece is incredible
what....
I am sure he is playing as fast as humanly possible, great job, i surely couldnt do better. But you can't play any music on any instrument without losing too much.
On the other hand, Kyukun, I am sure when you grow up you will manage to utter your feelings using bad-words-free sentences.
It's a fucking transcription, not the actual piece. If you want to hear what it actually should sound like, listen it on the piano not on the harp Jesus Christ. Liszt also made his own description on paginini's work and there is an obvious limit between a violin to a piano. For example, pianos can't do vibrato nor can it do crescendo on a singular note. How is that different when he transcribed a piano piece on a harp? Idk why you bitching about the speed rather than admiring him transcribing the damn piece or playing it on the harp in the first place.
ridiculous skill
This song has a huge amount of lack for harmony
sleepy, slow... Mazeppa was dragged by a galloping horse, not by a turtle
Its on a goddamn harp man
@@SS-ci8jk you are goddamn right
slower then the piano version
so? you know how f...ing hard is to play liszt even on the piano? this dude plays it on a goddamn HARP¡¡¡
Fede Pantera first of all that exclamition mark is for the start of a sentence in spanish that would have a exclamation mark in english and if it was only a bit slower i wouldnt have minded but the mazeppa is based of the story its named . Mazeppa is supposed to be played with galloping sttacoto of a horse which mazeppa was strapped on to .its also supposed to be very very fast lizst even give really wierd fingerings to make mazeppa sound like if the horse of the story came to life . in the end thise man has tremendous skill and i know that the piano allows you to play faster then the harp but in the end mazeppa was not played as intended by lizst it was supposed to be the storys incarnet.and i am sorry if i have been rude in any way to you thise is simply what i belive and is not written in stone and sorry but english is not my first language incase i made a few dum mistakes in my writeing
Randy Valiente it would not have been possible to play this at speed even on most pianos in Liszt's time. He had special pianos with more modern mechanisms. That this can be done at all on harp is quite impressive. Not a particularly informed observation from you.
Long reply from a music history/anthropology major, so get ready for a long ride if you care to read. Only the first five lines down there plus the EDIT at the end are essential; the rest is just because my medication has worn off but the caffeine is still in my system. Apologies in advance:
Half the pianists who record this etude don't use the staccato "gallop" because they don't know the inspiration for the piece. They pedal the hell out of it.
Note also that Liszt wrote the Paganini studies -- those won't sound anything like a violin; you can't pull vibrato out of a piano. He also transcribed orchestral works for one piano/two hands (Beethoven symphonies, his own "Dante Symphony" which you can find on UA-cam but is officially unreleased, Wagner's operas, and so on.)
Liszt's dynamic and tempo markings were written with two things in mind: The mechanical limitations of the instrument; and what was considered loud, quiet, fast, and slow.
I remember studying a Scarlatti sonata marked "Allegro" when I was in college (of course, the manuscript has not survived and Scarlatti himself wouldn't have written in a character/tempo indicator to begin with in most cases). I played it at the speed at which I was most familiar -- I'd heard a lot of recordings of it. My teacher stopped and asked "So, you're playing that at about [whatever] BPM. What was the fastest 'thing' or mode of transportation in everyday use in Scarlatti's time and location? It would have been a horse-drawn carriage moving along at a speed way slower than what you're pulling off. Think on that horse-drawn carriage and try again." Not to mention that the reason most Baroque- and Rococo-era musicians forewent dynamic markings in their works is because they were written so they could be played on a variety of keyboard instruments.
Scarlatti died in 1750 and Liszt was born ~ 1815-1820 or so if I'm not mistaken. Thus fast" hadn't gotten THAT much faster. If you really wanted "FAST fast" beyond what your environmental cues could provide, you could add not only tempo directions (allegro, presto, etc.) but combine them with character descriptors (presto con fuoco, molto agitato, andante cantabile, etc.).
Also, can one really object to the works written by Scarlatti, Soler, Bach, or Händel, being played on a modern piano? And what of Mozart's sonatas and concerti (or Beethoven's early works) as well? You should hear what they sound like played on a period pianoforte with period tuning. How do they sound? Frankly, re: the early pianoforte: like shit, to the modern ear.
EDIT:
(1) We only know composers' intentions through the markings they leave behind; sometimes, THEY don't leave the markings. Publishers are to be blamed for some of this stuff. E.g., never believe that the dynamic markings, tempo markings, staccato dots, legato slurs, metronome values, or even *most* ornamentation symbols in an "edition" of Bach's Well-Tempered Klavier were ever there in the manuscript.
(2) We know their written intentions [sometimes theirs, and sometimes others' unsolicited scribblings]. If we were to hear those intentions realized through THEIR ears... we might very well find that all our assumptions about what we're taught in universities, conservatories, and private lessons about how to interpret a given composer's works are horseshit.
@@randyvaliente6457 who says it has to sound exactly like what liszt intended? Hes dead, and this is on a different instrument.