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Liszt/Busoni: Fantasia and Fugue on the Chorale 'Ad nos, ad salutarem undam' (Tetzloff)
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- čas přidán 14. 08. 2024
- Along with the great B Minor Piano Sonata, this may be the grandest of all of Franz Liszt's keyboard works. Originally composed for the organ in 1850, it is heard here in the spectacular solo piano transcription by Ferruccio Busoni.
The entire work is built around one motif, which Liszt lifted from Meyerbeer's grand opera Le Prophéte. In the opera, a group of proselytizing Anabaptists chants “Come to us, to the saving waters.” It is a reference to their belief in the necessity of re-baptizing those who had been baptized into the church as infants (a practice they deemed heretical). Liszt imbues the Anabaptists' lugubrious C minor theme with a burnished nobility while making some key harmonic alterations, such as the drop of a tritone at 00:10 (a foreshadowing of the overall harmonic plan, with the outer movements both in C minor and the central Adagio a tritone away, in F sharp major?). Liszt's treatment of this material runs the emotional and sonic gamut, from Gothic resplendence to demonic virtuosity, for nearly thirty hair-raising minutes.
It begins with a free Fantasia, recalling the tradition of organ improvisation. After reaching intense heights, Liszt writes a quietly devotional slow movement: the devout heart of the work. A sudden, furious cadenza leads into the fugue (one of Liszt’s favorite forms in large works - used famously in the B Minor Sonata). Ultimately, the architectural rigor of the fugue cannot contain this music, as it soon breaks into furious, unrestrained bravura. The final statement comes in C major - a harmonic summit that thus far had been carefully avoided, reserved for the ending - and the Anabaptists’ theme resounds in triumph.
There are a few passages which I opted to play according to Liszt's original organ score, rather than following Busoni's elaborations: for instance, playing even triplets in the section starting at 3:23, instead of Busoni's more extended arpeggiations, omitting Busoni's added trill at 26:05, and, at the end of the work, playing the more straightforward 6/4 - 5/3 - 4/2 - 5/3 progression written by Liszt (27:31).
00:00 Fantasia
09:22 Adagio
19:24 Fugue
Reed Tetzloff, piano
Website: www.reedtetzlo...
Facebook: / reedtetzloffpianist
Bach, Liszt and Busoni would love your playing. What a great piece and so rarely played today. Thank you.
What about Meyerbeer?
@@eriksatieofficiel xD
@@eriksatieofficiel HIM TOO....!!!! (although... I've never seen the opera... the libretto is FABULOUS...!!!)
Currently my favorite complete performance of the piece, thank you so much!
Insane. I already loved the 4-hand piano version, but this transcription by Busoni is quite a work.
Thanks for sharing your awesome recording of it.
Felicitations! This is simply wonderful.
IN EVERY way... (and I didn't think it would work... and he proved me 100% WRONG!) his playing is so imaginative and his concepts are so thought through.... very impressive... !!!
21:18, this is so amazing, geniusly written. The same passage but at 21:22 the harmony reminds me of Rachmaninoff's harmonic language, in his first sonata in particular.
Busoni's arrangement for solo piano is nearly perfect! He excellently demonstrated Liszt's original ideas in the 4 hands version. However Busoni actually omitted some important parts tho.
Nice video anyway!
What a monster!!!
Thank you for sharing this video. I really enjoyed this piece on the piano.
Wonderful! Thank you!
Beautiful recording. Such a rich and powerful sound you produce! I was hooked from the very first note!
I play this on the organ... it works very well on the piano... and I didn't think it would... you use the pedal in a very grand way as to capture the effects of a LARGE room... BUT without EVER loosing clarity!!!! which MOST descent pipe organ reside in... FANTASTIC performance... (which I can't say about any performance of the piano B minor Sonata on organ... )
Wow! Great finale! This version, IMHO, tries to summarize, in the last chord, all the emotion and overpowering finale of the organ counterpart. And think it fulfills this, big way. The bass notes are impressive, would be interesting to find out if this rendition was played on a Boesendorfer piano, with black keys, which can play C0 notes (16 Hz).
A melhor execução desta obra que já ouvi, de longe. Muito obrigado por compartilhar e parabéns pela execução! Está disponível no Spotify?
To think Liszt played this in 40 minutes and every plays it in 30 nowadays is astonishing
How you know
@@Bozzigmupp Wikipedia page of this piece
When I listen to Lizst I wanna have a big starmetal sword, a horse and lead my music nerd dudes to the better future
Never been a fan of Busoni transcriptions. Never heard one that I’ve liked. Always over the top and sound horribly messy.
Why take a monumental work like the Ad nos ad salutarem undam and try to make it sound even more impressive?? …certainly doesn’t sound as nearly as impressive on the piano.
On a full organ with 32ft reeds is what you want to hear
Liszt himself disagreed, as he wrote a version for 4 hands, and there is also an account of him performing it as a solo piano piece in the 1860s.
@@harlanpiano1279 He also performed it on the great Cavaille-Coll organ at St. Sulpice. I just watched Daniel Roth play it on that Cavaille-Coll earlier today. It was grand and with such grandeur and power. Now, I get to hear it here for the piano, and it sounds absolutely beautiful and majestic. Tetzloff has such a brilliant technique. I am just an awe of his talent.