"Let the Devil take the thing. ..!" said Franz Schubert when he struggled to play this, his own composition. Brilliant performance, thank you for posting.
I severely underestimated the difficulty of this piece when I decided to tackle it. I knew it would be hard, but I didn't think it would be this insane lol. Every page feels like you're trying to tame a monster that's trying to escape your fingers by any means. There's massive fast jumps, dense passages, awkward arpeggios, you name it. I understand now why Schubert struggled so hard to play this. I've gotten certain parts down now but there are still sections like the end of the third and fourth movements that are just completely bonkers and feel borderline unplayable. Honestly, I've gained a new appreciation for Lewis's recording now, and how he breezes through these insane passages so naturally and musically.
This piece really impressed me and caught me off guard the first time; it was made by SCHUBERT, and he's not known for the difficulty of his pieces, and this Fantasy actually intends to be hard; there's octaves, huge chords, arpeggios, double thirds, fast sixth notes... i heard that Liszt inspired many of his compositions on this piece, and i totally believe it, for it was actually revolutionary when it was published.
I think we may discover new things about this work in coming years. For a guy who after this was written was talking about taking a counterpoint class, Schubert does a remarkable job with this piece, especially since he admitted he had a hard time playing it, and so would have had to compose it all in his musical imagination.
This Fantasy feels like I'm listening a Concerto arranged for a single Grand Piano, and this piece as a whole is absolutely breathtaking to listen to...
Yes yes yes yes. Just let it rip. An absolutely wonderful glorious demonstration of the unbridled Human spirit. A festival of delights and just outright gorgeousness. Makes one glad to be alive.
Probably one of the most genius compositions in the history of mankind. Schubert really takes it to another level here. The way it dramatically changes while still maintaining the first theme, the sublime, gorgeous second movement, the playful third and the monstrous fugue in the final movement. Certain moments like 8:13, 8:36, 9:57, 10:45 and 11:03 really strike me as truly transcendental. So different from what Chopin and Liszt wrote. Incredible piece.
@@aramkhachaturian8043 they’re trying to say, it is going down to the fourth degree of a scale, ie: like B major scale, B-A#-G#-F#. So that’s how he made the chord progression.
Very pleasant and vigorous! Does anyone know any other pieces (by Schubert or others)where the very specific emotion of this fragment is captured or appears?
One of the most underrated pieces, in my opinion. I had the pleasure of hearing this for the first time at a live recital and was blown away. If I had the technique to play it I would probably never leave my house.
Don't feel too bad. Fran Schubert couldn't play this piece either. In trying to play this, he angrily remarked something along the lines of "let the Devil himself play this piece."
I have the privilege of having this piece as part of the soundtrack of my childhood. My father played it frequently (and flawlessly) - I am devastated that I have not a single recording of his brilliant playing.😢
Then you can't have heard a lot of melodies. That's literally dozens of bars of that same rhythm and six-note motive. Don't get me wrong, it sounds nice, but it's nowhere near the most beautiful melody out there.
@@late8641 the "most beautiful" is always an opinion not a fact. For me it's one of the most beautiful melodies, if it isn't for you I really couldn't care less, don't get me wrong
Franz Schubert:C-dúr ,,Wanderer'' Fantázia D.760 1.Allegro con fuoco ma non troppo 00:00 2.Adagio 05:42 3.Presto 12:14 4.Allegro 16:59 Paul Lewis-zongora
This is my favorite piano piece by Schubert : Through the years I've attempted to play it and have finally triumphed; none the less, not without overwhelming difficulties. Mr. Lewis's interpretation scales the Olympian heights of technique, dynamics, timbres, sonorities and agogics with effortless ease, to render this masterpiece the way it was meant to be performed. All in all, this is destined to become one of my favorite recordings of "Der Wanderer," along with performances by Sviatoslav Richter, Alfred Brendel, among others. Thank you Mr. Kumar for this post, otherwise I might never have heard it.
I didn't want it to end! I have heard this pianist so many times playing pieces which seem impossible to play on account of their colossal difficulty. He and Tozer should be far better known. They are giants!
It's actually the most uncharacteristic piece by Schubert... If we look at his lieder and at his sonatas they all are so intimate and private.... But this glorious masterpiece... Can't just be explained with words...
I agree. Schubert's 'delirium' piece. Maybe there was an explanation. (Wikipedia-'delirium can be triggered by a serious medical illness such as an infection.. (and) certain medications...' ) .
We know Schubert had many musical evenings among friends. I imagine him improvising extensively in between written pieces. Maybe this piece, or at least a first version of it, was born on such an occasion?
My favourite performance always used to be Brendel’s late 1980’s recordings. However, the pupil has become the master and his goosebumps interpretation of the 4th movement is pure ecstasy. Taking advantage of the lowest bass c major octave in the 2nd development, 18:37 , in the 4th movement, is what I think Schubert would consider most appropriate for his epic piano work. This piece never fails to delight and provides something for every mood. Thanks for posting. Still don’t understand how you do it considering copyright, but so grateful.
Amazing performance. If you jump from the very end right to the beginning, you will be surprised how those tempos correspond each other. An amazing balance of fiery passion and calculation.
0:00 1 раздел главная тема 1:22 первая лир тема 2:04 возвращение главной темы в основной тональности 3:17 вторая лир тема 3:59 гт в тональности второй низкой 5:18 переход ко второму разделу, постепенный спад накала 5:43 второй раздел первая тема 6:47 вторая часть первой темы 10:00 одна из вариаций на 64х 12:14 третий раздел главная тема 13:10 вторая тема 14:30 средняя часть 16:59 четвертый раздел, тема фуги 19:26 виртуозный конец фантазии, кульминация, утверждающий C dur
This an amazing piece by the excellent pianist, (I assume it is Paul) Lewis. Over the years I've seen it eat up even very good pianists in concert --there are just so many notes in this thing!! Evidently even Schubert himself had trouble performing it. Lewis has both the sensitivity, confidence, technique and bravado to pull it off. Thanks for the posting with the score.
I always enjoy the little write-ups you do, Ashish. You seem very knowledgeable, and well-versed in different performers' versions of a wide array of different composers and their works. I am happy to be a subscriber to your channel, and I hope you'll be continuing this for some time to come!
Fully agree with hanspellegrims' comments. This is a beautiful, well-known Schubert Fantasy but the details of this youtube presentation: very well written description, and showing the sheet music dynamically following the music make it a VERY special experience. This is my first experience with your postings, Ashish, but you won me over and I am going to subscribe to your channel right now. THANKS for your contributions!
Please add my name as well. Ashish, your efforts and knowledge make listening so much richer for us. We very much appreciate your knowledge, your taste and your care. Thank you so much.
I agree with this as well! Fantastic write-up! Coming from a classical music performance background and being well-versed in music theory, getting such commentary on youtube is a rare gem! Thank you Ashish!
Thanks so much for including the score. This piece reminds me how amazing an instrument is the piano! The explosive percussion here is phenomenal. And the power and unity of the piece as a whole is cosmic (literally).
Staggering performance of one of the greatest pieces in the piano literature. I think of it as the piano equivalent of Beethoven’s 5th symphony. This is the best performance I’ve heard since discovering Sviatoslav Richter’s recorded in the Salle Wagram, Paris, over 50 years ago in1963. EMI. A photo finish dead heat I think. A stunning achievement, considering even Schubert had to give up at the final fugue reportedly saying, “to hell with it, somebody else will have to finish it”. Thanks be, for Schubert.
Just noticed the key signatures of the 4 movements makes a perfect equilateral triangle on the circle of fifths (0 sharps/flat to 4 sharps to 4 flats then back to 0)
Nam Nguyen circle of fifths was the common tonal relation in the classical era. The tonal plan that we see here and which influenced a lot of other romantic composers like Liszt is based on a circle of thirds. Look how the main sections are tonally a major third apart; C major - C sharp minor/E major - A flat major - C major.
@@ArturKorotin Beethoven wasn't as well known for the use of hexatonic cycles. You can find them even in Haydn and Mozart if you really look. Schubert, Liszt, Chopin, Wagner, Strauss, and others really ran with them though.
The way Schubert treats tonal relations is kind of like how a master architect designs the layout for a grand palace - it's a journey in itself, it's got a little bit of something for everyone
Thanks a lot for this, it rediscovered me this piece after I'd listened other versions that I found boring. This one is brilliant and really struck a nerve on me.
Thanks for this upload and your (as always) excellent notes, Ashish. Just to add that Lewis plays D naturals on beats 3 and 4 of the bar leading into the Presto, which are not shown in this edition (or Peters) but are in the Urtext edition. This creates an E7 chord that can then be heard enharmonically as a German 6th built on the flat 6 of Ab Major (F flat), hence smoothing the lead-in to the Ab Major Presto.
Similar to the Poetry and works of Edgar Allen Poe, every moment of this piece builds to one inescapable moment, one climax which encompasses all that has passed in this piece and resolves it. and This piece doesn't do that once, but twice. at 18:38, and again at 20:03
odd coincidence: the theme of the fugue - 4th movement - is very similar to that wonderful finale of Mozart's sonata 17 (those remarkably satisfying leaps!)
So dramatic, all those modulations. G major, G# diminished, A minor, A# diminished, B minor, B# diminished, C# minor, A major, D minor, Eb diminished, Eb minor, Eb/D# diminished, D major, F# minor, A major 7, D minor, G major 7, C major, A minor, D major 7, G major, Ab major 7, ... G major ... C major! One critic at the time of publication (Allgemeine Musikalische Zeitung, 30 April 1823) said Schubert went too far with certain chord progressions. I guess he was ahead of his time.
I guess Paul Lewis. ??? Lewis's father worked at the Liverpool Docks and his mother was a local council worker; there were no musicians in his family background.[1] Lewis began by playing the cello, the only instrument for which his school could offer him tuition. At the age of 14 he was accepted by Chetham's School of Music in Manchester, where his piano studies blossomed.
It is extraordinary piano masterpiece!!!!!!) I love It! It's listening is great pleasure! Especially unreal beautiful theme, I mean, from 7:55 at mov. 2, and till 8:32! But all this Fantasy fragments are also very magnificent!
Dave Steel it doesn’t even look that easy to me. One piece I never listened to, and seen the sheet music for and mistakenly thought it looked easy was chopins etude op.10 no.1
David Steel, I understand your mental stress. The actual chords and runs are very straightforward and easy on the mind, but combining those chords and runs together takes this piece to a whole different level.
Shanu Bag the most extreme in terms of colossal beauty and structure. Schubert’s ability for so many musical elements here is outstanding and is definitely one of the best pieces ever written to paper.
Simply astonishing! Lewis studied with Alfred Brendel for 9 years, so perhaps Lewis's performance shows the latter's influence. But that does not explain this performance's...words fail me!
Perhaps the first four-in-one (four movements; every movement played attacca, almost giving the impression that it's a single piece) work before the Liszt sonata. The third movement contains variations on the two main variations of the first movement (compare 12:14 with 0:00 and 14:31 with 3:19) so probably Schubert had the idea of exposition and recapitulation in mind but deliberately achieved a different output. If you are allowed to get way too (and I mean way too) liberal with the sonata form, you could consider the first movement to be the exposition, the second movement to be the development, the third the recapitulation and the fourth the coda. While you have the phrygian and hungarian minor scales, the dimished downward arpeggio, Mephistopheles motif and the Christus motif getting restated/transformed in the Liszt sonata, to state one such similarity, you have the three repeating chords at the beginning reappearing in later passages. Needless to say, the subject of fugato is indeed taken from the first theme like you have the diminished downward arpeggio and the mephistopheles motif forming the subject of the fugato in the Liszt sonata.
Liszt copied the Wanderer Fantasy on his Sonata in B Minor. He's obsessed with the Wanderer as he transcribed it into a piano concerto and recomposed the piece
Ashish Xiangyi Kumar, parabéns pelo seu maravilhoso trabalho. Ele vai além do tradicional, da simples postagem. Temos os comentários técnicos das obras, o que faz justiça à grandeza da obra. Essa leitura enriquece a apreciação das apresentações, temos o alcance artístico do que ela representa. O visual das partituras está magnífico. Fica à altura da alta cultura musical, além de que temos o luxo da sincronização, acompanhar passo a passo a apresentação das obras. Por último, mais importante, temos uma ótima seleção das peças musicais e com os seus virtuosos intérpretes. Estávamos precisando desse trabalho como o seu: beleza, técnica, arte.
8.36 A wonderful main melody that is restored several times in color throughout the work! I love the gradual musical gradations... That translates again into a sweet melody. This music is like sea level... Nice.
Movement 1 sounds like the first half of a piece... and Movement 2 sounds like the second half of the exact same piece! Same with movements 3 and 4! Only this time, they caught me by surprise.
Liszt did a pretty neat solo piano arrangement of this peice with some edits and additions, including a complete rearrangement of the final movement (S.565a). It's worth checking out!
《 방랑자 환상곡 》 (Wandererfantasie D. 760, 1819) 이 곡에 슈베르트의 리트인 《방랑자》의 주제로 사용했기 때문에 붙여진 이름. 네 개의 악장이 모두 연관성을 가지고 전개 되며, 가운데 악장인 아다지오와 변주곡 악장의 주제는 이 리트의 선율임. 리트의 모토 리듬인 ♩ ♪♪ 의 장단단격 리듬이 일관되게 사용됨. 이것은 작품 전체의 통일성을 위한 순환구조(cyclic structure)로 볼 수 있음. 단, 3악장은 장단단격(dactylic) 리듬 대신 3박자의 점음표가 쓰였지만 같은 음을 반복하는 선율상의 공통점을 지님
Unique and immensely surprising Schubert"s Wanderer performance by Lewis. In dynamics and rhythmical on forte a reminding of some time related rare recordings from great composers by themselves. Incidentally also nearby Geoffrey Tozer"s exposure in Medtners Sonata Tragica , recently as rediscovery on display.
This performance is fantastic except I cannot fathom why the pianist decided to use pedal on the last three chords when he did not on the previous exclamations. Is there a marking in the score I'm missing? Since Schubert was such a thorough admirer of Italian opera, I would imagine he would want the last three chords to be separated to imitate the end of an operatic scene with three epic detached orchestral blows. The pedal takes away from the finality of such a glorious ending to me.
somehow this starts out sort of almost sweetly provincial, then slaps your face with take this bombra sophistication and both sort of both peek out to save polly and put you in place to admire its analytic genious.........
As always, goosebumps at 9:56
Same here! Every time! I like your taste of music :D
same! breathtaking moment
Very.
totally true, what a composer, Schubert.
At least it wasn't in Presto. Lol
"Let the Devil take the thing. ..!" said Franz Schubert when he struggled to play this, his own composition.
Brilliant performance, thank you for posting.
I severely underestimated the difficulty of this piece when I decided to tackle it. I knew it would be hard, but I didn't think it would be this insane lol. Every page feels like you're trying to tame a monster that's trying to escape your fingers by any means. There's massive fast jumps, dense passages, awkward arpeggios, you name it. I understand now why Schubert struggled so hard to play this. I've gotten certain parts down now but there are still sections like the end of the third and fourth movements that are just completely bonkers and feel borderline unplayable. Honestly, I've gained a new appreciation for Lewis's recording now, and how he breezes through these insane passages so naturally and musically.
@@aerohydra3849 I have total respect for you for even trying 🙂
This piece really impressed me and caught me off guard the first time; it was made by SCHUBERT, and he's not known for the difficulty of his pieces, and this Fantasy actually intends to be hard; there's octaves, huge chords, arpeggios, double thirds, fast sixth notes... i heard that Liszt inspired many of his compositions on this piece, and i totally believe it, for it was actually revolutionary when it was published.
I think we may discover new things about this work in coming years. For a guy who after this was written was talking about taking a counterpoint class, Schubert does a remarkable job with this piece, especially since he admitted he had a hard time playing it, and so would have had to compose it all in his musical imagination.
This Fantasy feels like I'm listening a Concerto arranged for a single Grand Piano, and this piece as a whole is absolutely breathtaking to listen to...
Yeah, Schubert is the grandfather of Sorabji.
Actually Liszt made an orchestra version of it
18:35 the definition of absolute ecstasy, euphoria, an explosion of joy
Totally agree
Schubert was out of his mind when he wrote this
Thanks Ashish for taking the pain to coordinating the sound and the pages of the score
Thats easy, what's hard is transcribing.
@@mofumofutenngoku y
Yyyy.
@@mofumofutenngokuobviously, he does not transcribe
Yes yes yes yes. Just let it rip. An absolutely wonderful glorious demonstration of the unbridled Human spirit. A festival of delights and just outright gorgeousness. Makes one glad to be alive.
Probably one of the most genius compositions in the history of mankind. Schubert really takes it to another level here. The way it dramatically changes while still maintaining the first theme, the sublime, gorgeous second movement, the playful third and the monstrous fugue in the final movement. Certain moments like 8:13, 8:36, 9:57, 10:45 and 11:03 really strike me as truly transcendental. So different from what Chopin and Liszt wrote. Incredible piece.
He died way too young sadly
I’ve always thought this piece served as a Beethoven meets Chopin situation personally
18:37
Franz Schubert hi
18:07 - 18:20 what an epic chord progression!
B F# A E G D G D F C E B E
B down a fourth, A down a fourth etc
@@momoalnajjar can you explain this easier, I am dumb
@@aramkhachaturian8043 they’re trying to say, it is going down to the fourth degree of a scale, ie: like B major scale, B-A#-G#-F#. So that’s how he made the chord progression.
Very pleasant and vigorous! Does anyone know any other pieces (by Schubert or others)where the very specific emotion of this fragment is captured or appears?
13:10 such a cute melody!
Kyle Fang i would say more whimsical than cute lol
Kyle Fang : “cute” ???
Which melody of the so many?
agreed - it's adorable!!!
It’s very darlingish!
One of the most underrated pieces, in my opinion. I had the pleasure of hearing this for the first time at a live recital and was blown away. If I had the technique to play it I would probably never leave my house.
Don't feel too bad. Fran Schubert couldn't play this piece either. In trying to play this, he angrily remarked something along the lines of "let the Devil himself play this piece."
@@underzog Funny
I have the privilege of having this piece as part of the soundtrack of my childhood. My father played it frequently (and flawlessly) - I am devastated that I have not a single recording of his brilliant playing.😢
@@ALPalmos Be glad of the memory! Who was your father? Was he a well-known pinanist?
Well build up your technique. And keep up. Pieces like this serve also that purpose
3:20 I think the mist beautiful melody I have ever heard hands down
Sounds a bit like Chopin! The more I study Schubert the more stuff I see Chopin "taking" from him
Then you can't have heard a lot of melodies. That's literally dozens of bars of that same rhythm and six-note motive. Don't get me wrong, it sounds nice, but it's nowhere near the most beautiful melody out there.
@@late8641 People all have different opinions.Don't just think about your opinion.
@@late8641 the "most beautiful" is always an opinion not a fact. For me it's one of the most beautiful melodies, if it isn't for you I really couldn't care less, don't get me wrong
Franz Schubert:C-dúr ,,Wanderer'' Fantázia D.760
1.Allegro con fuoco ma non troppo 00:00
2.Adagio 05:42
3.Presto 12:14
4.Allegro 16:59
Paul Lewis-zongora
Köszönöm az értékelést
Thank you
Thanks!!
Most likely Schubert's most technically demanding work for the piano. Fantastic performance by Lewis here. I get Brendel vibes from it.
Alfred Brendel was Paul Lewis' teacher!!!!
00:00 Mv 1Allegro con fuoco ma non troppo
05:42 Mv 2 Agadio
12:14 Mv 3 Presto
16:59 Mv 4 Allegro
Thank you.
This is my favorite piano piece by Schubert : Through the years I've attempted to play it and have finally triumphed; none the less, not without overwhelming difficulties. Mr. Lewis's interpretation scales the Olympian heights of technique, dynamics, timbres, sonorities and agogics with effortless ease, to render this masterpiece the way it was meant to be performed. All in all, this is destined to become one of my favorite recordings of "Der Wanderer," along with performances by Sviatoslav Richter, Alfred Brendel, among others. Thank you Mr. Kumar for this post, otherwise I might never have heard it.
I don't care about a few mistakes I want to know if you can take it at tempo?
I didn't want it to end! I have heard this pianist so many times playing pieces which seem impossible to play on account of their colossal difficulty. He and Tozer should be far better known. They are giants!
It's actually the most uncharacteristic piece by Schubert... If we look at his lieder and at his sonatas they all are so intimate and private.... But this glorious masterpiece... Can't just be explained with words...
I agree. Schubert's 'delirium' piece. Maybe there was an explanation. (Wikipedia-'delirium can be triggered by a serious medical illness such as an infection.. (and) certain medications...' ) .
I found this to be a very Beethovenesque piece for Schubert. Maybe that explains how it surprises you?
His Sonatas are nowhere near intimate. Look at his first three sonatas.
@Megabloggy 06 Why not both?
We know Schubert had many musical evenings among friends. I imagine him improvising extensively in between written pieces. Maybe this piece, or at least a first version of it, was born on such an occasion?
My favourite performance always used to be Brendel’s late 1980’s recordings. However, the pupil has become the master and his goosebumps interpretation of the 4th movement is pure ecstasy. Taking advantage of the lowest bass c major octave in the 2nd development, 18:37 , in the 4th movement, is what I think Schubert would consider most appropriate for his epic piano work. This piece never fails to delight and provides something for every mood. Thanks for posting. Still don’t understand how you do it considering copyright, but so grateful.
Amazing performance. If you jump from the very end right to the beginning, you will be surprised how those tempos correspond each other. An amazing balance of fiery passion and calculation.
Thank you! And having the score to follow is a total delight. Many, many thanks for the trouble you have taken in bringing this to us.
0:00 1 раздел главная тема
1:22 первая лир тема
2:04 возвращение главной темы в основной тональности
3:17 вторая лир тема
3:59 гт в тональности второй низкой
5:18 переход ко второму разделу, постепенный спад накала
5:43 второй раздел первая тема
6:47 вторая часть первой темы
10:00 одна из вариаций на 64х
12:14 третий раздел главная тема
13:10 вторая тема
14:30 средняя часть
16:59 четвертый раздел, тема фуги
19:26 виртуозный конец фантазии, кульминация, утверждающий C dur
The dream piece that I wanted to play in my childhood... ahh the good memories
This an amazing piece by the excellent pianist, (I assume it is Paul) Lewis. Over the years I've seen it eat up even very good pianists in concert --there are just so many notes in this thing!! Evidently even Schubert himself had trouble performing it. Lewis has both the sensitivity, confidence, technique and bravado to pull it off. Thanks for the posting with the score.
Schubert shows the amazing breadth and depth of the piano...
I’m always reminded of Beethoven’s Waldstein when this piece opens
I think the same thing
Also, it's in C major.
The same thing :)
@@segmentsAndCurves With the second subject in E major, the mediant major.
@@m.erubik
I always enjoy the little write-ups you do, Ashish. You seem very knowledgeable, and well-versed in different performers' versions of a wide array of different composers and their works. I am happy to be a subscriber to your channel, and I hope you'll be continuing this for some time to come!
Glad to hear that!
Fully agree with hanspellegrims' comments. This is a beautiful, well-known Schubert Fantasy but the details of this youtube presentation: very well written description, and showing the sheet music dynamically following the music make it a VERY special experience. This is my first experience with your postings, Ashish, but you won me over and I am going to subscribe to your channel right now. THANKS for your contributions!
Add me to the list of people who really, really appreciate the work you put into this Ashish. Thank you!
Please add my name as well. Ashish, your efforts and knowledge make listening so much richer for us. We very much appreciate your knowledge, your taste and your care. Thank you so much.
I agree with this as well! Fantastic write-up! Coming from a classical music performance background and being well-versed in music theory, getting such commentary on youtube is a rare gem! Thank you Ashish!
Me:Hey Schubert, are you left handed or right handed?
Schubert:Yes
Most underrated comment ever
"Shubert"
**ambidextrous**
@@dididistuff3417 Exactly.
I'm lefty
What about you
Thanks so much for including the score. This piece reminds me how amazing an instrument is the piano! The explosive percussion here is phenomenal. And the power and unity of the piece as a whole is cosmic (literally).
Staggering performance of one of the greatest pieces in the piano literature. I think of it as the piano equivalent of Beethoven’s 5th symphony.
This is the best performance I’ve heard since discovering Sviatoslav Richter’s recorded in the Salle Wagram, Paris, over 50 years ago in1963. EMI.
A photo finish dead heat I think. A stunning achievement, considering even Schubert had to give up at the final fugue reportedly saying, “to hell
with it, somebody else will have to finish it”. Thanks be, for Schubert.
If this is the piano equivalent of Beethoven's 5th, what would you consider Schubert's great last 3 piano sonatas to be equivalent to?
Just noticed the key signatures of the 4 movements makes a perfect equilateral triangle on the circle of fifths (0 sharps/flat to 4 sharps to 4 flats then back to 0)
Highly interesting approach
Nam Nguyen circle of fifths was the common tonal relation in the classical era. The tonal plan that we see here and which influenced a lot of other romantic composers like Liszt is based on a circle of thirds. Look how the main sections are tonally a major third apart; C major - C sharp minor/E major - A flat major - C major.
@@musmerized658 Well, since Liszt came later this probably actually the influence of Beethoven.
@@ArturKorotin it could be because Beethoven too used relationships based on thirds in many of his works.
@@ArturKorotin Beethoven wasn't as well known for the use of hexatonic cycles. You can find them even in Haydn and Mozart if you really look. Schubert, Liszt, Chopin, Wagner, Strauss, and others really ran with them though.
Fabulous reading of a horrendously demanding work....
This is probably the most unique interpreration of this piece
4:20 is so powerful!
❤😅
et la fugue !!!
I would love to listen to more pieces like these. So beautifully energetic, even during the calm parts.
Schumann's fantasia in c major op.17 is quite of this type (though that's quite a late answer to a comment)
What I love most about this work is that it is through-composed. Imagine how tedious to write those 32nd notes on paper back then!
That's demisemiquavers to non-Americans
It's a set of variations. It's not through-composed.
What does through composed mean?
en.wikipedia.org/wiki/Through-composed
piano1500 How is it not through-composed?
16:59 made me mentally segue into the final movement of Chopin's first sonata
Very impressive! Never new Schubert wrote such technically demanding music!
His piano accompaniment for Erlkönig is something else
The way Schubert treats tonal relations is kind of like how a master architect designs the layout for a grand palace - it's a journey in itself, it's got a little bit of something for everyone
And if that's not the mark of a true master I don't know what is.
Thanks a lot for this, it rediscovered me this piece after I'd listened other versions that I found boring. This one is brilliant and really struck a nerve on me.
Thanks for this upload and your (as always) excellent notes, Ashish. Just to add that Lewis plays D naturals on beats 3 and 4 of the bar leading into the Presto, which are not shown in this edition (or Peters) but are in the Urtext edition. This creates an E7 chord that can then be heard enharmonically as a German 6th built on the flat 6 of Ab Major (F flat), hence smoothing the lead-in to the Ab Major Presto.
My absolute favorite interpretation of the piece, by miles. Absolutely awe-inspiring and beautiful.
3:59 - 4:21 is some of the most adventurous (and brilliant) harmony that I've heard from Schubert...
2nd 5:43
3rd 12:14
4th 16:59
1 раздел ГП - 0:00
1 раздел ПП - 1:22
1 раздел НТ в разр. - 3:16
2 раздел ОТ - 5:42
3 раздел 1Т - 12:14
3 раздел 2Т - 13:12 (?)
4 раздел - 16:58
This was one of the pieces that turned me on to classical music. Was a treat getting to hear Garrick Ohlsson play it live as well!
Wonderfully colorful, operatic and captivating rendering. Thanks a lot for posting.
Similar to the Poetry and works of Edgar Allen Poe, every moment of this piece builds to one inescapable moment, one climax which encompasses all that has passed in this piece and resolves it. and This piece doesn't do that once, but twice. at 18:38, and again at 20:03
3:33 is my favorite part
fantastic composition!
odd coincidence: the theme of the fugue - 4th movement - is very similar to that wonderful finale of Mozart's sonata 17 (those remarkably satisfying leaps!)
The best version ever to be found.
16:30 oh my goodness
One of my favourite passages of music ever
So dramatic, all those modulations. G major, G# diminished, A minor, A# diminished, B minor, B# diminished, C# minor, A major, D minor, Eb diminished, Eb minor, Eb/D# diminished, D major, F# minor, A major 7, D minor, G major 7, C major, A minor, D major 7, G major, Ab major 7, ... G major ... C major! One critic at the time of publication (Allgemeine Musikalische Zeitung, 30 April 1823) said Schubert went too far with certain chord progressions. I guess he was ahead of his time.
I'm very happy to hear that Lewis is able to perform Schubert as good as Brendel does...he's truly its heir.
I guess Paul Lewis. ???
Lewis's father worked at the Liverpool Docks and his mother was a local council worker; there were no musicians in his family background.[1] Lewis began by playing the cello, the only instrument for which his school could offer him tuition. At the age of 14 he was accepted by Chetham's School of Music in Manchester, where his piano studies blossomed.
It is extraordinary piano masterpiece!!!!!!) I love It! It's listening is great pleasure! Especially unreal beautiful theme, I mean, from 7:55 at mov. 2, and till 8:32! But all this Fantasy fragments are also very magnificent!
Ashish, you are a true musicologist. This piece looks so easy but is SOOOO hard.
Dave Steel it doesn’t even look that easy to me. One piece I never listened to, and seen the sheet music for and mistakenly thought it looked easy was chopins etude op.10 no.1
@@gwynbleiddroach2589 I feel your pain.
David Steel, I understand your mental stress. The actual chords and runs are very straightforward and easy on the mind, but combining those chords and runs together takes this piece to a whole different level.
Who said this looked easy?
@@andrewmarr8650 and David, try Ricercata 7 from Ligeti
ua-cam.com/video/BmuK8Wtux6Q/v-deo.html
Thanks for the upload, this is one of my favourite pieces of all time. Very nice performance too.
Honestly saying This Is THE MOST EXTREME PIANO PIECE I'VE EVER HEARD !!
Shanu Bag the most extreme in terms of colossal beauty and structure. Schubert’s ability for so many musical elements here is outstanding and is definitely one of the best pieces ever written to paper.
Yes it's up there with liszt's sonata in b minor and alkan's quasi faust sonata.
Take a look here, though: m.ua-cam.com/video/k0aLw7pdqdo/v-deo.html
There´s a storyteller! The Wandrerer played by Aeshbacher was the best tale in my early childhood years.
Man, I love this masterpiece.
most energetic, imaginative and amazing piece to listen and play for piano
What a gem...Schubert was a "little" genius
9:00 :____((((( and then at 9:28 there's a ray of light and hope :-)))))))
So glad yt showed this in my recommendations, beautiful piece
Simply astonishing! Lewis studied with Alfred Brendel for 9 years, so perhaps Lewis's performance shows the latter's influence. But that does not explain this performance's...words fail me!
Perhaps the first four-in-one (four movements; every movement played attacca, almost giving the impression that it's a single piece) work before the Liszt sonata. The third movement contains variations on the two main variations of the first movement (compare 12:14 with 0:00 and 14:31 with 3:19) so probably Schubert had the idea of exposition and recapitulation in mind but deliberately achieved a different output. If you are allowed to get way too (and I mean way too) liberal with the sonata form, you could consider the first movement to be the exposition, the second movement to be the development, the third the recapitulation and the fourth the coda. While you have the phrygian and hungarian minor scales, the dimished downward arpeggio, Mephistopheles motif and the Christus motif getting restated/transformed in the Liszt sonata, to state one such similarity, you have the three repeating chords at the beginning reappearing in later passages. Needless to say, the subject of fugato is indeed taken from the first theme like you have the diminished downward arpeggio and the mephistopheles motif forming the subject of the fugato in the Liszt sonata.
Liszt copied the Wanderer Fantasy on his Sonata in B Minor. He's obsessed with the Wanderer as he transcribed it into a piano concerto and recomposed the piece
FAVORITE PIANO COMPOSITION EVER!!!!!!
Ashish Xiangyi Kumar, parabéns pelo seu maravilhoso trabalho. Ele vai além do tradicional, da simples postagem. Temos os comentários técnicos das obras, o que faz justiça à grandeza da obra. Essa leitura enriquece a apreciação das apresentações, temos o alcance artístico do que ela representa. O visual das partituras está magnífico. Fica à altura da alta cultura musical, além de que temos o luxo da sincronização, acompanhar passo a passo a apresentação das obras. Por último, mais importante, temos uma ótima seleção das peças musicais e com os seus virtuosos intérpretes. Estávamos precisando desse trabalho como o seu: beleza, técnica, arte.
I wish 9:56-10:24 could've been longer. ): It's one of my all-time favorite moments of music.
so agree
I wish the entire second "movement" was longer..one of my absolute favorites.
I sometimes want to kill myself so much
sounds like a similar part in hammerklavier 3rd mvmt
@@authenticmusic4815 Hey, are you okay?
Epic performance! Bravo Lewis!
8.36 A wonderful main melody that is restored several times in color throughout the work!
I love the gradual musical gradations...
That translates again into a sweet melody.
This music is like sea level... Nice.
Movement 1 sounds like the first half of a piece...
and Movement 2 sounds like the second half of the exact same piece!
Same with movements 3 and 4! Only this time, they caught me by surprise.
The Lewis's version of this Masterpiece is the one I like the most. Very powerful. Simply astonishing!!
此の曲は、何よりエンディングがｲｲす。20:19 です。左が1オクターブ下で弾くことで力強いハ長調ならではの雄々しさを感じられて、胸が高鳴ります。
Liszt did a pretty neat solo piano arrangement of this peice with some edits and additions, including a complete rearrangement of the final movement (S.565a). It's worth checking out!
19.27 - 20.22
Amazing conclusion!
Yes
You should listen Lewis recording of all Beethoven sonatas. I just can't stop listening to them. Breathtaking.
me too
Superb pianist. I will try to find the complete sonatas. Probably try on Amazon first.
Mari Christian they are in Spotify
@@KegPatcha Thanks for letting me know.
I really like the progression from 18:08 onwards
Who doesn't 😁
It always reminds me of some German church or Christmas song, but I can't think which
3:16 i dont know why this melody makes me cry
I think because in that moment you feel something sad in your life or other things
No wonder Liszt loved this piece so much. It’s probably the most Liszt-like piece before Liszt.
Ads are disrespectful. UA-cam, why would you put ads in the middle. Its an act of disrespecting performers, composers, and audience. I am so offended.
1. The skip icon.
2. Have a copy.
😁
Boo hoo 😭
Wow. This is not a live performance for you to cry about. You can download adblockers on playstore so you won't see ads here.
@@pjbpiano 유튜브도 돈 벌어야
The father of Liszt's sonata
That would be Alkan's "Quasi Faust" sonata.
😂
Got em
@@ndnpiano same in French
Actually, List wrote a concerto arrangement for this Fantasy.
Yeesh. One definitely need to brush up on arpeggio technique to play this beast.
And octaves. 4:45
Not just any arpeggios, but the most awkward arpeggios imaginable lol. It would be so much easier if Schubert used textbook arpeggios instead xD
Искусство беглости это вам не хухры-мухры!!
One of the greatest of all time.
Wow, just... I mean... WOW!
This is such an epic piece! I absolutely love this interpretation too! Thanks for sharing 😊
Thank you for sharing this music
This piano piece sounds so huge ❤
Notevole!!! Fantastica anche l 'esecuzione
Excellent performance. Nice piano sound.
《 방랑자 환상곡 》 (Wandererfantasie D. 760, 1819)
이 곡에 슈베르트의 리트인 《방랑자》의 주제로 사용했기 때문에 붙여진 이름.
네 개의 악장이 모두 연관성을 가지고 전개 되며, 가운데 악장인 아다지오와 변주곡 악장의 주제는 이 리트의 선율임.
리트의 모토 리듬인 ♩ ♪♪ 의 장단단격 리듬이 일관되게 사용됨. 이것은 작품 전체의 통일성을 위한 순환구조(cyclic structure)로 볼 수 있음.
단, 3악장은 장단단격(dactylic) 리듬 대신 3박자의 점음표가 쓰였지만 같은 음을 반복하는 선율상의 공통점을 지님
Unique and immensely surprising Schubert"s Wanderer performance by Lewis. In dynamics and rhythmical on forte a reminding of some time related rare recordings from great composers by themselves. Incidentally also nearby Geoffrey Tozer"s exposure in Medtners Sonata Tragica , recently as rediscovery on display.
This performance is fantastic except I cannot fathom why the pianist decided to use pedal on the last three chords when he did not on the previous exclamations. Is there a marking in the score I'm missing? Since Schubert was such a thorough admirer of Italian opera, I would imagine he would want the last three chords to be separated to imitate the end of an operatic scene with three epic detached orchestral blows. The pedal takes away from the finality of such a glorious ending to me.
Very difficult piece
Amazing and exhausting!
5:43 reminds me of the Chorus Mysticus from Mahler Symphony 8
what an amazing MASTERPIECE from the brilliant SCHUBERT!
Two-handed arpeggios captivate the listener.
somehow this starts out sort of almost sweetly provincial, then slaps your face with take this bombra sophistication and both sort of both peek out to save polly and put you in place to admire its analytic genious.........
17:55 sounds almost like Liszt