Liszt - Grande fantaisie sur des motifs de Niobe, S419 (Steven Mayer)
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- Опубліковано 4 жов 2024
- The famous duel between Liszt and Thalberg, or "Rome" and "Carthage," has spawned legendary anecdotes and quotations about the two pianist-composers. Not all of it is true, and the famous Liszt biographer, Alan Walker, sheds light on the truth of the matter: "There is nothing here to suggest that Liszt saw in Thalberg a rival. Least of all did he 'rush back to Paris, nostrils dilated, to defend his crown,' as one modern journalist has put it." But when Liszt's mistress, Marie d'Agoult, used his name to write disparaging remarks about Thalberg's music, a war of the press began, sides were drawn, and a "battle" between the two pianists was inevitable. Thalberg and Liszt performed their own recitals in Paris, both taking advantage of the Parisian fervor, and eventually this culminated in a musical duel under Princess Belgiojoso's roof: Thalberg played first, giving another performance of his Moses Fantasy, then Liszt appeared and played his Niobe fantasy. Thanks to the critic Jules Janin, a detailed description of this historic encounter was preserved in the Journal des Débats: "Never was Liszt more controlled, more thoughtful, more energetic, more passionate; never has Thalberg played with greater verve and tenderness. Each of them prudently stayed within his harmonic domain, but each used every one of his resources. It was an admirable joust. The most profound silence fell over that noble arena. And finally Liszt and Thalberg were both proclaimed victors by this glittering and intelligent assembly…Thus two victors and no vanquished…"
Consequently, the Niobe fantasy has always been familiar in Liszt legend (even if the music itself is very rarely heard) as Pacini's little cavatina ‘I tuoi frequenti palpiti’ proved an exceptional vehicle for Liszt as a composer. The long opening section with its jagged staccato brilliance serves as a direct challenge to Thalbergian legato, and is based upon a mere fragment of the aria, all treated with a humorous ingenuity; it is worth pointing out that the introduction often gives the impression of a development section (that has oddly preceded rather than followed the first full statement of the theme!). Indeed, the rigorous monothematicism of this development, and the mastery evinced in creating variety out of a unity, make the fantasia Liszt's most ambitious completed up till this time. The arrangement of the recitative which follows is a good example of Liszt's transformation of vocal figures to create a genuinely pianistic texture: Liszt alters the original's bare harmonies and simple vocal line-which relies heavily on the pure beauty of the voice-into a luxurious keyboard equivalent, sonorous, chromatically engaging, and formally more satisfactory! The final result is an effect far more like Liszt than Pacini, yet no less original for being based on the latter. The introductory material then returns, with even more brilliant harmonic excursions, and finally Pacini’s theme appears complete, but is immediately subjected to fantastic variation and ever-increasing urgency as the piece flies to its frolicsome conclusion.
If you'd like to listen to the Thalberg piece played in the duel, I reccomend both Nicolosi's and Wright's recordings.
No wonder Liszt picked this piece for his duel with Thalberg...
Moreover, what a compliment to Thalberg, that Liszt thought he had to play something this huge and beautiful to beat him.
He didn’t have that many works (at least published works) to chose from. Of course, there was the 1837 version of the transcendental Etudes, but I think the idea was that it was supposed to be an operatic fantasy. It’s too bad the Don Juan fantasy didn’t exist back then!
I think the clear "fun" nature of this piece might have been a factor in Liszt's choice. As far as it is even possible to write "funny" music, I think this is it. :) Perfect for a light-hearted "duel" at an Italian Princess' party.
@@gojewla He did have a good handful, and yes as you alluded to I’m sure he could have improvised something off his spot!
*just to note to myself that this video is the second version S419ii (only some minor alterations from the first version)
I’m so happy I found this channel. These are undoubtedly some of Liszt’s most engaging - and also most underrated - pieces ever!!
Repent and trust in Jesus. Hes the only way. We deserve Hell because weve sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23❤❤❤😊
@@lowlightpiano7110lol how is this related to comment on top?
@@dwacheopusThat’s what I’m wondering.
@@dwacheopus just another tactless youtube evangelist
06:33 I NEARLY JUMPED lol
Thank you so much for this wonderful video!
A very Grande fantaisie indeed ! Grande pièce, Grands Moments, Grand Compositeur, Grande Musique !
i wish we had a recording of Pacini's Niobe
Steven Mayer's interpretation is the BEST for me !!
Pièce hautement virtuose rare de Liszt appartenant aux récitals marathon avec Thalberg ! Vertigineux !
Man, the Larghetto section stating from 3:39 is very ‘romantic’ in character. (Especially those fioriture, in 3:51 and 4:13 leading to the cadenza)
I love the different style in which the sheet music has been scripted .,
This piece is so so good ! So awesome !!! LOVE LOVE LOVE !!!This easily became my new favourite piece of Liszt's !!! FABULOUS !!! THANK YOU SO MUCH ! I AM SO GLAD THAT I FOUND YOUR CHANNEL !!! 🎼🎵🎤🎶🥁🎹🎸🐲🐉😻👍👍👍💜💜💜💙💙💙❤❤❤💖💘💞💕💝💋
Repent and trust in Jesus. Hes the only way. We deserve Hell because weve sinned. Lied, lusted stolen, etc. But God sent his son to die on the cross and rise out of the grave. We can receive forgiveness from Jesus. Repent and put your trust in him.
John 3:16
Romans 3:23❤😊❤❤
Bravo brilliance music grandiose virtuoso
So it looks like here Liszt was still under the influence of Czerny's "post-classical virtuoso" writing style, but already his characteristic percusiveness permeates the "funny" sections.
Magnifique !!
Merci de partager ses incroyables interprétes de la super musique de Liszt.
Athos
Thalberg: Hello 👋
A hurricane of beautiful piano harmony! omg
I cannot understand how Liszt did not win - his piece is lightyears ahead of the Moses fantasy
7:37 this motif is from the cabaletta "I tuoi frequenti palpiti"
Liszt also wrote a larger piece over this theme, "Divertissement sur "I tuoi frequenti palpiti" S.419"
Thanks for the upload, do you know any good book about Liszt?
Yes, I strongly recommend Alan Walker's definitive three-volume biography on Liszt.
Also Oliver Hilmes‘ Biography is also not bad, if you are looking for something more compact. But Alan Walker is definitely the reference!
7:32 i like this part
Have you uploaded a Meyerbeer L'Africaine video?
2:31
How come no one is talking about this chord progression? It's the best part of the piece imo.
Referral to Alan Walker or Leslie Howard on Liszt. Great lecture at the Library of Congress by Alan Walker...In Defense of Arrangement..also David Dubal, Juilliard.
Thumbs down are Thalberg and his mother...
No -- Thalberg is too busy using his thumbs to play an interior melody part, with arpeggios on either side . . . \00/
@@honestlygifted3498 😂😂😂
@@honestlygifted3498 u made my day bro
Thalberg must have been such a heavyweight back in their time. Liszt was full of envy at times.
@@DrSm4rT "There is nothing here to suggest that Liszt saw in Thalberg a rival. Least of all did he 'rush back to Paris, nostrils dilated, to defend his crown,' as one modern journalist has put it."
-Alan Walker
10:00
Nice
Ok
Maybe
7:30 and onwards is my favourite part
5:30
I would have cast my vote for Liszt.
I think the theme can be exploited better, but this is very good
Liszt: imagine playing anything slower than an 8th note
11:45 Coda
Repent and trust in Jesus. We deserve Hell for our sin. Lying, lusting, etc, but God sent his son Jesus to die on the cross and ride from the grave to free us from sin. If you repent and trust in him youll be saved.
Romans 3:23
John 3:16❤😊❤
7:30
5:28
4:29