Mozart/Liszt: Reminisceneces de Don Juan S. 418 (Hamelin)
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- Опубліковано 10 лип 2024
- 00:00 I. Grave
04:04 II. Duetto Andantino
07:27 III. Variation 1
10:50 IV. Variation 2
13:50 V. Quasi Presto
(sorry for the editing mistakes in some parts of the video)
Réminiscences de Don Juan is an opera fantasy for piano by Franz Liszt on themes from Mozart's 1787 opera Don Giovanni.
It is extremely technically demanding and considered to be among the most taxing of Liszt's works and in the entire repertoire. For this reason, and perhaps also because of its length and dramatic intensity, it does not appear in concert programmes as often as Liszt's lighter and more popular pieces, such as the Rigoletto Paraphrase. As Ferruccio Busoni says in the preface to his 1918 edition of the work, the Réminiscences carries "an almost symbolic significance as the highest point of pianism." Liszt wrote the work in 1841 and published a two-piano version (S. 656) in 1877. The two-piano version bears a structurally strong resemblance to the original.
The piece begins with music sung by the Commendatore, both from the graveyard scene where he threatens Don Giovanni ("Di rider finirai pria dell'aurora! Ribaldo audace! Lascia a' morti la pace!" - "Your laughter will not last, even till morning. Leave the dead in peace!") and from the finale where he condemns Don Giovanni to Hell. The love duet of Don Giovanni and Zerlina follows ("Là ci darem la mano"), along with two variations on this theme, then an extended fantasy on the Champagne aria ("Fin ch'han dal vino"), and finally the work concludes with the Commendatore's threat.
In contrast to perhaps the majority of opera fantasies composed during the nineteenth century, Liszt's Don Giovanni paraphrase is a much more tightly controlled and significant work. Where the standard opera transcription is merely a collection of famous tunes,
The finest of [Liszt's] opera fantasies...are much more than that: they juxtapose different parts of the opera in ways that bring out a new significance, while the original dramatic sense of the individual number and its place within the opera is never out of sight.
Throughout the work, the Réminiscences makes a great number of advanced technical demands on the pianist, among them passages in chromatic thirds, numerous tenths, and an instance of rapid leaps in both hands across almost the whole width of the keyboard that, in the words of Heinrich Neuhaus, "with the exception of Ginzburg, probably nobody but the pianola played without smudges."
-🔗 (Source: Wikipedia)
Performer: Marc-André Hamelin
Jaw-dropping…especially his control! One of the finest pianism ever! Marc Andre Hamelin’s technique is legendary!!!
definitely not an exaggeration, my jaw was dropping every couple minutes at least. Insane playing
This piece is easy for him after Alkan and Godowsky.
Ah, what memories! I remember this piece was the exam in my first course of piano.
recommand to beginner
command
command
command
command
command
Finally, a score video of this! Thanks!
Liszt: Here is my transcription of your opera
Mozart: WHAT HAVE YOU DONE!?!!??!
Transcription..?
@@dwacheopus yes
Copied straight from the other video
@@ZeMeatMuncher ok
cuz its funni@@ZeMeatMuncher
Абсолютный пианизм. Совершенный!
Interesting interpretation with such great control
Amazing!
The wonderfulness of this performance is unrivaled
Osaka better
@@JeffJeff-qb9bx
ThankYou
I hope you are well
From
A corner of Tokyo
@@JeffJeff-qb9bxYou sure?
@@JeffJeff-qb9bxOsaka? Or do u mean Okada?
1 week of simply piano
😂
Nice
Trying to figure out which section Scriabin blew his right hand up in ☠
Maybe too many chromatic thirds lmao
Must be all the consecutive octaves and chromatic scale thirds
does anyone notice the change he made at 10:43
How about 13:00 ?
@@therealtruetwelfth798 I feel like i prefer the original here - but well spotted
The change he made at 13:00 was from the Busoni edition of this work
I think this version is horrible. The dramatic introduction to the final part of the piece fits just perfect.
The part that he didn’t play is the anhang, which I prefer because it fits the last part so perfectly
Best. Version. Ever
Okada takes the cake, imo
@@JamesBower-yj6ew okada’s is messy, this is cleaner
@@Damian_TheodoridisOkada plays with blistering speed though, which makes it much more entertaining
@@JamesBower-yj6ew no hamelin played faster *I think*
@@Damian_TheodoridisJust listened to this a couple more times and I think you're right. Hamelin's version is better on many levels, such as how buttery the arpeggio at 15:18 was. Wow
MG! I wonder how long it takes an average trained classical pianist to learn than master that? 🤔 Any opinions???? Let's start a thread!
🌹
55 years of preparation and a few weeks of study and practice.
При хорошем владении примерно 12 сложными этюдами Шопена и несколькими трансцендентными этюдами из S139, я думаю, - 4-6 месяцев, если каждый день уделять этому произведению по 2-3 часа напряженной игры
And I thought Rachmaninoff was hard to play....
Anyway, a beautiful piece and astonishing playing.
Simply piano Day 5
Beginner score in muse score
Crazy Interpretation, sadly he chose the busoni edition, which is horrible compared to the original
I do not like this version, its lacking of something
@@ekenyon51416 Its lacking something because it skipped the double third and tenth part and directly went to quasi presto, i did not like the transcition too. Okada version is gold, but it can be better if we add the double third part.
@@isner_lew1834 The part you were describing is an Ossia that was only available on a specific edition, Lang Lang played that part. It seems to me you're talking about the Busoni edition.
@@pentaxel3905 yes, it makes the piece better tbh. But lang lang skipped andantino in the coda, so NAH
@@isner_lew1834 I agree with you, but no Ossia or Ossia, both Lang Lang and Okada have pretty terrifyingly good performances
@@pentaxel3905 1000% agree
I was a big fan of this music ten years ago, today I realize the "poverty" of this musical content, and that's not the fault of Hamelin, who is an amazing pianist... this piece goes in every direction, without exploiting properly the different themes... I'm a fan of Liszt generally, but now I don't find any interest in this piece.
Yeah, this is just a collection of musical ideas, not music.
Whyyyy
You are completely right, but nobody other than Liszt could write so difficult yet effectful piano music - only Rachmaninoff.
I agree. This is one of liszt's most mediocre transcriptions. It's almost self parody. The first time I heard it was by Lang Lang , so that spoiled it permanently. Norma fantasy is 1000x better imo
As someone who knew and loved Mozart's opera for many decades before hearing this piece, I cannot disagree more strongly with the negative comments on it. It seems to me as genuine and inventive a response to the opera as his Norma piece is to Bellini's masterwork. The hellfire/worldly pleasures dichotomy of Giovanni's persona are beautifully reflected in the structure of the piece.