Liszt, 2 Etudes de Concert, S. 145 (Trifonov)

[@jaiachin9579]

Walderauschen is the most beautiful melody Liszt has composed in my opinion. One who can ring out the melody a tad louder than the broken chords can make this piece sound absolutely majestic.

[@thegayass4323]

Agreed

[@CarloGinex]

If you liked this you could listen to ou lac de wallenstadt

[@igo.spekkyjarvonvreich]

there's also that melody in wilde jagd which is similar

[@lowlightpiano7110]

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[@lisztomaniac2718]

@@lowlightpiano7110 shut up

[@TheModicaLiszt]

Thank you for uploading this beautiful score video :)

[@monition5655]

Great etudes. Thanks for the upload.

[@HeidiOvdGentschenfelde-rc2rn]

I love these beautiful sounds and vibratos 😀😁😎😍

[@jamesrockybullin5250]

4:04 Thanks for the tip on how to voice the last chords Liszt! Rest of the etude was a piece of cake, but I really struggled with that part...

[@johnvalentine4720]

😂😂

[@nickk8416]

Waldesrauschen is such a beautiful piece. I prefer Bolet but that's just my taste. Trifinov is exceptional but he's rarely reached me. He has fingers galore for sure.

[@jakobler3474]

Any ideas for making a "vibrato" on the piano? XD

[@randykern1842]

Let your piano go slightly out of tune and you’ll hear the vibrato

[@erezsolomon3838]

Do what Traum the pianist does (KZbinr)

[@epichdsheep]

@@randykern1842 or just play any interval other than the octave

[@PhilGutwein]

It's a pedal vibrato.

[@nicb4589]

@@PhilGutwein no

[@cynic150]

Waldesrauschen: Very expressive. Good technically. A little mannered and too free; often interrupts the flow for no reason except to do something with the music. I think the ending should be quick and short with NO ritardando, in order to keep the playful mood until the end.

[@joshyman221]

He rushes the second piece from the start and then has no room to speed up when Liszt asks for it. As such it loses a lot of the musicality that a gnomish dance would have. He plays the first etude beautifully though.

[@msgrace713]

It's a presto. Supposed to be fast.

[@zvelekva]

This guy is doing his best, so he gets an A for effort. But if you want to know how this piece (or for that matter the piano in general) is properly played/should sound then do listen to Lipatti's recording, that will explain everything. FYI That recording was not officially released during his lifetime. As far as I know it was just a test and Lipatti was clearly not on his usual form, so I doubt it's a take he would've allowed to go to print. And I couldn't agree more, being as it's possibly his worst playing on record - he was clearly scrapping the bottom of the barrel that day:D

[@yosefGames]

Its so dame hard 😨

[@HeidiOvdGentschenfelde-rc2rn]

I suggest u to carry ur question to my former piano colleague, his grandpa had Close Connections to the House of Liszt 😃

[@marksmith3947]

The second piece lacks charm compared to some other performances I have listened to. The first piece is lovely. No argument that his playing is phenomenal - - just to compare him with another KZbin idol, he blows Sokolov out of the water ;no matter whether it's young or old Sokolov, Trifonov is a vastly superior pianist.

[@patrick_plays_piano]

I just wish he used more pedal. I get what he was going for, though.

[@robert-skibelo]

Yes, Gnomenreigen begins too fast. He should listen to Abendglocken's channel where two pupils of Liszt play this piece. They should know what the composer wanted.

[@Mercy_Pants]

It’s ok to interpret pieces differently. Who wants a piece played the same way over and over again by different pianists?

[@frushperson2790]

I love how you said daniil trifonov, who is considered to be one of the best pianist of our age, should learn from a bunch of pupils. He can literally play all transcendental etudes from memory with no mistakes.

[@robert-skibelo]

@Mowskii Taken literally, that is simply a carte blanche to ignore the markings in the score and the known performance practice -- for any piece by any composer. What is the score for if not to tell you how the piece is supposed to be played?

[@cadenzalien4554]

@@robert-skibelo There are many ways of interpreting what the score says depending on the era, place or influence of the composer. There is no "correct" way of interpreting a score, as it doesn't tell you how a piece is supposed to be played; it just gives you an approximation to the idea the composer had in their mind when composing the music.