Liszt - Piano Concerto No. 1 in E flat Major / Remastered (Ct.rc.: György Cziffra, André Vandernoot)
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- čas přidán 23. 07. 2024
- Liszt: Piano Concertos Nos. 1 & 2 by György Cziffra
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Piano Concerto No. 1 in E flat Major, S 124 -
00:00 I. Allegro maestoso (Remastered 2023, London 1961)
05:31 Il. Quasi adagio (Remastered 2023, London 1961)
10:23 III. Allegretto vivace, Allegro animato (Remastered 2023, London 1961)
14:34 IV. Allegro marziale animato (Remastered 2023, London 1961)
Complete Remastered edition (Liszt: Piano Concertos Nos. 1 & 2 by György Cziffra) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, CZcams Music...: • Piano Concerto No. 1 i...
Piano: György Cziffra
Philharmonia Orchestra
Conductor: André Vandernoot
Recorded in 1961, at London
New mastering in 2023 by AB for CMRR
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COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT
The most important innovation of the concertos, however, was the absence of real movements. Although the First Concerto can be divided into four main sections, these follow one another without interruption; in the Second Concerto, there is no division at all. By writing a successful one-movement concerto, Liszt solved a problem that had nagged the Romantics ever since they rebelled against the rigidity of classical forms and their strict movements. Without this rigid form, it was difficult to preserve a sense of unity. Liszt's solution was a "thematic transformation" - a theme reappearing many times in the course of the concerto, each time transformed but recognizable enough to bind the piece together. The idea was not entirely new, since Schubert had used it in his 'Wanderer-Fantasie', and it was suggested by Berlioz's use of repeated motifs ("idée fixe") whereby a particular tune played on a given instrument represents a character. Other composers also toyed with the idea, but Liszt was the first to put it into practice.
Liszt left no room for doubt in his score as to how he wanted his first concerto to open. Above the music, he inscribed marcato (with emphasis), deciso (with firmness) and tempo giusto (exactly in time), and the opening bars are indeed full of decision. The strings abruptly launch into unison in a menacing cascade of firm, brief bow strokes that etch themselves penetratingly into the ear. A strident confusion of brass and woodwinds punctuates this phrase like an exclamation mark, and the strings take up the motif with even greater force, a more strident fanfare providing the punctuation. Clearly, Liszt does not want us to forget these string motifs, which are to form the dominant theme of the concerto.
In contrast to the dynamic First Concerto, the Second Concerto is much more romantic and lyrical in character. It has the bewitching poetic quality of a starry night, though its atmosphere is sometimes sinister. It opens not with a dramatic fanfare, but in a dreamy, romantic vein, with a peaceful, haunting woodwind melody, led by the clarinet and then the oboe, returning to the clarinet, and the theme introduced is destined to play an important role.
The first Cziffra/Vandernoot versions reveal the pianist's exceptional flamboyance and physical commitment...
Liszt: The 15 Hungarian Rhapsodies, Spanish Rhapsody by György Cziffra
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Liszt: Piano Concertos Nos. 1 & 2 by György Cziffra
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Piano Concerto No. 1 in E flat Major, S 124 -
00:00 I. Allegro maestoso (Remastered 2023, London 1961)
05:31 Il. Quasi adagio (Remastered 2023, London 1961)
10:23 III. Allegretto vivace, Allegro animato (Remastered 2023, London 1961)
14:34 IV. Allegro marziale animato (Remastered 2023, London 1961)
Complete Remastered edition (Liszt: Piano Concertos Nos. 1 & 2 by György Cziffra) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, CZcams Music...: czcams.com/video/yHg8BgVBNxs/video.html
Piano: György Cziffra
Philharmonia Orchestra
Conductor: André Vandernoot
Recorded in 1961, at London
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Franz Liszt was a prodigious pianist. No one before him or since has combined to such an extent a dazzling technique, an irresistible charisma and a remarkable intuition for music. When Liszt slipped up to the piano, shook his hair and ran his hands over the keyboard in a sparkling cascade, women swooned and screamed, men wept and other musicians looked awkward by comparison.
But Liszt was much more than a mere curiosity. His mastery of the keyboard was total. Nothing seemed impossible to him. No one quite believed that a man gifted with such powers could also be a true musician, and a tendency arose to see Liszt's piano works as mere pyrotechnics. His two piano concertos, in particular, were the target of less than friendly criticism. Yet they introduced remarkable innovations; their structure is as complex as that of any Romantic concerto; and they contain many passages of great beauty and power.
Liszt had been toying with the idea of composing a piano concerto since the age of nineteen, but he didn't complete his two piano concertos until he was at the peak of his powers. Liszt's dazzling mastery of the keyboard and his love of orchestral effects were behind two of his most important works, the heroic First Piano Concerto and the poetic Second Piano Concerto. Both of these grandiose works feature dazzling piano parts and sumptuous orchestration.
Perhaps the most surprising thing about the concertos is how long it took Liszt to complete them, and how many different versions there are. If Liszt had ever regarded them as showcases of his keyboard talent, he changed his mind and strove to do much more than that, long before he reached the final version. The concertos were not completed until 1849, two years after Liszt had interrupted his tours; the premiere of the Concerto in E-flat took place only six years later, and that of the Concerto in A major, eight years. Moreover, both concertos were extensively revised at least twice in the late 1850s.
The idea of writing a concerto came to Liszt when he was barely nineteen - the natural thing for a virtuoso pianist to do. The idea for the opening theme of the First Piano Concerto can be found in a sketchbook dating back to 1831. It is no coincidence that Liszt had attended the premiere of Berlioz's Symphonie fantastique, which had made such a deep impression on him, only a few months earlier. Liszt's theme certainly borrows a little from the dark, vengeful snarl that had attracted him to Berlioz's music, and the ideas for the Second Piano Concerto undoubtedly date from this same period.
Immediately afterwards, however, in March 1831, Liszt encountered the Paganini phenomenon, and these ideas were abandoned. When he finally returned in the late 1830s, he wrote a number of essays for both concertos - it's even possible that the First Concerto had been completed in one form or another, but these early versions are perhaps no more than could be expected from the "Paganini of the keyboard". They are exercises in virtuosity, and the piano part is incredibly difficult, but they have little more to offer than technical brilliance. Through his use of the orchestra in the concerto, Liszt was striving to find, in Schumann's words, "a new and brilliant way of linking orchestra and piano". Liszt sought to restore a certain balance and make his concerto more "symphonic" - it is significant in this respect that Liszt dedicated the First Concerto to Henry Litolff, a composer who described his own concertos as symphonic concertos.
In Litolff's concertos, the orchestra carried as many musical ideas as the piano itself. Liszt's concerto went further in this direction: not only was the power of the piano matched by that of the orchestra, which exploited the stridency of the brass and all the rhythmic effects at its disposal, but the orchestral instruments were also granted solo passages that rivaled the piano's most lyrical moments.
Of course, Liszt could never neglect ostentatious effects, which he even considered essential in a concerto. When Schumann initially entitled his F minor sonata Concerto sans orchestre, Liszt insisted that a concerto was "a piece intended for public performance", and therefore needed "brilliant expression and grandiose style. In keeping with this idea, Liszt incorporated numerous pianistic fireworks into his concertos.
The most important innovation of the concertos, however, was the absence of real movements. Although the First Concerto can be divided into four main sections, these follow one another without interruption; in the Second Concerto, there is no division at all. By writing a successful one-movement concerto, Liszt solved a problem that had nagged the Romantics ever since they rebelled against the rigidity of classical forms and their strict movements. Without this rigid form, it was difficult to preserve a sense of unity. Liszt's solution was a "thematic transformation" - a theme reappearing many times in the course of the concerto, each time transformed but recognizable enough to bind the piece together. The idea was not entirely new, since Schubert had used it in his 'Wanderer-Fantasie', and it was suggested by Berlioz's use of repeated motifs ("idée fixe") whereby a particular tune played on a given instrument represents a character. Other composers also toyed with the idea, but Liszt was the first to put it into practice.
Liszt left no room for doubt in his score as to how he wanted his first concerto to open. Above the music, he inscribed marcato (with emphasis), deciso (with firmness) and tempo giusto (exactly in time), and the opening bars are indeed full of decision. The strings abruptly launch into unison in a menacing cascade of firm, brief bow strokes that etch themselves penetratingly into the ear. A strident confusion of brass and woodwinds punctuates this phrase like an exclamation mark, and the strings take up the motif with even greater force, a more strident fanfare providing the punctuation. Clearly, Liszt does not want us to forget these string motifs, which are to form the dominant theme of the concerto.
In contrast to the dynamic First Concerto, the Second Concerto is much more romantic and lyrical in character. It has the bewitching poetic quality of a starry night, though its atmosphere is sometimes sinister. It opens not with a dramatic fanfare, but in a dreamy, romantic vein, with a peaceful, haunting woodwind melody, led by the clarinet and then the oboe, returning to the clarinet, and the theme introduced is destined to play an important role.
The first Cziffra/Vandernoot versions reveal the pianist's exceptional flamboyance and physical commitment...
Liszt: The 15 Hungarian Rhapsodies, Spanish Rhapsody by György Cziffra
🎧 Qobuz bit.ly/3lAtx4A Apple Music apple.co/3oVvhHC
🎧 Amazon Music amzn.to/44Y1HUw Tidal bit.ly/3AEdpD3
🎧 Deezer bit.ly/3klaBFQ Spotify spoti.fi/2YQHpyK
🎧 CZcams Music bit.ly/3pDlGYt SoundCloud bit.ly/3BvAMQC
🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本...
Enfant prodigue sans doute devenu un pianiste à la sidérante vélocité 🎹 ..et il en faut pour jouer Franz LISZT 👂🤙👆👇👈👋 Chameau bas Monsieur CZIFFRA f R a N c I n E
Unforgettable memories from Saint Frambourg 's chapel Senlis ⚜️France 🇫🇷 shared on my facebook 🙏✨️🕊💙
If it's up to me, Cziffra is the best interpret of Liszt.
He was Liszt incarnate....
He was truly exceptional, but he can't beating Richter's interpretations of this piece and especially the sonata in B minor
Complete Remastered edition (Liszt: Piano Concertos Nos. 1 & 2 by György Cziffra) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, CZcams Music...: czcams.com/video/yHg8BgVBNxs/video.html
Franz Liszt was a prodigious pianist. No one before him or since has combined to such an extent a dazzling technique, an irresistible charisma and a remarkable intuition for music. When Liszt slipped up to the piano, shook his hair and ran his hands over the keyboard in a sparkling cascade, women swooned and screamed, men wept and other musicians looked awkward by comparison.
But Liszt was much more than a mere curiosity. His mastery of the keyboard was total. Nothing seemed impossible to him. No one quite believed that a man gifted with such powers could also be a true musician, and a tendency arose to see Liszt's piano works as mere pyrotechnics. His two piano concertos, in particular, were the target of less than friendly criticism. Yet they introduced remarkable innovations; their structure is as complex as that of any Romantic concerto; and they contain many passages of great beauty and power.
Liszt had been toying with the idea of composing a piano concerto since the age of nineteen, but he didn't complete his two piano concertos until he was at the peak of his powers. Liszt's dazzling mastery of the keyboard and his love of orchestral effects were behind two of his most important works, the heroic First Piano Concerto and the poetic Second Piano Concerto. Both of these grandiose works feature dazzling piano parts and sumptuous orchestration.
Perhaps the most surprising thing about the concertos is how long it took Liszt to complete them, and how many different versions there are. If Liszt had ever regarded them as showcases of his keyboard talent, he changed his mind and strove to do much more than that, long before he reached the final version. The concertos were not completed until 1849, two years after Liszt had interrupted his tours; the premiere of the Concerto in E-flat took place only six years later, and that of the Concerto in A major, eight years. Moreover, both concertos were extensively revised at least twice in the late 1850s.
The idea of writing a concerto came to Liszt when he was barely nineteen - the natural thing for a virtuoso pianist to do. The idea for the opening theme of the First Piano Concerto can be found in a sketchbook dating back to 1831. It is no coincidence that Liszt had attended the premiere of Berlioz's Symphonie fantastique, which had made such a deep impression on him, only a few months earlier. Liszt's theme certainly borrows a little from the dark, vengeful snarl that had attracted him to Berlioz's music, and the ideas for the Second Piano Concerto undoubtedly date from this same period.
Immediately afterwards, however, in March 1831, Liszt encountered the Paganini phenomenon, and these ideas were abandoned. When he finally returned in the late 1830s, he wrote a number of essays for both concertos - it's even possible that the First Concerto had been completed in one form or another, but these early versions are perhaps no more than could be expected from the "Paganini of the keyboard". They are exercises in virtuosity, and the piano part is incredibly difficult, but they have little more to offer than technical brilliance. Through his use of the orchestra in the concerto, Liszt was striving to find, in Schumann's words, "a new and brilliant way of linking orchestra and piano". Liszt sought to restore a certain balance and make his concerto more "symphonic" - it is significant in this respect that Liszt dedicated the First Concerto to Henry Litolff, a composer who described his own concertos as symphonic concertos.
In Litolff's concertos, the orchestra carried as many musical ideas as the piano itself. Liszt's concerto went further in this direction: not only was the power of the piano matched by that of the orchestra, which exploited the stridency of the brass and all the rhythmic effects at its disposal, but the orchestral instruments were also granted solo passages that rivaled the piano's most lyrical moments.
Of course, Liszt could never neglect ostentatious effects, which he even considered essential in a concerto. When Schumann initially entitled his F minor sonata Concerto sans orchestre, Liszt insisted that a concerto was "a piece intended for public performance", and therefore needed "brilliant expression and grandiose style. In keeping with this idea, Liszt incorporated numerous pianistic fireworks into his concertos.
The most important innovation of the concertos, however, was the absence of real movements. Although the First Concerto can be divided into four main sections, these follow one another without interruption; in the Second Concerto, there is no division at all. By writing a successful one-movement concerto, Liszt solved a problem that had nagged the Romantics ever since they rebelled against the rigidity of classical forms and their strict movements. Without this rigid form, it was difficult to preserve a sense of unity. Liszt's solution was a "thematic transformation" - a theme reappearing many times in the course of the concerto, each time transformed but recognizable enough to bind the piece together. The idea was not entirely new, since Schubert had used it in his 'Wanderer-Fantasie', and it was suggested by Berlioz's use of repeated motifs ("idée fixe") whereby a particular tune played on a given instrument represents a character. Other composers also toyed with the idea, but Liszt was the first to put it into practice.
Liszt left no room for doubt in his score as to how he wanted his first concerto to open. Above the music, he inscribed marcato (with emphasis), deciso (with firmness) and tempo giusto (exactly in time), and the opening bars are indeed full of decision. The strings abruptly launch into unison in a menacing cascade of firm, brief bow strokes that etch themselves penetratingly into the ear. A strident confusion of brass and woodwinds punctuates this phrase like an exclamation mark, and the strings take up the motif with even greater force, a more strident fanfare providing the punctuation. Clearly, Liszt does not want us to forget these string motifs, which are to form the dominant theme of the concerto.
In contrast to the dynamic First Concerto, the Second Concerto is much more romantic and lyrical in character. It has the bewitching poetic quality of a starry night, though its atmosphere is sometimes sinister. It opens not with a dramatic fanfare, but in a dreamy, romantic vein, with a peaceful, haunting woodwind melody, led by the clarinet and then the oboe, returning to the clarinet, and the theme introduced is destined to play an important role.
The first Cziffra/Vandernoot versions reveal the pianist's exceptional flamboyance and physical commitment...
Very good remaster
Wunderschöne und spannende Interpretation dieses romantischen und perfekt komponierten Konzerts mit klar artikuliertem Klang des technisch fehlerlosen Soloklaviers sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der letzte Satz echt lebhaft und auch begeisternd. Der intelligente und erfahrene Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit dramatischer Dynamik. Wundervoll und atemberubend zugleich!
Simply wonderful, and thank you.
Bravissimo!!!❤❤❤👋👋👋🌹🌹🌹
Acabo de escucharlo, increíble orquestación, Liszt era un maestro en esta area, es una obra muy alegre y victoriosa, y el piano no es decirse de menos, Györgi Cziffra parecía interpretar a Liszt como ningún otro, tenía una rapidez brillante que parece difícil de igualar, el hecho de que estos 2 conciertos duren entre 18 y 22 minutos hace que el tiempo pase rápido al escucharlos, me voy a escuchar el segundo.
Je connais cette pièce mais ne savais pas mettre un nom dessus. Merci beaucoup de m'avoir élucidée.
C'est magnifique.
Sincères remerciements et salutations de Montréal, Qc, Canada
Grande Cziffra. No solo posee un virtuosismo impresionante, sino una musicalidad que sobrepasa cualquier standard 👏👏👏
Thanks!
You can only see Cziffra's rapid running finger shadows on the piano keys even sitting at the second row from the performance stage right in front of the piano keyboard.