There is a single-piano transcription of it, which also has modern recordings, and Liszt was doubtlessly practiced enough in technique to carry it off. Liszt was a "bit" (lol) of a show-off, doing things for the looks rather than even the sound (our modern pianos give it a better sound than the pianos of his era), and had a fan craze around him for it -- kind of like the solo rock star of his era. Per sheer attribution, it looks like Liszt penned both transcriptions. If someone has documentation otherwise, please let us know.
@@SeekingTheLoveThatGodMeans7648 This comment is unfortunately extremely inaccurate. The piece was in fact written as a work for solo piano, in which form it has been widely recorded, unlike this version for twp pianos. It's considered one of Liszt's great works of free re-creation of another composer's music -- a synthesis and expansion of material from many parts of Mozart's opera. The word "transcription" is totally inappropriate and highly misleading for this work, especially as Liszt did in fact make many genuine note-for-note piano transcriptions, among them of all 9 Beethoven symphonies, Berlioz's Symphonie Fantastique and Wagner's Tannhauser overture and the Liebestod from Tristan und Isolde. The comments about Liszt's being a "show-off", not to mention the negative comments about the pianos for/on which he composed, show the lingering effects of the mid-20th century cliches about the music of this great composer which one hoped had been tossed into the garbage long ago.
It sounded more different than the piano solo version. All I could say is that this 2 pianos version added some type of orchestral sound to this Reminiscences. We actually have nothing to do for a piano solo that can sound like this orchestrally (idk if that's a word lmao). I do prefer listening to both, and there are some differences hearable to both piano solo and this version.
(Repost after an edit or two and an internet connection crash. Thank you for your original recognition, Mezzo. Please wait about an hour before doing it again if you do... thanks lol.) The Don Juan opera itself was quite notable in its day (like who else puts a full go-to-hell scene in an opera?) so this was Liszt's show stealer (or show promoter, depending on how you look at it) from Mozart. Not that Liszt was any slouch in general. Liszt truly deserves to be looked at like we look at our modern rock stars who go ALL over the guitar. I mean, even Liberace with his glittery acts paled next to Liszt. It's a "what hath God wrought" moment. (The devil never created anything new, in spite of being credited for prodigies like this; he has to steal from God.) I am a 50 year veteran of piano playing and even getting near this is crazy hard, with many pianists blowing out their carpal tunnel doing so (I stayed conservative enough that I never did, save for one scary incident of spasm that I thought would knock me out of the game but didn't). IMHO this piece is for young, strong pianists. Not old dogs like me. I've often wondered if Liszt would, too, have busted a carpal tunnel if he had sat at a modern Steinway or any modern mainstream make of piano, not just bringing a single piece like this up to performance but doing it over and over and over. Modern pianos were designed to allow a better sound to be brought out -- and they undeniably do, but at the cost of putting in more effort to play a keyboard that affords that better sound. The key displacement response of the keyboard now requires a higher pressure, this being something that's built into the piano and can't be easily changed, even by any common pedal operated mechanism. The old experience might actually be better duplicated by sitting at a now-inexpensive "semi weighted" digital keyboard, with its sound also turned low. And this might be long winded, but it's to say that an OMG reaction to this score isn't entirely unwarranted by the modern pianist. Kudos indeed to those who still manage it. Power counts here, a thing that literally took me decades to bring to a maximum after a late start at the piano in general, along with the fat mitts and wrists I now have, and a less-than-virtuoso texture is very understandable (and happily, almost moot anyhow for this kind of fireworks). My guess is that these pianists are still fairly young and may be unable to duplicate this on a modern piano in another decade, carpal tunnel or no.
Well it is. And it's going to depend on the coordination level of the particular pianist whether a left hand trill of the kind in measure 3 can be carried out with any decency whilst holding a chord too. I'd have scored it and other trill measures, at the least, with ossias (for both parts of the duet) to make it easier for right handed pianists. There's so much overlap anyhow that there'd be virtually no audible difference. But again is this really for the sound or for the show?
I personally liked it though. Slight rubato makes it sounds playful and lighthearted. However yes, I agree that it could have been more light in touch.
Wow, interesting version of the fantasy, and amazing LIszt did it. The performers are rock solid together but the tempi are way too slow. The Presto 2/4 for the Fin ch'han dal vino aria needs to move in 1....it's the fierce "credo" of Don Giovanni. Most baritones do it like a crazed deranged man on cocaine with the patter. Even the La' ci darem la mano duet themes are a touch too slow and polite....the tempo comes from the Italian, not the notes on the page. It should be in medium 2, not pulse in leisurely 4 (but can be conducted in 4 for clarity, you just have to move it a bit.) And the "Andiam, andiam" 6/8 section is them running off together to consummate things. Giovanni is stalking and seducing Zerlina, and there is a lot of tension in this scene as she's alternately attracted and repelled. It's not a sweet love song. Again, where the stresses fall in the Italian will tell you what tempo Mozart was thinking when he wrote it. La', the verb darem and the noun mano are important, not ci and the definite article la. As we know from contemporary written accounts, Mozart's tempi at the premiere were blisteringly fast and exciting....it all moves at the speed of the language.
Legends say, that Liszt could play this piece with one piano
There is a single-piano transcription of it, which also has modern recordings, and Liszt was doubtlessly practiced enough in technique to carry it off. Liszt was a "bit" (lol) of a show-off, doing things for the looks rather than even the sound (our modern pianos give it a better sound than the pianos of his era), and had a fan craze around him for it -- kind of like the solo rock star of his era. Per sheer attribution, it looks like Liszt penned both transcriptions. If someone has documentation otherwise, please let us know.
@@SeekingTheLoveThatGodMeans7648 This comment is unfortunately extremely inaccurate. The piece was in fact written as a work for solo piano, in which form it has been widely recorded, unlike this version for twp pianos. It's considered one of Liszt's great works of free re-creation of another composer's music -- a synthesis and expansion of material from many parts of Mozart's opera. The word "transcription" is totally inappropriate and highly misleading for this work, especially as Liszt did in fact make many genuine note-for-note piano transcriptions, among them of all 9 Beethoven symphonies, Berlioz's Symphonie Fantastique and Wagner's Tannhauser overture and the Liebestod from Tristan und Isolde. The comments about Liszt's being a "show-off", not to mention the negative comments about the pianos for/on which he composed, show the lingering effects of the mid-20th century cliches about the music of this great composer which one hoped had been tossed into the garbage long ago.
It’s incredibly satisfying to hear a recording where both pianos are locked absolutely perfectly together in sync
12:25 is the best for me
It sounded more different than the piano solo version. All I could say is that this 2 pianos version added some type of orchestral sound to this Reminiscences. We actually have nothing to do for a piano solo that can sound like this orchestrally (idk if that's a word lmao). I do prefer listening to both, and there are some differences hearable to both piano solo and this version.
(Repost after an edit or two and an internet connection crash. Thank you for your original recognition, Mezzo. Please wait about an hour before doing it again if you do... thanks lol.)
The Don Juan opera itself was quite notable in its day (like who else puts a full go-to-hell scene in an opera?) so this was Liszt's show stealer (or show promoter, depending on how you look at it) from Mozart. Not that Liszt was any slouch in general. Liszt truly deserves to be looked at like we look at our modern rock stars who go ALL over the guitar. I mean, even Liberace with his glittery acts paled next to Liszt. It's a "what hath God wrought" moment. (The devil never created anything new, in spite of being credited for prodigies like this; he has to steal from God.) I am a 50 year veteran of piano playing and even getting near this is crazy hard, with many pianists blowing out their carpal tunnel doing so (I stayed conservative enough that I never did, save for one scary incident of spasm that I thought would knock me out of the game but didn't).
IMHO this piece is for young, strong pianists. Not old dogs like me. I've often wondered if Liszt would, too, have busted a carpal tunnel if he had sat at a modern Steinway or any modern mainstream make of piano, not just bringing a single piece like this up to performance but doing it over and over and over. Modern pianos were designed to allow a better sound to be brought out -- and they undeniably do, but at the cost of putting in more effort to play a keyboard that affords that better sound. The key displacement response of the keyboard now requires a higher pressure, this being something that's built into the piano and can't be easily changed, even by any common pedal operated mechanism. The old experience might actually be better duplicated by sitting at a now-inexpensive "semi weighted" digital keyboard, with its sound also turned low.
And this might be long winded, but it's to say that an OMG reaction to this score isn't entirely unwarranted by the modern pianist. Kudos indeed to those who still manage it. Power counts here, a thing that literally took me decades to bring to a maximum after a late start at the piano in general, along with the fat mitts and wrists I now have, and a less-than-virtuoso texture is very understandable (and happily, almost moot anyhow for this kind of fireworks). My guess is that these pianists are still fairly young and may be unable to duplicate this on a modern piano in another decade, carpal tunnel or no.
0:02 Grave
3:06 Duetto Andantino
6:17 Variation I
9:37 Variation II
12:07 Presto
Another gem that I didn't know about!!! Great!!
epic!! thanks for doing the request :)
You’re very welcome!
Bello 🎼🎶🎶🎶🇮🇷 🎹 🎹 🖐️
It's more doable on 2 pianos :D, but it's also more challenging to perform :)
Exelente ❤️🇮🇷🥇🖐️
Lmao imagine writing a piece so hard that it's difficult even on two pianos
Well it is. And it's going to depend on the coordination level of the particular pianist whether a left hand trill of the kind in measure 3 can be carried out with any decency whilst holding a chord too. I'd have scored it and other trill measures, at the least, with ossias (for both parts of the duet) to make it easier for right handed pianists. There's so much overlap anyhow that there'd be virtually no audible difference. But again is this really for the sound or for the show?
This version could serve as a perfect template to orchestrate the whole thing.
❤ fotografia ??????🎹🇮🇷 Exelente!!!!!
00:44 2:08 2:28 3:05 3:15 3:33 3:46 4:28 4:43 5:22 5:30 5:43 5:50 6:09 6:15 10:37
Nice
My nitpick is a more light and agile playing in the that quick falling passage near the end of the duet (scherzando). Sounds too heavy.
I personally liked it though. Slight rubato makes it sounds playful and lighthearted. However yes, I agree that it could have been more light in touch.
Impressive but I tend to be put off by 4-hand piano arrangements. I'm just used to one piano.
12:07
The duo version sounds light and without a worry in the world whilst the solo version sounds deep and haunting.
Based! I didn't know about this arrangement until now. Thanks for the upload!
10:34
Who arranged this for 2 pianos?
Who are the pianists playing this version?
Very brillusntly orchestral.. 👍👍👍
Liszt arranged this himself! The pianists names are in the description.
@@mezzzzzzzzo Did Liszt himself also arrange the Norma fantasy for 2 pianos as well?
9:38
12:07 13:49
1:27
😂 gracias 🇮🇷💕✅ 🎁
Pianistas. ? 😅
🧨🎹?????????????????🇮🇷
Wow, interesting version of the fantasy, and amazing LIszt did it. The performers are rock solid together but the tempi are way too slow. The Presto 2/4 for the Fin ch'han dal vino aria needs to move in 1....it's the fierce "credo" of Don Giovanni. Most baritones do it like a crazed deranged man on cocaine with the patter. Even the La' ci darem la mano duet themes are a touch too slow and polite....the tempo comes from the Italian, not the notes on the page. It should be in medium 2, not pulse in leisurely 4 (but can be conducted in 4 for clarity, you just have to move it a bit.) And the "Andiam, andiam" 6/8 section is them running off together to consummate things. Giovanni is stalking and seducing Zerlina, and there is a lot of tension in this scene as she's alternately attracted and repelled. It's not a sweet love song. Again, where the stresses fall in the Italian will tell you what tempo Mozart was thinking when he wrote it. La', the verb darem and the noun mano are important, not ci and the definite article la. As we know from contemporary written accounts, Mozart's tempi at the premiere were blisteringly fast and exciting....it all moves at the speed of the language.
13:43
12:20