Liszt - Fantaisie sur des motifs favoris de l'opéra 'La sonnambula', S393i (Han Chen)

[@theflipeechestlanjao7754]

This is so underrated wtf

[@saladthieves5951]

Sigismond Thalberg, a rival of Liszt at the time, also wrote a paraphrase *"Grande caprice sur des motifs de La Sonnambula, Op. 46"* on the same opera. I'd heard Thalberg's version many times, and this is the first time I've had the chance to listen to Liszt's version. I adore the one by Thalberg but man... Liszt's version is just an... _absolute beast_ of a composition! Thalberg's version for those interested: kzbin.info/www/bejne/mnupmqOgnt2ZfKs

[@norixsynth]

10:36 until the end is pure perfection.

[@szilike_10]

I couldn't agree more, that's the part I always skip to when I want to listen to this piece.

[@norixsynth]

@@szilike_10 very emotional is it?

[@szilike_10]

@@norixsynth Yes, very emotional and dramatic. I could also say heroic in a way. Liszt was magical, even if it was based on Bellini's opera, I think the sheer greatness and genius in this guy's mind and his heart is often underrated.

[@sebastian9445]

I always enjoy that octave passage very much very pleasant and the ending just beautiful

[@norixsynth]

@@sebastian9445 I feel sad when I listen to that part, because of success.

[@niccolomaldera]

The themes used are: @ 0:00 Osservate, l'uscio è aperto @ 3:26 Tutto è sciolto (vedi, o madre, è afflitto e mesto) @ 4:35 Pasci il guardo ed appaga l'anima @ 5:05 Tutto è sciolto + Pasci il guardo ed appaga l'anima (at the end) @ 6:07 Osservate, l'uscio è aperto @ 6:55 Ah, non giunge @ 7:21 Ah, non giunge + Ah, perché non posso odiarti @ 8:12 Ah, non giunge + Ah, perché non posso odiarti @ 8:52 Osservate, l'uscio è aperto + ah, non giunge @ 9:43 Ah, non giunge + ah, perché non posso odiarti @ 11:02 D'un pensiero e d'un accento

[@testaccount1140]

Thank you very much. Such a rarely played or recorded piece. Liszt at his most maniacal - throwing in everything, including the kitchen sink. To me, even better than 5:06 are the sections at 8:15 and 9:42 which must be so difficult to bring out all the "voices". This version is exceptional in so many ways! In addition to stratospheric virtuosity, it must take laser focus and concentration to keep this "unruly" piece from turning into a big jumble of notes.

[@jerry_moo]

You should try listening to Lewin's rendition as well. Admittedly less fiery and less ferocious than Chen's, yet more refined and cleaner in character imo.

[@marcosgr]

11:00 This part 😩 is PERFECT

[@jiaxuli1013]

3:54 The Andante part is one of most beautiful melodies I have listened to so far in my life

[@pleasecontactme4274]

that was definitely great

[@MaxPilloni]

That's the tenor part :) I love listening to it sung by Florez in the Met production Tutto è sciolto: Più per me non v'ha conforto. Il mio cor per sempre è morto Alla gioia ed all'amor Pasci il guardo e appaga l'alma Dell'eccesso de' miei mali: Il più triste de' mortali Sono, o cruda, e il son per te.

[@marcocampus7943]

Tutto è sciolto (act 2)

[@samthepianoman]

BEAUTIFUL!!! Thank you Andrei!!

[@bluedutch01]

Thank you so much for these breathtaking, amazing virtuoso masterpieces by Franz Liszt. Oh My! And Han Chen... Wow!

[@RedZed1974]

This is brilliant and is unmistakeably a Liszt masterpiece. The textures and the runs and the energy were just incredible; but I think Thalberg's version is better in overall form, aesthetic and nuanced emotion. It's definitely not as "edgy" and pyrotechnic as Liszt's, here, but the first half has moved me to tears.

[@Varooooooom]

Chord at 5:35 is remarkably beautiful and wasn’t expecting that from the romantic era

[@nicholasfox966]

Not sure I understand which chord you're referring to: that's just a G major harmony at 5:35, functioning at that moment as IV in D major.

[@simonr6553]

@@nicholasfox966 Maybe he's referring to the surprise D7 chord just before that the A7 in the previous bar resolves onto, which is what you call a secondary dominant, and his time was a bit out. But the romantic era was full of those kinds of surprises - and so was the music of great pre-romantic composers for that matter, like Schubert and even Bach.

[@pleasecontactme4274]

@@simonr6553 haven't seen that in bach tho

[@AEPMUSlC]

@@pleasecontactme4274 you'd see such a modulation in about any Bach piece through, last few bars in his famous C major prelude does just that for example. I think Varun might have meant the D-C#-C line against D pedal before resolving into G major could have a "modern" sound since it features in alot of pop music, but I don't know ¯\_(ツ)_/¯

[@therealrealludwigvanbeethoven]

@@pleasecontactme4274 Have you listened to much Bach?

[@DanielCharry1025]

Astounding performance, and i'm glad to see that Liszt didn't throw really much virtuosic phrasing for this one.

[@DavidVVvvhr]

Buuuh

[@stacia6678]

@@DavidVVvvhr Cuuuh

[@unidentifieduser5346]

How the f is there no virtuosic phrasing?

[@norman783]

Bruh

[@norman783]

Look at the amount of double trills and giant leaps here are crazy. and that's not virtuosic!?

[@АлександрЯрков-ш2з]

Bravo bravo bravo bravo brilliance music virtuoso and grandiose

[@Tenormind]

After the big cadenza, starting with Amina’s (soprano) cabaletta “ah! non giunge” and in the next page switching it to Elvino aria’s second part: “ah! Perché non posso odiarti” is simply fantastic! Love it! Btw I’d recommend you all to listen to this opera. It’s an incredibly rich opera, full of stunningly beautiful melodies! And Liszt here gives us a free tour on his spaceship and feeding us with beauty and craziness! Love it! 🔥

[@rainchen7846]

3:26 Vedi, o madre, è afflitto e mesto 6:55 Ah! non giunge 8:13 Ah! perchè non posso odiarti

[@theflipeechestlanjao7754]

10:46 this melody :(

[@polyphonicusheise]

0:49 love these Art Tatum licks😂

[@marcalexandrefontenay9801]

La Fantaisie sur la Somnambule de Bellini par F Liszt est brillantissime plus aboutie que celle de S Thalberg merveilleusement restituée par ce virtuose asiatique.

[@RedZed1974]

I like it better, too.

[@simonr6553]

This may be turning into my favourite Liszt operatic fantasy - it has everything that makes the best of them so great, drama, lyricism, voluptuous harmonies and textures complementing those sensuous Italian melodies that Liszt had such an affinity with and rhythmic impetus (the catchy introduction reminds me of the much earlier Grande fantaisie sur des motifs de Niobe). Unfortunately, this is the second and not the first version - IMSLP don't help matters by having second edition scores under both S.393/1 and S.393/2. Those exploring Liszt's complete works like me might want to know this!

[@pleasecontactme4274]

say did you ever find a recording of the first version? (or even a midi)

[@simonr6553]

@@pleasecontactme4274 'Fraid not, I searched Spotify and KZbin pretty thoroughly. It's track 4 of CD 1 of Vol. 54 of Leslie Howard's complete Liszt piano works (www.hyperion-records.co.uk/dc.asp?dc=D_CDA67406/7) but like all Hyperion tracks that isn't available to listen to in full for free online.

[@pleasecontactme4274]

@@simonr6553 :(

[@parkmusic98]

1:15-1:28/2:55-3:05 I like those sequences.

[@CatkhosruShapurrjiFurabji]

So do I but it's circle of fifths and used very often since baroque till romantic music.

[@CatkhosruShapurrjiFurabji]

0:16 also has circle of fifths btw

[@dukezilla3471]

In all honesty, that was amazing.

[@eduardordz4223]

This channel is underrated

[@marcocampus7943]

8:14.. arpeggio, two themes, trill.

[@szilike_10]

Thank you for uploading!

[@CatkhosruShapurrjiFurabji]

1:05 last bar- when a cockroach falls on the sheet music lmfao

[@ValzainLumivix]

Nice

[@jaiachin9579]

This was amazing

[@CatkhosruShapurrjiFurabji]

5:06, 11:02

[@Mori_Sann]

3:26 8:52 5:07

[@Felix_Li_En]

Thank you !

[@jimpenning1886]

I think this is not obviously the easest first version. Cannot find it back on ytube, unfortunately.Somebody could help me?thx

[@iaeud5401]

so beautiful.. but.. the problem is technically and emotionally very difficult to play...

[@pleasecontactme4274]

this one more of the emotionally difficult types, and they seem harder to me that technicality lol

[@therealrealludwigvanbeethoven]

@@pleasecontactme4274 So this doesn't seem technically difficult to you???

[@pleasecontactme4274]

@@therealrealludwigvanbeethoven no, i mean how usually the technical difficultly ends up being harder to deal with than the musicality, but in this case making it musical and emotional seems way harder. just a comparison between technicality and musicality, not about them specifically

[@therealrealludwigvanbeethoven]

@@pleasecontactme4274 I see what you are referring to. Although I disagree that technicality regarding this piece is not as difficult as musicality (musicality is still difficult, however), subjectivity is extremely prevalent. Additionally, I believe that musicality is difficult to achieve for any given piece, especially those that require extreme technical skills...as a result of this, I feel that musicality is not as significant of a measurement of success as technicality, as the former is expected. What I mean by this is that musicality is essentially expected for all pieces, and that specifically comparing a single piece's technicality to its pertinent expected musicality is not the best way to create effective contrast.

[@pleasecontactme4274]

@@therealrealludwigvanbeethoven okay that makes sense, but i just feel like this piece requires much more attention to all the markings and interpreting than other pieces at the same technical level

[@affettozo]

Wow🤩

[@bloubear2557]

0:40 reminds me of Debussy

[@pseudo_klavier]

I recently uploaded the arrangement for piano and orchestra of this piece for my orchestration practice.

[@avalon1209]

Great job! I enjoyed your orchestration very much!

[@calebhu6383]

5:07

[@calebhu6383]

@A SEVENTH? NO? You'll see why soon

[@ValzainLumivix]

Top 100 h

[@gyorgycziffra2477]

How difficult would you say this is compared to other operatic transcriptions?

[@alkanliszt]

​@@gyorgycziffra2477very difficult indeed

[@norman783]

1:00-1:27

[@tigerboom9030]

3:28 you're welcome.

[@AllMusicEtc]

Tuning: 0c: A4 = 440Hz

[@razepp]

Reminds me of liszt's norma arr

[@unidentifieduser5346]

What makes u remind of Liszt norma arr?

[@SDArgo_FoC]

Same composer of melodies ​@@unidentifieduser5346

[@JramLisztfan]

4:35, 7:39, 10:30

[@아이스크림장인-q8e]

10:50

[@randiey95]

3:26 5:07

[@prunusserrulata6303]

6:50 Sounds a bit like Thai anthem

[@lowlightpiano7110]

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[@Boshy666]

3:38

[@user-bb5nu5dw3l]

10:50

[@jcl9792]

4:58