This passage really struck me in the Volodos performance of this piece. I must have backed it up and listened to it a dozen times. Pletnev really does a good job with it too.

Amazing music by arguably one of the greatest innovators of the romantic era.

@ApsisApocynthion

9 күн бұрын

Yeah I really need to listen to him more.

This reminds me of that one section with the 8/12/3 polyrhythm in Chopin Ballade 4.

@martinhnilo7961

13 күн бұрын

That's the problem with Liszt. A lot of things by Liszt are reminiscent of something by someone else...luckily, Liszt admits this very often and calls his works "reminiscences of...", "fantasies based on...", "variations on a theme from...". There was nothing left for him, he was a great pianist, but a second-rate composer...

@rotum1324

13 күн бұрын

@martinhnilo796 Liszt has created so many big works that you can’t just brush over him as a second class composer cause he used other materials as a basis. Liszt composed over a thousand works, and back then it was pretty normal to just borrow a melody. His orchestrations where definitely better than Chopin‘s or anyone before his era and his late works where very modern and totally unique. But what am I trying to argue with a classical listener.

@octopuszombie8744

13 күн бұрын

I believe there is nothing wrong basing your own work on someone else's. There's a famous quote from Stravinsky.

@looney1023

12 күн бұрын

@@martinhnilo7961 Definitely check out his Years of Pilgrimage collections. That's what changed my mind on this very topic. Particularly Les Jeux d'Eaux..., Vallée d'Obermann, Aux Bord d'une Source, and especially Le Mal Du Pays

@Ivan-fp6xh

10 күн бұрын

Here the quintessential rendition of the melody of Weber’s 3rd piano sonata last movement, rondeau, developed to the top with the 4th Chopin’s ballade and the highest lisztian harmonic poetry matured, like wine in a long gentle rest, with italian harmonic and melodic tasteful language, french sensitivity to nuances and titanic frenesie to grotesque energy and expressivity, and, last but not least, german spiritual vocation to the individuation of the paradigm of an idea and the unstoppable most profound need of express its soul in a highly coherent efficient and possibly true system in the musical structure thought like mystic philosophy and projected like holy architecture; And, this ocean of cultures and visions of the world Liszt extends to the universe with his duplex soul, (how Liszt once upon a time had to say: “half francescan christian monk, half gypsy”) with morbid, dark and ironic diabolical gypsy expression and research to the most profound need and mystic sensitivity to humanity, soul, god and the total obligated holy and finally joyful, through the troubles, relation among them all. Franz Liszt: All great souls, composers and creatives son, because student of them, All great souls, composers and creatives father, because, once son of them, with his contribution his self with their self grown and then yet brothers like Wagner, children like Musorgsky, Skrjabin, Debussy, Schönberg and nepew like Prokofiev, Stravinsky, Sorabji, Messiaen Bartok, Ligeti all are fom his heritage. The Faust of XIX century in soul and in music.

My favourite passage, from any piece ever.

@Martinkg05

17 күн бұрын

Hi reinhardt

@loganm2924

17 күн бұрын

@@Martinkg05 hi

@dwacheopus

11 күн бұрын

​@@Martinkg05he is logan m

@lucasgust7720

10 күн бұрын

It's sublime, pure magic.

Liszt expert Miriam Gómez-Morán says that F# major is often associated with paradise in Liszt's music :)

@hadrieneverard8121

5 күн бұрын

Yes indeed

Excellent idea to showcase this part of the Dante Sonata. I often wonder about the extent of Chopin's influence on Liszt. Alan Watts, in his biography of Liszt, mentions that Liszt's lover, Marie d'Agoult, may have teased him about the elevated, ear-catching compositions Chopin was producing early on. In this clip Liszt has embraced and added to the Chopinesque style.

Amazing analysis! Thank you!!

Such a magnificent performance…

@-MomentsMusicaux-

22 күн бұрын

Yes! Note how in 0:58-1:26 Pletnev brings out each repetition of the descending melody in a different textural layer.

me encantó! linda estética y claro!!

such a great analysis of this section. However, i don’t really think that Liszt imagined the paradise in this passage: some liszt interpreters (and i agree with them) say that this section is the story of Paolo and Francesca in Dante Alighieri’s Divina Commedia, in which Francesca, who’s married with a man that she doesn’t like, falls in love with Paolo, but when Francesca’s husband caughts them, he kills them in a brutal way. For this reason, Dante decides to put their soul in hell, in a place where there were only souls who cheated in their past life, but due to their love. For this reason, these souls are forced to get carried by a strong wind which reflects love and passion. In the story, Dante pays attention to Paolo and Francesca because they are the only ones that are forced to get carried by the wind as a couple, so Dante asks them to tell their story. The beginning of the section with this strange rythm (which reminds to the wind) is the moment in which Francesca is telling their story, till the end of the first theme and the beginning of the other one, in which i imagine that they start dancing together while carried by the wind. The theme gets repeated 3 times as a symbol of the Trinity. Then, the brutal arpeggio in D major is the moment in which they get wiped away by the wind. The tragic theme that follows, with scales in FF, is the moment in which Dante, after being too empathetic, feels so much pain for them, and faints. I think that the paradise start with the section in D major some minutes after that, when the left hand has the tremolando effect

@MicheleDiVirgilio-kq5bp

Күн бұрын

I've red Dante's "Inferno" lots of time and i totally agree with you! By reading your comment i can hear liszt's melodies and Dante's words

Great playing yet the pianist didn't really follow the indications in the score... perhaps the notation shown in the video is of a different edition?

eh its a little bit corny

@calebkinman5302

13 күн бұрын

Couldn’t agree more tbh

@calebkinman5302

13 күн бұрын

It’s a very humanistic vision of paradise. I doesn’t transcend

@Ckrishthofpher

12 күн бұрын

What do you even like then?

@calebkinman5302

11 күн бұрын

Personally a feel like Schubert and Brahms always transcend. I feel like you could argue that that don’t though. I suppose my options aren’t always logical.

@Whatismusic123

11 күн бұрын

@@calebkinman5302 Brahms 😭😭😭😭😭🤣🤣🤣🤣🤣