You ought to listen to some Alkan and Godowsky, or one of Liszt's more obscure paraphrases or Orchestral Transcriptions (such as performed by Cyprien Katsaris; the Beethoven ones).
This is a piece that mekes every pianist wake up. Some people criticize Liszt for the "lack" of melody or musicality, but they must understand the way Liszt composed is very different. His sense of melody is not entirely on the conventional way like a song without words with arpeggios on the left hand which some people prefer. Liszt was ahead of his time. And always will be...
Those who have deeply studied the XIX century music will place Liszt in one of the highest positions. He is a true encyclopedia of what came before, during, and after his life. He knew Bach well-tempered Clavier complete by heart. We made hundreds of transcriptions of music of his fellow musicians, and he became the reference for the music which came after him. Richard Wagner wrote on a letter that everything he was musicaly, was due to Liszt, and Liszt's symphonic poem Orpheus marked Wagner for the rest of his life and became a reference to his compositions. The same way said Balakirev, Lyapunov, Scriabin, and dozens others. Liszt pianism was the reference to the Rubinstein brothers pianists, and to a piano school that runs even today. Liszt is a water divisor in the history of music, and as a human being, one of the greatests and noble man of all time. He helped so many people and causes that we can't list here. And a prolific composer, who wrote more than 700 pieces. This is not a small thing !
Love the sudden fugue at 3:19. Only Beethoven could have pulled something like that off as well. This piece is absolute genius. I'd say only the Mephisto Waltz No 3 comes close to topping this masterpiece.
Why specifically the 3rd Mephisto Waltz, and not the others, or his Sonata and some of his amazing orchestral transcriptions? Or Godowsky's contrapuntal writing such as his phenomenal Passacaglia in B after Schubert, or Alkan's Fugue in his Grand Sonata of the 4 Ages, for example?
Batzorig Vaanchig Because the 3rd Mephisto Waltz is quite nice. Even though I agree with you that his Sonata in B minor is probably a bigger masteepiece
@@vnwa7390 I agree, I was being a bit hyperbolic perhaps. At the time I was quite obsessed with the third Mephisto Waltz (still am) but I agree completely that other works easily come close to matching this.
@@Santosificationable Subjective, but I'd say the latter musically, this technically. I'd say that the Galop S218 is also more difficult than this. Yeah, I know you didn't ask me and I didn't need that confirmation. (:
I was wondering, "who is the pianist"? Then I found that it is Jeno Jando. Not to be political or anything, but it does seem that the Hungarians understand their own music very naturally. I already liked Cziffra and Kocsis intensely when it comes to music by Liszt or Bartok. They are able to capture the intensity, the daredevil ferocity of Liszt in an almost supernatural fashion.
A really superhuman performance of Jenö Jando. Liszt complained that none of his pupils could play it right. Guess who never played it in concert himself... :-D Impressive in power, expression, detail and comprehension. Bravo ad abime pectore, Jenö.
Looking at the sheet music, I can see how free and confortable Liszt were at that time by writing what he intended to do. As we compose, sometimes, we are carried by the instrument to make things we do not wanted to, and the music goes to another direction. Liszt dominated the piano in such a way like a pilot dominates a formula one car. He´s in supreme command of the ideas and this looks easy, because he wrote more than 700 pieces, so it was not so difficult to him to put his damn ideas on the paper.
4:00 is my favourite part by far! At first I definitely understood how some people can find this piece as very lacking in musicality and emotion and to be honest towards the beginning I wasn’t too captivated, but the second that this part hit, I became immersed and was amazing at what a story this piece told! 4:00 and then on became me looking at the bars and connecting them with a story, then after repeating the piece and clearly hearing at the beginning what I hadn’t heard the first time, true amazement!!
Wowza, Liszt in a particularly Alkanesque mood here. I did not know this piece, and what a barnstorming belter it is ! It would be hard to imagine a more visceral and yet perfectly polished and poised performance than Jando's. He's one veritable recording tiger but quantity does not stand in the way of quality, nothing he does is ever less than excellent.
Jando surely has to be among my all-time favorite pianists when it comes to Liszt. Such tremendous energy but always carefully thought out an fully in control. If you haven't already heard it, his recording of the transcendental etudes is one of my very favorite performances.
@@stonemoncayo5128 Yes! Jando excels in these studies, and also in no 2, no 5, no 6, no 7, no 12. He really rises to his best in the most challenging pieces of Liszt. One of the best ever interpreters. Also interesting - it appears that Scherzo and March and Wilde Jagd may be interlinked when being composed... there is an extended 1st version of Scherzo and March, titled 'Wilde Jagd -- Scherzo'. Leslie Howard unearthed the manuscript, and it is well worth a listen (16 minutes versus about 12 mins for this). So amazing to be able to hear how Liszt's ideas and creativity took shape. Link: ua-cam.com/video/QJ3VedLYIuM/v-deo.html
This is one of my favorites among Jando's many fine Liszt recordings. Another is the Grand Symphonic Fantasy (?) on themes from Berlioz's "Lelio," which is a knockout.
Ending a program of all 12 Transcendental etudes would be nothing short of epic. That being said, I wonder which is harder, this or the most difficult of the Douze Grandes Etudes (1837)?
@@Santosificationable The most difficult of the latter for sure, of which multiple outclass this (but then again being subjective). The Grand Concert Fantasy on Spanish Themes, La Clochette, Lucrezia Borgia, and literally ANY ORCHESTRAL transcription make this piece look easy to me.
Consider this to be the thirteenth piece of the Douze Grandes Études S.137, then it is a toss up between #8 of the same set and this in terms of difficulty.
Best performer of this tremendous work, by miles. So few 'star' pianists attempt this piece, yet it is the equal of any of the Chopin Scherzos (by far!) or Ballades (by a lesser margin). It really is time to put this opus on the competition radar and judge our upcoming pianists on how they react to this - daunting - challenge. Deserves as much airtime as the Mephisto Waltzes; a brutal and terrifying descent to hell and back into the skies, a sarcastic march unlike any others till Holst or Prokofiev; a return of the frenetic, amplifying in force; a duel between unholy and holy; and at the end, victory (unconvincing). A Gaspard before Gaspard.
A Gaspard before Gaspard...indeed I have thought of that as well. I don't know if Ravel was influenced by this - if he was, then his Jeaux d'eau is not his only piece which was inspired by Liszt. It is indeed the Scarbo before Scarbo.
One could argue its a full on sonata form... No discussion first movement is a sonata form, but considering march and reprise with quotes from all motives towards the end... very very interesting.
What amazes me about Liszt is his driving energy, his perfect sense of structure and boundless melodic and harmonic inventiveness. Even in pieces here reminiscent of salon music, he goes way beyond the showy technical virtuosity but musical paucity of someone like Alkan: these two pieces morph into one and at all times one senses the driving musical teleology and the constant unfolding of musical ideas which give thus set a perfect unity. Liszt is the summation of the romantic spirit that is equally poised between past tradition (it is no wonder that here, like in his monumental Sonata, he introduces fugues) and more modern harmonic developments.
Exciting performance, amazing composition - dedicated by Liszt to Theodore Kullak - LISZT - "I had no luck with my two dedications to Henselt (Grosses Concertsolo) and Kullak (Scherzo and March) "No", said both of them, "Listen, you, no one is able to play that, that goes beyond the possible" ... "Kullak was desperate over this; that's what one gets when one makes dedications." "Back then Kullak wrote me a very charming letter, the gist of which was that he did not know what to make of the piece." (Reported by Göllerich who also noted some performance advice by Liszt)
Une œuvre de plus de Liszt oubliée dans la lignée des Mephisto valses diabolique à souhait merveilleusement rendue par J Jando. Merci pour cette découverte !
Please don’t put ads in the middle of the music like that, put them in the beginning if you must put them in at all!! Thank you for uploading this masterpiece!!
Marshall Harrison - Guitarist The live recording of Horowirz's only performance of this is amazing. He makes cuts to the music which I actually quite like. Arnaldo Cohen also offers a tremendous interpretation of this, long one of my favorite pieces.
@@mr2loser agree, horowitz is worth hearing, but unfaithful and loses his shit. Arnaldo Cohen is excellent and just second to Jando. Nikolai Demidenko is strong and refined, but too spacious, not intense enough. But, have you heard Jando's first version on Hungaraton? Even better! This is truly ''his' piece.
@@tomowenpianochannel Who gives a fuck about being faithful when it's Horowitz? It was common fashion to improvise and add elements in Liszt's time. Many of the greats, such as Kocsis, Hamelin, Pollini, Michelangeli, and others have done it constantly; hasn't taken away from their legendary statuses. Cziffra, undoubtedly the supreme master of Liszt's works constantly added his own virtuosic cadenzas. But then again, Jando is more exciting to me here than Horowitz, who's interpretation was indeed cool, but very dirty and having lots of mistakes.
Personally, my favourite is the one by Sergey Belyavsky - check him out. His performance is so insane. I consider it to be one of the most stunning Liszt performances I've seen on UA-cam. Perhaps truly surpassed only by Cziffra's transcendental (excuse the pun) live performance of the Transcendental Etude No. 10 in f minor in the video uploaded by piano345 for me.
I wonder if their stylistic changes would rub off on one another. Who knows what the equivalent late Chopin could have sounded like (assuming he'd make as drastic a change as Liszt in his late piano works).
Chopin didn't like any of his contemporaries, I doubt he'd change his mind. Also, Chopins style changed very little in his lifetime, although he did die young at barely 40. Beethoven by contrast was already well in his middle period by that age.
It's ridiculous to say that Chopin's style hardly changed. There are huge differences between his early and late works. Just compare his Op. 9 Nocturnes with his Op. 62 Nocturnes. I wish I could have heard his later music with another 20 or 30 years on his life.
The very beginning bars sound a lot like the near end bars of rachmaninoffs 3rd piano concerto.. By the massive buildup to the end coda Even the stretta has that same vibe
@@Scherzokinn Totally agree. Rachmaninov uses the same uprushing left hand to create the rhythm. And in the same point in the work, the intro to the coda. And in the same key. He surely knew this piece!
It is. A Mephisto-March. The Scherzo and March was a precursor to the Sonata (which contains whole sections of 'Mephisto' music, being possibly a portrait of Faust, Gretchen, and Mephisto - similar to Faust Symphony); and this piece opened the door to that whole later world of Liszt.
I am loving your recent Lizst rampage.Will you also be uploading the second and third suite from Annees de pelrinage?I can't find them anywhere complete.
I hadn't considered it until now but I can certainly give it a shot! I'll try to fit them in soon! Perhaps I'll add the first album d'un voyageur to somewhat complete the triptych -- since the first of the Annees de pelrinage are already up.
You mean before Medtnaculus posted it here?Yes I have seen Jerome's Rose 3 hour recording of the whole Annes,but they are not the way Medtnaculus makes them.
Marijan Čavar, welp. I might get what you mean; maybe some people find a few of Liszt's pieces quite nonsensical, or bizarre. Hell, I still couldn't grasp his late Mephisto Waltzes (and his Mephisto Polka as well). But I find "Scherzo und Marsch" pleasing; it's whimsical, 'ironic,' and diabolical in nature, and I like it. And so, I'd say that if I were to be able to learn this piece completely; I'd be sure to feel satisfied. Though, maybe what you're pointing out is the sheer ludicrousness of the difficulty. Especially the Scherzo, with it's insanely fast toccata-like nature, rapid trills/tremolos on the weaker fingers; hell, I can only ponder to be able to achieve such feats. I'm starting to think that Jandó is inhuman.
I understand what are you trying to say. And we must take in consideration that much of Liszt mature piano works are experimental. I love Liszt and I m not judging him, its just that today are different times and for me there is no point on wasting time on such difficult peace just to feel inhuman.
I utterly disagree, respectfully. This was the second last work I actually and somehow miraculously pulled off for my juried graduation concert for my Bachelor's, the day before Halloween in 2017, perfect time of the year. All second half was Liszt! I tell you this with such assurance: this work will firstly, be a lifelong endeavour and journey. And secondly, it will always be one of thee most rewarding achievements I will embrace all my life! I am so above and beyond thankful I stuck to it in the trenches when I wanted to get bogged down, and persisted and worked diligently! I'll say it again, I am overflowing with such a thankfulness for this music that will last the ages! I will attempt down the road moreover the first version of this work, which was actually the very work written in the summer right before the Sonata itself. So in actuality(this is my theory so please be mindful and this is not rooted in fact but this has been a strong conviction of mine since I started the work over years 2 ago now), this could honestly be considered the prelude to the Sonata which is absolutely radical. This ends in D major where the Sonata begins with a downward gypsy mode scale of G minor, connecting V - I in theory. The master could have chosen any other key to begin in, since the Sonata goes through the entire gamut of the tonal scale, I do not think this is coincidence! Moreover, the last swooping, all-keyboard-encompassing double arpeggio has included in the lines a bVI scale degree, which could very well reinforce the idea that the ending is eluding to an incoming gypsy modal scale, introducing in a very profound way the newly establishing key. Hence, the same notes are being used in a more forlorn and brooding fashion! But I am sorry, I did not mean for that big rant and I do not know what the big deal is, but I think what I just expressed is so radically awesome pertaining to this theory I conceived! Anyway!! The original first title to this was Wilde Jagd, funny enough. The name for the 8th Transcendtal came some years later when Liszt eventually felt the title would be more suiting there for some reason. It pertains to this archaic Germanic folkloric legend of this ghastly band of ghost riders riding in the midnight air to pillage and kill off villages, which was called the Wild Hunt. The legend was popularized by one of the Grimm brothers in the 1830s! Truly...absolutely, wholeheartedly epic.
Did any of you ever see the movie Lisztomania? I believe it was an early Ken Burns film? I saw it in 1974 or 5, i don't exactly remember. During the film Wagner comes onstage riding a giant penis. The girl who took me apologized over and over for embarrassing me. I told her i thought it was hysterically funny. It was, of course, in reference to Wagner's belief in the macho male ideal.
Follets even harder - stupidly complex for the right hand, massive jumps and grace notes for the left hand, and at the same time. But shorter. More of a finger-twister. Scherzo and March is much bigger and more physically demanding, and draining, even if it is spread across the hands a little easier. A full body work out. A lot of shoulder and back power required, as well as finger speed and complexity. But it is the more playable.
I´ve been listening Liszt pieces for almost 5 years. And I´ve never heard this before.
It feels like Liszt had uploaded a new piece...
Briman Aerospace You should check out what Liszt has been posting on Instagram. ; )
We wish that can be possible
@@LourencoGomespiano m.ua-cam.com/video/8FcncXdWhN4/v-deo.html .
You ought to listen to some Alkan and Godowsky, or one of Liszt's more obscure paraphrases or Orchestral Transcriptions (such as performed by Cyprien Katsaris; the Beethoven ones).
he did
This is a piece that mekes every pianist wake up. Some people criticize Liszt for the "lack" of melody or musicality, but they must understand the way Liszt composed is very different. His sense of melody is not entirely on the conventional way like a song without words with arpeggios on the left hand which some people prefer. Liszt was ahead of his time. And always will be...
I guess no one questions Liszt's capability of making melody, they tend to say Liszt can only make those beautiful but hollow melodies
@Sparticus Booker you have no idea
Liszt was the one who carried the romantic era on his shoulders.
@@viggos.n.5864 what😭
the people who critisize him are modern atonal jazz music theorists and they cant make anything better
@@timtimtimm yes
Those who have deeply studied the XIX century music will place Liszt in one of the highest positions. He is a true encyclopedia of what came before, during, and after his life. He knew Bach well-tempered Clavier complete by heart. We made hundreds of transcriptions of music of his fellow musicians, and he became the reference for the music which came after him. Richard Wagner wrote on a letter that everything he was musicaly, was due to Liszt, and Liszt's symphonic poem Orpheus marked Wagner for the rest of his life and became a reference to his compositions. The same way said Balakirev, Lyapunov, Scriabin, and dozens others. Liszt pianism was the reference to the Rubinstein brothers pianists, and to a piano school that runs even today. Liszt is a water divisor in the history of music, and as a human being, one of the greatests and noble man of all time. He helped so many people and causes that we can't list here. And a prolific composer, who wrote more than 700 pieces. This is not a small thing !
wow... 5 years and u still like this piece.
Love the sudden fugue at 3:19. Only Beethoven could have pulled something like that off as well. This piece is absolute genius. I'd say only the Mephisto Waltz No 3 comes close to topping this masterpiece.
Why specifically the 3rd Mephisto Waltz, and not the others, or his Sonata and some of his amazing orchestral transcriptions? Or Godowsky's contrapuntal writing such as his phenomenal Passacaglia in B after Schubert, or Alkan's Fugue in his Grand Sonata of the 4 Ages, for example?
Batzorig Vaanchig Because the 3rd Mephisto Waltz is quite nice. Even though I agree with you that his Sonata in B minor is probably a bigger masteepiece
The sonata in b minor is an awesome piece, but this scherzo is way too hard, and we are comparing a piece with 12 min long with an half hour sonata
Totally agree, the little 'fugato' lifts the piece into another dimension... the dimension of the Liszt Sonata and the late Beethoven Sonatas.
@@vnwa7390 I agree, I was being a bit hyperbolic perhaps. At the time I was quite obsessed with the third Mephisto Waltz (still am) but I agree completely that other works easily come close to matching this.
What a masterpiece! The likes of 2:07 (and many other places) sound wickedly diabolical!
What do you think is harder, this or the El Contrabandista?
@@Santosificationable Subjective, but I'd say the latter musically, this technically. I'd say that the Galop S218 is also more difficult than this. Yeah, I know you didn't ask me and I didn't need that confirmation. (:
I love the way Liszt made it to the climax at 12:03 😂
@@Santosificationable prolly this but i m not 100% certain
Sounds like another portait of Mephisto. And the figuration is often similar to the first Mephisto Waltz.
I was wondering, "who is the pianist"? Then I found that it is Jeno Jando.
Not to be political or anything, but it does seem that the Hungarians understand their own music very naturally. I already liked Cziffra and Kocsis intensely when it comes to music by Liszt or Bartok. They are able to capture the intensity, the daredevil ferocity of Liszt in an almost supernatural fashion.
Your not being political, your being absolutely correct haha
Jando plays like a God
Except Schiff lol
Well schiff is apparently a good Bartok interpreter at least from what I've heard
@@FKemp-uo9no Why are there no Schiff recordings of Liszt out there? Oh hang on...
A really superhuman performance of Jenö Jando. Liszt complained that none of his pupils could play it right. Guess who never played it in concert himself... :-D
Impressive in power, expression, detail and comprehension. Bravo ad abime pectore, Jenö.
This is easily one of Liszts best pieces
One of my favourite pieces by Liszt! And a splendid performance as well. Thank you for posting this!
You're very welcome!
tomekkobialka thank you for posting all your videos!
Looking at the sheet music, I can see how free and confortable Liszt were at that time by writing what he intended to do. As we compose, sometimes, we are carried by the instrument to make things we do not wanted to, and the music goes to another direction. Liszt dominated the piano in such a way like a pilot dominates a formula one car. He´s in supreme command of the ideas and this looks easy, because he wrote more than 700 pieces, so it was not so difficult to him to put his damn ideas on the paper.
actually the first version is harder and longer, so he struggled with this one.
this is your secnd comment
@@ruramikael whats the first version
@@vurri7290 The first version is Wilde Jagd, and is more less complete. It last for 16 minutes in Howard's recording.
4:00 is my favourite part by far! At first I definitely understood how some people can find this piece as very lacking in musicality and emotion and to be honest towards the beginning I wasn’t too captivated, but the second that this part hit, I became immersed and was amazing at what a story this piece told! 4:00 and then on became me looking at the bars and connecting them with a story, then after repeating the piece and clearly hearing at the beginning what I hadn’t heard the first time, true amazement!!
Liszt is the best 😍😍😍💙💙💕💙💙❤💙❤😍😍❤😍❤😍❤😍😍❤😍❤
8:40 Look! A tarantella!
*y e s*
Yes it's true, but...
@@teodorb.p.composer but no, tarantella is God
@@AsrielKujo yes tarantela is very good.
@@teodorb.p.composer tarantula
Wowza, Liszt in a particularly Alkanesque mood here. I did not know this piece, and what a barnstorming belter it is ! It would be hard to imagine a more visceral and yet perfectly polished and poised performance than Jando's. He's one veritable recording tiger but quantity does not stand in the way of quality, nothing he does is ever less than excellent.
Jando OWNS this piece. It is HIS
The Alkan comparison is interesting I can totally see it!!
Awesome! A Mephisto-esque piece I'd not heard of before.
Jando surely has to be among my all-time favorite pianists when it comes to Liszt. Such tremendous energy but always carefully thought out an fully in control. If you haven't already heard it, his recording of the transcendental etudes is one of my very favorite performances.
Agree. It's hard to imagine Liszt better played.
Jeno jando's recordings of the transcendental etudes are phenomenal. Especially his recording of mazeppa and Wilde jagd.
@@stonemoncayo5128 Yes! Jando excels in these studies, and also in no 2, no 5, no 6, no 7, no 12. He really rises to his best in the most challenging pieces of Liszt. One of the best ever interpreters.
Also interesting - it appears that Scherzo and March and Wilde Jagd may be interlinked when being composed... there is an extended 1st version of Scherzo and March, titled 'Wilde Jagd -- Scherzo'. Leslie Howard unearthed the manuscript, and it is well worth a listen (16 minutes versus about 12 mins for this). So amazing to be able to hear how Liszt's ideas and creativity took shape.
Link: ua-cam.com/video/QJ3VedLYIuM/v-deo.html
This is one of my favorites among Jando's many fine Liszt recordings. Another is the Grand Symphonic Fantasy (?) on themes from Berlioz's "Lelio," which is a knockout.
This is surely Liszt's 13th Transcendental Etude in all but name!
Ending a program of all 12 Transcendental etudes would be nothing short of epic. That being said, I wonder which is harder, this or the most difficult of the Douze Grandes Etudes (1837)?
@@Santosificationable The most difficult of the latter for sure, of which multiple outclass this (but then again being subjective). The Grand Concert Fantasy on Spanish Themes, La Clochette, Lucrezia Borgia, and literally ANY ORCHESTRAL transcription make this piece look easy to me.
@Felis Sorabjitus yeah
Fun fact. The transcendental etudes follow a key pattern. This doesn’t follow it.
Consider this to be the thirteenth piece of the Douze Grandes Études S.137, then it is a toss up between #8 of the same set and this in terms of difficulty.
3:20 love that little fugue
I can clearly hear the ending of the 1st movement of Rach 3, just before the beginning of the March!!
Best performer of this tremendous work, by miles. So few 'star' pianists attempt this piece, yet it is the equal of any of the Chopin Scherzos (by far!) or Ballades (by a lesser margin). It really is time to put this opus on the competition radar and judge our upcoming pianists on how they react to this - daunting - challenge.
Deserves as much airtime as the Mephisto Waltzes; a brutal and terrifying descent to hell and back into the skies, a sarcastic march unlike any others till Holst or Prokofiev; a return of the frenetic, amplifying in force; a duel between unholy and holy; and at the end, victory (unconvincing). A Gaspard before Gaspard.
A Gaspard before Gaspard...indeed I have thought of that as well. I don't know if Ravel was influenced by this - if he was, then his Jeaux d'eau is not his only piece which was inspired by Liszt. It is indeed the Scarbo before Scarbo.
Regarding marches, maybe Mahler? But yeah, this is great
11:37
満を持して新作が出来て「この曲を弾けるのは私と弟子のビューローのみ」と豪語していたリストだったが、当時若干23の若僧ビゼーがリストの前でこの曲を初見で弾き、誰もが驚嘆し賛辞を送ったと言う。
One could argue its a full on sonata form... No discussion first movement is a sonata form, but considering march and reprise with quotes from all motives towards the end... very very interesting.
It's a mini-Sonata. Composed around same time, but before, the B Minor. And a clear precursor of the Mephisto music to come.
Franz Liszt is well known for his works for beginners, such as this.
sounds like a strange improvisation...it's hard to believe Liszt felt the need to put this on paper. This man keeps surprising me...what a genius!
6:14-6:18 hey, I can play this!
Da Coco Nut Nut Great🤣🤣🤣
What amazes me about Liszt is his driving energy, his perfect sense of structure and boundless melodic and harmonic inventiveness. Even in pieces here reminiscent of salon music, he goes way beyond the showy technical virtuosity but musical paucity of someone like Alkan: these two pieces morph into one and at all times one senses the driving musical teleology and the constant unfolding of musical ideas which give thus set a perfect unity. Liszt is the summation of the romantic spirit that is equally poised between past tradition (it is no wonder that here, like in his monumental Sonata, he introduces fugues) and more modern harmonic developments.
The score nicely shows what a truly diabolical piece this is
This shows the best of liszt
Exciting performance, amazing composition - dedicated by Liszt to Theodore Kullak - LISZT - "I had no luck with my two dedications to Henselt (Grosses Concertsolo) and Kullak (Scherzo and March) "No", said both of them, "Listen, you, no one is able to play that, that goes beyond the possible" ... "Kullak was desperate over this; that's what one gets when one makes dedications." "Back then Kullak wrote me a very charming letter, the gist of which was that he did not know what to make of the piece." (Reported by Göllerich who also noted some performance advice by Liszt)
this piece is so intense :0
Une œuvre de plus de Liszt oubliée dans la lignée des Mephisto valses diabolique à souhait merveilleusement rendue par J Jando. Merci pour cette découverte !
Please don’t put ads in the middle of the music like that, put them in the beginning if you must put them in at all!! Thank you for uploading this masterpiece!!
He doesn't put the ads, the copyright owners do.
@@GUILLOM thank you for explaining this to me, I didn’t know that. :D
I love this piece so much, it just gives me power.
7:10 20 century fox
In the description with "Blow" do you mean Bulow (Hans von Bulow)?
Yes Jando's Scherzo und Marsch is the best I've heard. Can anybody recommend any other great interpretations?
Marshall Harrison - Guitarist The live recording of Horowirz's only performance of this is amazing. He makes cuts to the music which I actually quite like. Arnaldo Cohen also offers a tremendous interpretation of this, long one of my favorite pieces.
ua-cam.com/video/dder_UGo9Wc/v-deo.html&feature=share
@@mr2loser agree, horowitz is worth hearing, but unfaithful and loses his shit. Arnaldo Cohen is excellent and just second to Jando. Nikolai Demidenko is strong and refined, but too spacious, not intense enough. But, have you heard Jando's first version on Hungaraton? Even better! This is truly ''his' piece.
@@tomowenpianochannel Who gives a fuck about being faithful when it's Horowitz? It was common fashion to improvise and add elements in Liszt's time. Many of the greats, such as Kocsis, Hamelin, Pollini, Michelangeli, and others have done it constantly; hasn't taken away from their legendary statuses. Cziffra, undoubtedly the supreme master of Liszt's works constantly added his own virtuosic cadenzas.
But then again, Jando is more exciting to me here than Horowitz, who's interpretation was indeed cool, but very dirty and having lots of mistakes.
Personally, my favourite is the one by Sergey Belyavsky - check him out. His performance is so insane. I consider it to be one of the most stunning Liszt performances I've seen on UA-cam. Perhaps truly surpassed only by Cziffra's transcendental (excuse the pun) live performance of the Transcendental Etude No. 10 in f minor in the video uploaded by piano345 for me.
0:19 or 0:20 sounds like Mazeppa.
Not gonna lie, I forgot I commented on this video.
Too bad Chopin never got to hear Liszt mature as a composer.
I wonder if their stylistic changes would rub off on one another. Who knows what the equivalent late Chopin could have sounded like (assuming he'd make as drastic a change as Liszt in his late piano works).
Liszt was a pretty mature composer when Chopin died, anyways Chopin's style was more melodic so I still doubt it would suit his tastes.
Andrew Marcus of
Chopin didn't like any of his contemporaries, I doubt he'd change his mind. Also, Chopins style changed very little in his lifetime, although he did die young at barely 40. Beethoven by contrast was already well in his middle period by that age.
It's ridiculous to say that Chopin's style hardly changed. There are huge differences between his early and late works. Just compare his Op. 9 Nocturnes with his Op. 62 Nocturnes. I wish I could have heard his later music with another 20 or 30 years on his life.
The very beginning bars sound a lot like the near end bars of rachmaninoffs 3rd piano concerto.. By the massive buildup to the end coda
Even the stretta has that same vibe
Yep someone said this, it's also my favorite moment of the third mvt of this concerto!
@@Scherzokinn Totally agree. Rachmaninov uses the same uprushing left hand to create the rhythm. And in the same point in the work, the intro to the coda. And in the same key. He surely knew this piece!
0:06 sounds like a part ofR achmainoff's Concerto No. 3 3rd movement
masterpiece
Breathes fire into this piece. And the stretto crescendo is amazing!
2:16, 3:12, 7:43, 8:29
Sounds quite harsh and bitter: It definitely contrasts the Scherzi of Chopin.
Not the first Chopin Scherzo, no.
Mephisto is here.
A truly thrilling piece
Liszt was a mad genius :c ...virtuous insane :v
3:19
It's like a Mephisto waltz!
It is. A Mephisto-March. The Scherzo and March was a precursor to the Sonata (which contains whole sections of 'Mephisto' music, being possibly a portrait of Faust, Gretchen, and Mephisto - similar to Faust Symphony); and this piece opened the door to that whole later world of Liszt.
Who's the pianist? Excellent and more....
3:03 Chopin Prelude in F Sharp Minor?
1:45 Is it just Me or does this bit sound like the melody from Liszt's Op.4 No.1?
Damn, this is way harder than many Liszt works
It's another level. The highest (particularly certain right hand 'expanded trill' patterns which defeat most).
11:37 Funerailles
4:30
There is a specific group in hell for those who put ads in the middle of a classic music video
So Liszt has never played this piece?
I would think he did, but likely not in public and not often, He likely played it for his students before they tried to learn it.
Is this the piece that inspired the Mephisto Waltzes?
3:48
I am loving your recent Lizst rampage.Will you also be uploading the second and third suite from Annees de pelrinage?I can't find them anywhere complete.
I hadn't considered it until now but I can certainly give it a shot! I'll try to fit them in soon! Perhaps I'll add the first album d'un voyageur to somewhat complete the triptych -- since the first of the Annees de pelrinage are already up.
No need to push yourself.You have uploaded a lot of work lately :)
*****
Might manage to do them tonight, if not tomorrow!
Well then good luck!
You mean before Medtnaculus posted it here?Yes I have seen Jerome's Rose 3 hour recording of the whole Annes,but they are not the way Medtnaculus makes them.
This is the first time I listen to a Liszt's piece that is with just one flat sign!
Кристиян Тодоров mazeppa
you can find the same key signature in Totentanz too :D
Paysage
Браво
Thanks for uploading!
Gooosh!👏🏼👏🏻👏🏻🤩🤩😍😍❤❤❤❤
This sheet music is very complex. I think I'd need someone to untangle my fingers if I even tried. This is way over my ability level.
Soa bem contemporâneo. Muito bom !
1:01
I'd say this is one of Liszt's best
Definitely
Invizimals
There is really no cosmic sense for learning this piece
Marijan Čavar, welp. I might get what you mean; maybe some people find a few of Liszt's pieces quite nonsensical, or bizarre. Hell, I still couldn't grasp his late Mephisto Waltzes (and his Mephisto Polka as well). But I find "Scherzo und Marsch" pleasing; it's whimsical, 'ironic,' and diabolical in nature, and I like it. And so, I'd say that if I were to be able to learn this piece completely; I'd be sure to feel satisfied.
Though, maybe what you're pointing out is the sheer ludicrousness of the difficulty. Especially the Scherzo, with it's insanely fast toccata-like nature, rapid trills/tremolos on the weaker fingers; hell, I can only ponder to be able to achieve such feats. I'm starting to think that Jandó is inhuman.
I understand what are you trying to say. And we must take in consideration that much of Liszt mature piano works are experimental. I love Liszt and I m not judging him, its just that today are different times and for me there is no point on wasting time on such difficult peace just to feel inhuman.
Lady Grey, I get ya. But even in Liszt’s time, a lot of people can’t even comprehend his music and disliked it.
horatiodreamt I'm sure Brahms fans could live without music
I utterly disagree, respectfully. This was the second last work I actually and somehow miraculously pulled off for my juried graduation concert for my Bachelor's, the day before Halloween in 2017, perfect time of the year. All second half was Liszt! I tell you this with such assurance: this work will firstly, be a lifelong endeavour and journey. And secondly, it will always be one of thee most rewarding achievements I will embrace all my life! I am so above and beyond thankful I stuck to it in the trenches when I wanted to get bogged down, and persisted and worked diligently! I'll say it again, I am overflowing with such a thankfulness for this music that will last the ages! I will attempt down the road moreover the first version of this work, which was actually the very work written in the summer right before the Sonata itself. So in actuality(this is my theory so please be mindful and this is not rooted in fact but this has been a strong conviction of mine since I started the work over years 2 ago now), this could honestly be considered the prelude to the Sonata which is absolutely radical. This ends in D major where the Sonata begins with a downward gypsy mode scale of G minor, connecting V - I in theory. The master could have chosen any other key to begin in, since the Sonata goes through the entire gamut of the tonal scale, I do not think this is coincidence! Moreover, the last swooping, all-keyboard-encompassing double arpeggio has included in the lines a bVI scale degree, which could very well reinforce the idea that the ending is eluding to an incoming gypsy modal scale, introducing in a very profound way the newly establishing key. Hence, the same notes are being used in a more forlorn and brooding fashion! But I am sorry, I did not mean for that big rant and I do not know what the big deal is, but I think what I just expressed is so radically awesome pertaining to this theory I conceived! Anyway!! The original first title to this was Wilde Jagd, funny enough. The name for the 8th Transcendtal came some years later when Liszt eventually felt the title would be more suiting there for some reason. It pertains to this archaic Germanic folkloric legend of this ghastly band of ghost riders riding in the midnight air to pillage and kill off villages, which was called the Wild Hunt. The legend was popularized by one of the Grimm brothers in the 1830s! Truly...absolutely, wholeheartedly epic.
A bit slow and unimaginative. Nice try tho
No
@@GUILLOM yes. I would know, you’d be surprised! 😎 And it IS a nice try 😎
@@ClassicalPianoRarities no
@@GUILLOM only stating my qualified opinion. 😎
@@ClassicalPianoRarities no
Did any of you ever see the movie Lisztomania? I believe it was an early Ken Burns film? I saw it in 1974 or 5, i don't exactly remember. During the film Wagner comes onstage riding a giant penis. The girl who took me apologized over and over for embarrassing me. I told her i thought it was hysterically funny. It was, of course, in reference to Wagner's belief in the macho male ideal.
You mean Ken Russell, NOT Ken Burns! 🙂
Harder than Feux Follets???????????
@@dadaketgasparge ?????
I’d say so.
Follets even harder - stupidly complex for the right hand, massive jumps and grace notes for the left hand, and at the same time. But shorter. More of a finger-twister.
Scherzo and March is much bigger and more physically demanding, and draining, even if it is spread across the hands a little easier. A full body work out. A lot of shoulder and back power required, as well as finger speed and complexity. But it is the more playable.