Liszt: Années de pèlerinage, Year 2 - Italy, S.161 (Piemontesi, Gorus)

Compared to Year 1, the second book of the Années de pèlerinage is less focused on textural intricacy, more lyrically concentrated - the three Petrarch sonnets, the centerpiece of the set, all contain stunning melodies which integrate harmonic colour in really fun ways. Book II’s works are also considerably more expansive: only one of them can be called a miniature, and this book’s counterpart to Year 1’s Vallee de Obermann, the Dante Sonata, is also correspondingly more ambitious and sweeping in scope (it gets its separate video, so don’t worry that it isn’t here!). Even the opening work, Sposalizio, features a good deal of thematic transformation/combination, deployed to generate an air of (sometimes intimate, sometimes joyous) reverence.
Piemontesi is warm, melody-focused (especially in the sonnets), and exceptionally well-controlled. Gorus is neurotic in the best Horowitzian sense - so much unexpected detail leaps to the fore, so much playful & expressive extremity. A good example of the different approaches is the B section of Sposalizio (4:12; 40:00) - Piemontesi produces a lovely RH dolce and keeps the LH fairly measured, while Gorus gives the LH a fair bit of rubato (generally speeding up slowing down within the space of a bar). Gorus also lets the LH at the climax at Sonnet 104 (1:01:27) dramatically surge and retreat, while Piemontesi more clearly subordinates it to the melody. Another neat contrast is between their renditions of the Canzonetta - Piemontesi is lithe, rhythmically precise, and even a little funny, while Gorus is faster, looser with the dotted rhythms, more festive.
Both Piemontesi and Gorus have some spectacular voicings - at 1:02:00 in Sonnet 104 there’s the emergence of a beautiful lower line in the RH (you’ll miss this now whenever you hear a recording that doesn’t pull it out); and at 26:52 in the ending of the same work Piemontesi goes from emphasising the top to the bottom voice of the chain of descending thirds. In general, though, Gorus is much freer. Sometimes it’s in the way he lets the music come to nearly total halt (1:09:12 in Sonnet 123), anti-metrical, parlando phrasing (the first statement of Sonnet 104’s theme at 58:48), or even in small things like variation in the way arpeggios are placed (51:23 - the first three arpeggios three start on the beat, the fourth before).
Piemontesi
00:00 - Sposalizio
07:20 - Il Penseroso
12:15 - Canzonetta del Salvator Rosa
15:19 - Sonetto 47 del Petrarca
21:21 - Sonetto 104 del Petrarca
27:37 - Sonetto 123 del Petrarca
Gorus
34:54 - Sposalizio
43:30 - Il Penseroso
48:12 - Canzonetta del Salvator Rosa
51:08 - Sonetto 47 del Petrarca
58:11 - Sonetto 104 del Petrarca
1:05:38 - Sonetto 123 del Petrarca

[@AshishXiangyiKumar]

1 - Sposalizio, E major. A very tightly constructed piece, comprising three principal ideas, two of which are beautifully combined in the dramatic peak of the work. It’s always a bit baffling how so many of Liszt’s most rigorously constructed works sound so organic. In any case, this is rightly considered one of the peaks of the AdP - the use of harmony and texture is nothing less than masterful (no wonder Debussy cribbed the pentatonic figuration for his first Arabesque). A brief structural outline: A section 00:00 - A pentatonic (P*) and falling/rising (FR*) motif are introduced. 00:39 - P* is developed via a set of ethereal harmonic shifts. The bass moves downward in whole tones (mm. 9-17). We reach a climax in E. 01:41 - Theme 1 is introduced (m.30). Combines FR* with an intervallically inverted P* in the LH (the latter also uses FR*’s rhythm). Cadences in B. 02:14 - Theme 2, in G (m.38). At m.46 hints of P* appear in the inner voice, before P*drifts fully into view at m.50. 03:51 - Transition. P*, having dominated the texture for a while, gets further development in an appassionato passage. Two statements of FR* lead to B section 04:12 - P* (LH) and theme 2 (RH) are combined (m.77). The music grows in intensity, leading to a glorious restatement. At 5:22 (m.106) P* crashes down the keyboarding, leading to a long closing section using FR*. Coda 06:15 - P* in RH, Theme 2 in LH (a reverse of the distribution in the B section). Closes with a vi-I cadence, repeated twice. 2 - Il Penseroso, C# minor. A massive development of a single idea in an extended binary (AA’) form. The use of stark chromatic mediant modulations between minor keys is pretty striking, as is the extended modulatory sequence starting at m.14. The repeat at m.23 features a grinding quaver bassline and adds in the “missing” minor harmony from the first part (Bbm, complementing C#m, Em, and Gm by filling in the space of the background diminished 7th harmony). Ferociously clever stuff, but what you hear is a concentrated, inbent funeral march. 3 - Canzonetta del Salvator Rosa. The only work in the set that might be called a miniature - a straightforward (but very nice!) transcription of a song Liszt heard (by Giovanni Bononcini, actually, not Salvator Rosa). The counterpoint in this (13:42) is very pleasing. 4 - Sonetto 47 del Petrarca. 15:20: Introduction. Harmony moves up a chain of major 3rds. A Section 15:54, m.12: Theme 1, moving from D to G. 17:15, m.36: Theme 1 repeated in G. Develops to a climax, with the lead-up featuring some very nice harmonic movement (mm.45.47). 18:54, m.62 - C. Theme 1 repeated a third time in E. B Section 19:16, m.69 - Theme 2, in Db. The introductory material makes a brief appearance. Coda 20:15, m.85 - The introductory material makes one last appearance, followed by Theme 1. 5 - Sonetto 104 del Petrarca. 21:21: Introduction. Exposition 21:48, m.7 - Theme in E. Integrates some very beautiful and unexpected modulations. 22:45, m.21 - Theme, repeated over arpeggio accompaniment (Var.1). The consequent phrase moves dramatically to G#m before returning to E. 23:54, m.36 - Theme, repeated in an appassionato climax (Var.2). The consequent phrase is missing; instead we get Development 24:27, m.47 - Theme’s antecedent phrase developed in C#, moving to Em and G (Var.3) . A deceptive closing cadence in G (using the melodic contour from m.9 - Fx-G#-C#-B) leads to 25:18, m.58: Em. The consequent phrase developed contrapuntally. 25:54, m.64: A new theme is introduced in E (it has actually been anticipated in m.5). Coda 26:25 - A condensed version of the theme (recalling its passing augmented harmony) closes. We get one plagal cadence, then a second one using the b6 that has given the theme so much colour. 6 - Sonetto 123 del Petrarca. 27:38 - Introduction 28:42, m.15 - Theme 1 in Ab. Consequent moves into Gb. 29:52, m.30 - Theme 2 in Gb, cadencing in E. Development 30:44, m.41 - Theme 1, in C. Modulates, becoming more agitated and pausing on the dominant of the home key. The section beginning from 31:29 recalls the melodic outline of Theme 2. Recap 32:10, m.60 - Theme 1 in Ab. Coda 32:55, m.68 - Recalling the introduction. 33:33, m.75 - Last recollection of Theme 1. 33:59, m.80 - A chromatic mediant/tonic swing closes.

[@mythun6735]

Sposalizio is so beautiful and one of my favorites, but I never noticed the similarities to the Debussy until you pointed it out.

[@chessematics]

Why did you delete the Rubinstein recording of G minor Ballade ? Miss it so much!

[@MasaruOkada]

Mr.Ashish Xiangyi Kumar, Hello, I’m pianist Masaru Okada, who played Liszt: Réminiscences de Don Juan, that you posted with the music score. kzbin.info/www/bejne/gHqZe5mAjciIoLc I would like to ask you please put also my first name “Masaru” on the title of this movie. Thank you, Best regards, Masaru Okada

[@AshishXiangyiKumar]

@@MasaruOkada Done!

[@fredericchopin4821]

The Petrarch Sonnets are painfully beautiful and lush pieces of music. All of them paint images of timelessness and solitude in the listener’s mind.

[@jaiachin9579]

Wow, Chopin! You enjoy Liszt?

[@MiScusi69]

You should also read the original sonnets in Italian!

[@timward276]

I played the Canzonetta del Salvador Rosa for a friend's wedding many years ago: I slowed it down to wedding-march tempo, and filled out some of the chords; it worked surprisingly well.

[@Schubertd960]

Wow I'd heard the Petrarch sonnets before but never the rest of the 2nd year. Sposalizio was an unexpected marvel.

[@maquina7002]

I love this collection of Liszt’s works, they are mesmerizingly gorgeous. I appreciate this Ashish, thanks!!

[@cadenzalien4554]

Wow, I’ve never noticed how similar Debussy’s first Arabesque is to the Sposalizio. Especially 4:12 and 6:22, I think the influence is quite clear.

[@GICM]

as said by a commenter in Noah Johnson's video on the piece; Liszt is to impressionism what Beethoven is to Romanticism

[@alanleoneldavid1787]

@@GICM Liszt to basically every XX Century style. Bartok, Schoenberg, Rachmaninoff, scriabin , Debussy ,Ravel,

[@goldengrat1066]

You beat me to it!

[@appearance_]

Thanks for the years of great uploads, Ashish. You've helped me discover many masterpieces

[@chickendogger]

Lets goooo another exquisite video from the best classical channel on Yt

[@stravinskyfan]

The worst

[@linkinthegame2574]

What a truly gem of music. I love Liszt

[@timward276]

If I were to rank my favorite pieces by Liszt, Sposalizio's definitely in the top 3, along with Paganini 6 and Benediction. Such a gorgeous melody. I love the way the opening motif comes back in diminution later on (especially at the end, like gently falling raindrops). I never noticed the connection between this piece and Debussy's first Arabesque, but I see it now.

[@eriksatieofficiel]

If you like "Il Penseroso", consider listening to "La Notte", where Liszt reuses this piece and adds a marvelously beautiful middle section. Liszt wanted "La Notte" to be played to his funeral, but Cosima didn't do it.

[@PieInTheSky9]

Il Penseroso almost feels incomplete to me without that middle section added in La Notte.

[@jakobhedman836]

I really enjoyed the first piece of the set!

[@gabriellewashere7353]

Now my day’s off to a great start, ty for the upload

[@giorgiociomei5030]

Ho sentito tutto il secondo anno di pellegrinaggio suonato da Piemontesi, esecuzione eccezionale, lo fa parlare quel pianoforte!

[@nestor4249]

I‘d be so happy to hear Liszt‘s transcriptions of all Beethoven Symphonies for piano solo on this channel. It’s like the cooperation of two geniuses. Are you maybe interested in such a playlist?

[@FrostDirt]

I don't think it's much of a musical wonder, except maybe some passages with very genius orchestral texture. Also the only good recording is Katsarsis'

[@PieInTheSky9]

I think Liszt solves the problem of bringing full orchestral pieces to solo piano in very clever ways. Liszt's goal was to make direct transcriptions though, for the wider audience to be able to enjoy these symphonies.

[@chrisy367]

Absolutely amazing! Can't wait for year 1 and 3

[@segmentsAndCurves]

Year 1 is already up

[@chrisy367]

@@segmentsAndCurves oh actually yes i didn't even notice thank you!

[@abderxd1345]

I loved this one 💘

[@cristinabaritchi4767]

Bravo!

[@angelob.1089]

53:54 - that was brilliantly executed.

[@antoniovandoni5410]

Maravilla musical.

[@atha5469]

Thank you ❤

[@TheShinee000]

굉장히 정열절인 연주 잘 들었어요 브라보^^

[@PieInTheSky9]

Hope Yunchan Lim records this set. His playing of the Transcendental etudes at the Van Cliburn competition was quite stunning.

[@BBB-hi4hc]

Don't know if you're already know but there is a performance of him playing this sets

[@polotrav3439]

I just began this piece. What a coincidence!

[@GICM]

15:54 huh never seen that kind of time signature before

[@dwacheopus]

I loce discovering more of liszt by just meeting up with such his unknown (for me) pieces

[@pijlenboog23]

24:00 😳

[@barney6888]

Your generously informative videos are great, thank you very much. Have you hears the Malcuzynski/Rowicki (not Kletzki) with the Polish National do the Rach 3? The rising string section at the climactic part in 3 mvt has a skiddering effect in the 1sts that gets lost on every other recording I've heard. Worth owning for those few seconds alone. (I haven't heard the Kletzki yet)

[@CatkhosruShapurrjiFurabji]

Epic

[@stefanocerato6931]

🥰🥰

[@Leopold_Godowsky]

Just like Chopin’s!

[@SovietMaster]

Great Video! I find Piemontesi spectacular. One question: why Dante sonata isn't included? Many thanks

[@elrichardo1337]

read the description - he uploaded a few performances of it in a separate video

[@SovietMaster]

@@elrichardo1337 oops my bad. Thanks for pointing that out!

[@junleng6301]

Hi there! A bit of an unrelated question but how do you get such high quality images (relatively speaking) for your videos? I have to screenshot images from PDFs, but that usually results in some loss of quality which is a little irritating. Also I just realised you're from Singapore as well, wow! Nice to meet you here 👋

[@Damian_Theodoridis]

pls make another video its been 6 months

[@Tizohip]

26:54 boa harmonia

[@segmentsAndCurves]

A little Q: What about the supplements?

[@anaghshetty]

Patience, child.

[@PieInTheSky9]

Wait, I could have sworn the tarentella was part of this set, or am I going crazy?

[@GICM]

it's part of the Supplement

[@CarmenReyes-em9np]

Ya lo tengo.

[@andresbolivar6959]

Can you please upload Schumann Carnaval?

[@GICM]

whoa no premiere?

[@CatkhosruShapurrjiFurabji]

More like whoa no baron

[@FirstGentleman1]

You mean the first year Switzerland? But that was already uploaded on the channel a couple of weeks ago. You will find it real soon by checking the channel.

[@GICM]

@@FirstGentleman1 he means lakes and oranges

[@Tachometrically]

16:22-16:36 Sounds a lot like Rach, interesting how ahead Liszt was

[@samaritan29]

How can Liszt be 'ahead' when Rachs music was quite anachronistic in the first place

[@Tachometrically]

@@samaritan29 I mean I am admittedly no expert, but I would be remiss to characterize Rachmaninoff's music as anachronistic, but I see your point

[@samaritan29]

@@Tachometrically Sure - just wanted to confirm that rach was no pioneer or "trail-blazer" of piano music but was rather a man who managed to synthesize the romantic russian style of piano playing (rubinstein, taneyev, arensky - all of whom were no doubt influenced by liszt) in his own idiomatic way

[@TempodiPiano]

What about the dante sonata? 😢

[@TempodiPiano]

The set is well built into three parts, art, sonetti, sonata.

[@GICM]

"(it gets its seperate video, so don't worry that it's not here!)" well in fact it was _already_ uploaded before this one

[@WEEBLLOM]

@@TempodiPiano art?

[@5un5hine73]

I hope you're doing well

[@collinm.4652]

3 years since the last Rachmaninov upload. Any plans for him? 👀👀

[@AshishXiangyiKumar]

All 5 piano concertos + all the remaining piano works not already on this channel. So yes!

[@collinm.4652]

@@AshishXiangyiKumar Can’t wait! 4th concerto is such an underrated piece and way deserves more attention.

[@artofsmile6954]

@@collinm.4652 Yes. Also the 1st concert is such a masterpiece. It's not known but it is so nice. I discovered it for my self, even planned to play it with orchestra on a conpetiti9n but then changed to prokofiev 1st concerto

[@axyspianostudio]

@@AshishXiangyiKumar there- there were 5?-

[@ulysse__]

​@@axyspianostudio 4 "official" concertos + the panini rhapsody :))

[@stefanbernhard2710]

I'd bet Debussy referenced this for his Arabesque no.1

[@Tachometrically]

23:27-23:36 Chopin moment

[@user-jq7bl2er4n]

Early Chopin style

[@dawlims1334]

i need some bartok and more rachmaninoff contents pls😭😭

[@handledav]

hi

[@handledav]

sp

[@Tachometrically]

22:45 Why does no other composer sound like this?

[@neciv1796]

chopin used this pattern thousand times lmao

[@handledav]

ra

[@GangrelDj]

Yôtoshite burning hell awaits led Kashmir little illusion Tsuki postmortem no quick

[@HungryFN]

Where is the scriabin I've been longing for

[@predrop]

guy also watches levy huh

[@vincentedelmond5404]

Liszt art is in composing Czerny like Hannon like Kramer like exercises and etudes added with some melodies techniques and virtuosity the moment you make him a Schubert like or Chopin like or Brahms like musician you totally expose him cause he has no musical continuity he cannot even form a sentence of music

[@themobiusfunction]

No

[@user-jq7bl2er4n]

I agree. Liszt is genius in making beautiful harmonies and Melodies, but his musical structure is so empty compared to Chopin, Schumann or Brahms. Liszt heavily relies on big base notes to fill the blank sound, while Chopin, Schumann, and Brahms fill that blank with complicated counterpoints.