Thank you for posting these lovely pieces in this fine performance! One of my favorite portions of one of my favorite Liszt "concept albums," Costantino Catena's ingeniously devised 2CD set "Venezia e Napoli." Gorgeous playing, great instrument and excellent engineering. :) And charming as Donizetti's songs are, I think this is yet another case of Liszt finding more in the material than the original composer dreamt of! (Incidentally, I believe that Liszt's three pieces actually make use of four of the original songs, the final number being a combination of two of Donizetti's songs. Liszt did something similar in the 6 Polish Songs [Chopin] and the Schwanengesang songs and the 12 Songs from Winterreise [Schubert]. And there are anecdotes about him improvising brilliantly convincing segues between disparate material, both in private and public settings.)
This is one of the best channels on UA-cam wish you’d upload more XD
4 роки тому+7
Thanks for your work. Merci pour cette chaîne. Liszt est mon idole depuis mes 12 ans. J'ai eu la chance de jouer plusieurs fois chez Cziffra, à la chapelle Senlis où j'ai eu la chance de l'écouter. Votre chaîne est un magnifique cadeau, j'y suis chaque jour. MERCI !
The three Nuits d'été à Pausillipe arrangements, charming and delightful. Catena's brilliant interpretation really brings out the inner Italian moods that these pieces convey. One may criticize that these pieces are perhaps a bit ‘skittish’ (in comparison to his Schubert song transcriptions, where the typically difficult and/or turbulent virtuosic piano writing usually compliments the poetry of the original source material; the same problem I assume might also be one of the reasons why some Liszt transcriptions like Liszt's arrangement the full set of Rossini's Soirées musicales and Ferdinand David's Bunte Reihe aren't well known), but think of these pieces as light divertissements which are to be played or heard for simple fun-the Barcarolle is a personal favorite of mine, for example. As always, thank you for sharing these delightful Liszt works Andrei!
Well put....and that skittishness is a hallmark of the Italian musical style....the operatic freedom, rubato, always forward motion, etc. Completely opposite of the German.
Actually the Soirees Musicales stick very closely to the originals with less embellishments and harmonic alterations (ie none as far as I can hear) than the Schubert transcriptions, and that to me is a weakness and maybe a reason why they aren't heard often. Charming though they are in their original form, for me they sound a bit thin for piano alone and at nearly an hour do outstay their welcome; here I feel the material would benefit from some Lisztification.
SimonR SimonR Exactly, examples such as the Rossini Soirées musicales and the Bunte Reihe transcriptions although wonderfully adapted with charming Lisztian pianistic flourish and faithful to the source material (speaking in terms of Liszt transcriptions here, it's pretty faithful); it is indeed a weakness as Liszt's treatments in his material are often more nuanced and far more developed (with exceptions to some obviously inhumane bravura paraphrases he made)-and examples such as the Schwanengesang transcriptions (I'd dare say all of his Schubert transcriptions are enhancements), his transcriptions of a few Schumann songs (especially Widmung, Frühlingsnacht as well as Provenzalisches Minnelied) and the Robert Franz lieder transcriptions are proofs of that.
@@jerry_moo What a coincidence, I was listening to the Bunte Reihe shortly after this as random selections - you, I, Valerie Tryon and the person on MusicWeb International who reviewed her recording of it (AFAIK the only one) must be the only people who know this work! I wondered what compelled Liszt to transcribe the whole set? (I can understand that with the Franz transcriptions, as he's still quite highly regarded as a song composer today.) Or was he commissioned? Ferdinand David's main claims to fame today are as a violinist and adviser to his good friend Mendelssohn, and I wouldn't recommend first-time listeners to listen to the set in its 72-minute entirety, but it's quite listenable and only the Kinderlied, Gondollied and first version of the Ungarisch are really disposable (and in that case only because it's overshadowed by the second version, the only piece in the set that sounds truly Lisztian). The music sounds much like other minor contemporaries of Liszt (Stephen Heller and Niels Gade spring to mind) - Mendelssohn is the main influence, but there are touches of Schumann and even Chopin here and there. There's not much depth apart from in slower numbers like Erinnerung, Elegie, Menuetto and In russischer Weise, but they're quite enjoyable salon pieces for the most part with some distinct melodic and harmonic touches.
Liszt was really a kind of musical Willy Wonka, with the inventive and the hair of this beloved character and capable of writting works on an asthonising industrial scale.
Very nice pieces. It's interesting that Liszt's trademark melody, like Chopin's, so often has that florid Italianate quality to it, so you'd think that in his transcriptions/reminiscences etc Liszt and Italian composers would be a match made in heaven. But while the Donizetti pieces are beautiful and the Reminiscences des Puritains de Bellini while long, is entertaining and inventive with enough variety to keep me interested throughout, with the exception of the youthful but charming Sept Variations Brillantes, I find his Rossini ones disappointing. I wonder why that is? Although Rossini is generally considered the best Italian composer between Vivaldi and Verdi, could it be that the other two had a kind of melody better suited to Liszt's style (more romantic, whereas Rossini was fundamentally a classicist)?
Thoughtful comment. I'm somewhat surprised you didn't mention the Reminiscences de Norma, one of Liszt's greatest pieces, which recreates the drama of Bellini's opera with incredible imagination and inventiveness. I think perhaps that Rossini's music is in a sense self-sufficient, and unlike Donizetti and Bellini doesn't lend itself to the equivalent of jazz improvisation. It's telling that the most popular of Liszt's Rossini pieces is probably the most straightforward: his transcription of the Guillaume Tell overture.
@@treesny That comment of mine hasn't aged very well, at the time I wrote it I was going through Liszt's works in chronological order and I hadn't got to Reminiscences de Norma (I'd heard it before but had forgotten about it). Also the Soirees Musicales (which are basically straight transcriptions of the Rossini originals) have gone up quite a bit in my estimation - they seemed a bit vapid at first, but it does help if you hear the original songs first and that way you appreciate their charm and imagination and the skillful way Liszt has arranged them. Rossini himself is a composer I'm just starting to get to know properly BTW, I just got a 9-CD set of four of his operas for Christmas!
Sublime. Liszt is a bottomless pit of invention. The acoustic here just blossoms.
Comment le génie de Liszt pousse en avant le talent de Donizetti dans ce recueil à priori sans problème !
im so glad your channel exists, your videos are wonderful.
Thanks :)
Andrei Cristian Anghel no problem :)
Oh...me, too ! What a gem !
you're welcome
Thank you for posting these lovely pieces in this fine performance! One of my favorite portions of one of my favorite Liszt "concept albums," Costantino Catena's ingeniously devised 2CD set "Venezia e Napoli." Gorgeous playing, great instrument and excellent engineering. :) And charming as Donizetti's songs are, I think this is yet another case of Liszt finding more in the material than the original composer dreamt of! (Incidentally, I believe that Liszt's three pieces actually make use of four of the original songs, the final number being a combination of two of Donizetti's songs. Liszt did something similar in the 6 Polish Songs [Chopin] and the Schwanengesang songs and the 12 Songs from Winterreise [Schubert]. And there are anecdotes about him improvising brilliantly convincing segues between disparate material, both in private and public settings.)
Amazing ! It was my first time listening this music. For me its like discover a "new album" from Liszt kkkk, really nice
This is a classical channel with class. Please avoid kkk'ing here
@@tigerboom9030 kkkk xd
One k away from disaster
Thank for posting these beautiful pieces. They have encouraged me to listen to the original art songs as well.
Какое твой канал для меня благословение Андрей! Каждый месяц обнаруживаю новые произведения любимого музыканта. Multumesc.
1) 00:00
2) 04:43
3) 09:16
Thank you!
Magnifique !
This is one of the best channels on UA-cam wish you’d upload more XD
Thanks for your work. Merci pour cette chaîne. Liszt est mon idole depuis mes 12 ans. J'ai eu la chance de jouer plusieurs fois chez Cziffra, à la chapelle Senlis où j'ai eu la chance de l'écouter. Votre chaîne est un magnifique cadeau, j'y suis chaque jour. MERCI !
Your channel is brilliant! Thank you so much! This a real treat and learning experience.
The three Nuits d'été à Pausillipe arrangements, charming and delightful. Catena's brilliant interpretation really brings out the inner Italian moods that these pieces convey. One may criticize that these pieces are perhaps a bit ‘skittish’ (in comparison to his Schubert song transcriptions, where the typically difficult and/or turbulent virtuosic piano writing usually compliments the poetry of the original source material; the same problem I assume might also be one of the reasons why some Liszt transcriptions like Liszt's arrangement the full set of Rossini's Soirées musicales and Ferdinand David's Bunte Reihe aren't well known), but think of these pieces as light divertissements which are to be played or heard for simple fun-the Barcarolle is a personal favorite of mine, for example. As always, thank you for sharing these delightful Liszt works Andrei!
Well put....and that skittishness is a hallmark of the Italian musical style....the operatic freedom, rubato, always forward motion, etc. Completely opposite of the German.
Actually the Soirees Musicales stick very closely to the originals with less embellishments and harmonic alterations (ie none as far as I can hear) than the Schubert transcriptions, and that to me is a weakness and maybe a reason why they aren't heard often. Charming though they are in their original form, for me they sound a bit thin for piano alone and at nearly an hour do outstay their welcome; here I feel the material would benefit from some Lisztification.
SimonR SimonR Exactly, examples such as the Rossini Soirées musicales and the Bunte Reihe transcriptions although wonderfully adapted with charming Lisztian pianistic flourish and faithful to the source material (speaking in terms of Liszt transcriptions here, it's pretty faithful); it is indeed a weakness as Liszt's treatments in his material are often more nuanced and far more developed (with exceptions to some obviously inhumane bravura paraphrases he made)-and examples such as the Schwanengesang transcriptions (I'd dare say all of his Schubert transcriptions are enhancements), his transcriptions of a few Schumann songs (especially Widmung, Frühlingsnacht as well as Provenzalisches Minnelied) and the Robert Franz lieder transcriptions are proofs of that.
@@jerry_moo What a coincidence, I was listening to the Bunte Reihe shortly after this as random selections - you, I, Valerie Tryon and the person on MusicWeb International who reviewed her recording of it (AFAIK the only one) must be the only people who know this work! I wondered what compelled Liszt to transcribe the whole set? (I can understand that with the Franz transcriptions, as he's still quite highly regarded as a song composer today.) Or was he commissioned? Ferdinand David's main claims to fame today are as a violinist and adviser to his good friend Mendelssohn, and I wouldn't recommend first-time listeners to listen to the set in its 72-minute entirety, but it's quite listenable and only the Kinderlied, Gondollied and first version of the Ungarisch are really disposable (and in that case only because it's overshadowed by the second version, the only piece in the set that sounds truly Lisztian). The music sounds much like other minor contemporaries of Liszt (Stephen Heller and Niels Gade spring to mind) - Mendelssohn is the main influence, but there are touches of Schumann and even Chopin here and there. There's not much depth apart from in slower numbers like Erinnerung, Elegie, Menuetto and In russischer Weise, but they're quite enjoyable salon pieces for the most part with some distinct melodic and harmonic touches.
This channel is magnificent! keep up the good work!
This is so beautiful ❤
11:15 Merry Christmas everybody!
A toi aussi!
I think the Notturno has the most catchy melody
Idem pour moi située ds la perfection lyre
Liszt was really a kind of musical Willy Wonka, with the inventive and the hair of this beloved character and capable of writting works on an asthonising industrial scale.
Buna andrei anghel iti admir canalul de pe youtube!
Mulțumesc :)
J'ai pas encore fait l'amour
Ma âme est enlacé avec mon corps à jamais
Et puis rien autre que
Rare
4:21
1:58 sounds a bit like Wiegenlied lol
aka brahms lullaby
Very nice pieces. It's interesting that Liszt's trademark melody, like Chopin's, so often has that florid Italianate quality to it, so you'd think that in his transcriptions/reminiscences etc Liszt and Italian composers would be a match made in heaven. But while the Donizetti pieces are beautiful and the Reminiscences des Puritains de Bellini while long, is entertaining and inventive with enough variety to keep me interested throughout, with the exception of the youthful but charming Sept Variations Brillantes, I find his Rossini ones disappointing. I wonder why that is? Although Rossini is generally considered the best Italian composer between Vivaldi and Verdi, could it be that the other two had a kind of melody better suited to Liszt's style (more romantic, whereas Rossini was fundamentally a classicist)?
Rossini the best italian composer?
@@nicolag1544 Well, who else would you pick from that era? Scarlatti?
Thoughtful comment. I'm somewhat surprised you didn't mention the Reminiscences de Norma, one of Liszt's greatest pieces, which recreates the drama of Bellini's opera with incredible imagination and inventiveness. I think perhaps that Rossini's music is in a sense self-sufficient, and unlike Donizetti and Bellini doesn't lend itself to the equivalent of jazz improvisation. It's telling that the most popular of Liszt's Rossini pieces is probably the most straightforward: his transcription of the Guillaume Tell overture.
@@treesny That comment of mine hasn't aged very well, at the time I wrote it I was going through Liszt's works in chronological order and I hadn't got to Reminiscences de Norma (I'd heard it before but had forgotten about it). Also the Soirees Musicales (which are basically straight transcriptions of the Rossini originals) have gone up quite a bit in my estimation - they seemed a bit vapid at first, but it does help if you hear the original songs first and that way you appreciate their charm and imagination and the skillful way Liszt has arranged them. Rossini himself is a composer I'm just starting to get to know properly BTW, I just got a 9-CD set of four of his operas for Christmas!