There are moments of sublime terror in the music ... like a thunderstorm rolling down the Alps ... or a man gazing into the abyss, and seeing the abyss gaze back into him.

One of the greatest solo piano recordings of all time.... up there with Hofmann's Chopin Ballade 4, Rachmaninov's Chopin Second Sonata, Busoni's C major WTC 1, Cortot's 1933 Chopin preludes, Horowitz's Dance Macabre from the 1940s, Feinberg's Scriabin Fourth sonata, and some others Nyiregyhazi is an absolute genius!!

Four streams of blood pouring out of a beating heart, one darker than the other. My dear Liszt, if you had written only this melody, you would be immortal.....

Extraordinary. Truly out of this world. The wrong notes are almost insignificant in that the overall arch and passion for the music is so overwhelming. I do adore this pianist. What a wild man!

Harold C. Schonberg, the renowned music critic of the New York Times, was stunned when he heard Nyiregyhazi: “I never dreamed I would hear a true 19th-century pianist living in the 20th century.”

I feel like I'm in love with the piano again after listening to this...

One of a kind..

I'm here to listen to this again. I can't get out of my head since I heard his sound.

One of the greatest things ever.

I was there in San Francisco when he was 'rediscovered'. He played at a church at the behest of a friend. That appearance started something big. There is no one like Nyiregyhazi, will not be.

Truly one of the greatest moments in all recordings of the European pianistic art form. It is primordial, barely in the realm of sound, pure emotional truth.

Thank you for sharing this extremely rare and such a great artistic event from this truly great artist from a world ormai scomparso.

I'm speechless as well. Thank you so much for bringing this to the public.

There is not only a grasp of the architecture here -- which other great pianists have achieved -- there is absolute sincerity of emotion, and an audacious ability to 'distort' the form to the will of the performer. This was a characteristic of Franz Liszt, the greatest piano interpreter of all time (according to friendly and hostile witnesses), who was said to almost 'recompose' the music as he played. In artistic terms, I think of this as a supreme exercise of the 'plastic imagination' (the shaping will), the point where form and expression fuse in the imagination of the performer or artist.

what i perceived here and it's effect on me days later....is a type of brilliance. my teacher anthony casario, the actual pianistic protege of leo ornstein TOLD me about nyireghazi in my youth, and ranked him with horowitz and others. WHAT i heard in this interpretation was that he took the lead melody line ....a cello perhaps. and HELD it to such a tension, and HELD the tempo in such an extreme manner ....that a whole OTHER d'obermann came out of it.....if liszt intended that or NOT. i believe he would have said bravo......forget adjectives and all these quibbles......to DO ...WHAT he did with it. few pianists would have the discipline or technical equipment to actually do. with wasn't BANGED, thumped or any of that.....it was done with another KIND of approach. ...u can't do that to every piece. but whoever he was.... we was a genius......

Wow...so incredibly emotive and keeps you captive to every note. Thank you for uploading and thank you Ervin for being alive and playing music for the sake of music.

The effects of mass that he achieves with piano tone is astonishing. At times it is spiritually crushing -- from 6:10 to 7:05 -- at other times it is Michelangesque in force -- 11:35 to 13:05. But even in these moments of superhuman strain the tone is never harsh or ugly. Indeed there is a beautiful singing tone throughout, and some passages of exquisite luminous delicacy in the treble, such as 15:50 to 16:52 ...

This is not romanticism, it is expressionism.

Ervin Nyiregyhazi may be too controversial of a pianist for modern ears. His loud banging certainly doesn’t help matters. But, if you’re willing to look at the things he does RIGHT, rather than WRONG - you will find he has a much more exquisite, expansive tempo, appropriate for the likes of this kind of piece. I remember hearing somewhere that Liszt himself hated hearing this piece in his masterclasses because it was supposedly a depiction of loneliness - his cosmic loneliness. I prefer this tempo to even the “slow by modern standards” ones of Arrau and Richter. Remember this - Ervin Nyiregyhazi is a grandpupil of Liszt himself. He studied with Frederic Lamond, one of Liszt’s last students. Lamond must have taught Nyiregyhazi much of Liszt’s own manner, so in some ways this must be more authentic than we can handle. One could only wish we could hear Beethoven from Nyiregyhazi, for his teacher Lamond was intimately acquainted with Beethoven’s music.

The entire stretch to 2:15 is one gigantic phrase, given practically in one breath ...

An astonishingly idiosyncratic interpretation. In parts agonizingly brooding - bordering on plodding -, in others hysterical. It brings out the neurotic side of Senancour's 1804 novel. What a contrast with Arrau's magisterially paced, controlled performance !!

6:10-7:05 - The most soul-crushing descent into despondency I've ever heard from a pianist.

Thanks for sharing this!

But when I heard of this , I tore my clothes and rushed out into the garden, and I wanted to shouting, it gave me such a deep experience

As highly as many people think of Horowitz, this does seem to be a better interpretation. Mr. N's performance was out of this world. About 8 minutes longer than H's interpretation. That very last note, even though it is just one note, is so masterfully played. It is a perfect foil for everything that came before it.

Some seem to feel this is a rough amateurish performance. I don’t agree. It is played the way it was meant to be played. Rough and powerfully. It isn’t a minuet. It is played with passion by someone who had already lived his life. Perfection isn’t artistry.

Hahaha Nyireghyázi should have recordings on a Bösendorfer imperial!!! It really suits his pianistic style :)

He has a clear philosophy in his playing.

Bare in mind that one person as insignificant as anyone else who walked the earth is making every sound you hear in this video.

Reading all the previous comments it is very clear that you either expect total fidelity to the score with little personal injection, a playing of the score in a purely intellectual manner or you are prepared to throw expectations out of the window and listen to a technical giant (listen to his Mazeppa roll) whose technique is put in service to the emotional requirements of the music. OK perhaps many of his mannerisms can take you out of your comfort zone but add all the bits up and the whole is truly unsettling in the best sense of the word, suddenly you are asking yourself questions about life itself. I have played this piece for very many years and many people say I am the only one who gets the beginning right, all the other pianists throw it away as insignificant, Richter doesn't (but Horowitz does) but then ruins the piece by going all "virtuoso" and this is the danger in this piece. The Vallee explores the very depths of a mans soul and the quotation that Liszt prefaces the score with tells you how deep you must go and Nyiregyhazi does that. The 13-20 minutes it takes to play it require so much mental energy and if you listen to N with his crescendo of emotion time stands still. The slips and technical problems can all be explained by his not practising and his years away from the piano, this recording was probably the first time he had played the piece in 50 years, and his technical problems...so what I couldn't care less about them. I will still continue to play it my way but must incorporate more of the agony from N's playing to really reach the depths of this extraordinary and masterful piece. thanks for uploading it, a wonderful document of the style of piano playing 100 years ago.

Utterly awe-inspiring. I had never heard Vallee d'Obermann before this, and after hearing this performance the first time I then listened to it straight through again three more times. I then went and looked up Horowitz's performances, expecting that perhaps Nyiregyhazi's would look mannered or sentimental in comparison ... instead, although Horowitz was technically fearless his interpretation lacked the spiritual abysses of this masterpiece. I now love this piece -- specifically, this recording of it -- as much as the B Minor Sonata, to which this seems the natural companion. Thank you so much for sharing this tremendous relic!

Those who listened the sound are critical....Those who listened with the heart extatic....This is no more sound and more than perfect music....This is not a first of his class" perfect pianist"...This is a god .... Any other version, even the perfect one, sound boring after that....Do you find volcanic eruption boring or distateful? Only Liszt or Scriabin ask to be played like that...This music is not written to be "tasted" but to change the world itself....

I like the Nyiregyházi fortissimo at the end

the last notes hit just right

If ever there was an equivalent for terribilita (sublime terror) in music, it begins at 11:45 ...

Hauntingly beautiful

to the limit and beyond

There is a spirit here unlike anything else I've encountered .But the piano tone is rendered unnuanced by the bad recording. The playing really sounds like a different generation. So odd everyone wants to play stylistically correct for the period but when they get to romantic period music they forget that the performer really shares the spotlight. Listen to Joseph Joachim's recs and you'll see what I'm talking about.The training is better today than it ever was in the past -this is obvious from most of the old recordings not made by the really extraordinary ones. I love Vallee D'oberman as much as the b minor sonata . It is such a vision.

About once a year for the last couple I have returned back to hear Ervin. Initially I was not particularly liking what I was hearing, you could say I was moreso jarred by an abnormal listening experience than actually not liking it. Well, now fast forward, this past October 30th I had my gargantuan juried graduation concert for the pinnicle of my Bachelors of music in performance of piano, and I ended the whole thing with Polnisch thanks to the upload on here of Ervin introducing me to the absolutely sublime work! Now returning back to him once again many months later, I feel completely torn on the inside and convicted, I am going to get to the very bottom of this situation why Ervin played the way that he did... I want as much as it will cost my time and hard efforts, I want to achieve this level of depthness in my approach of the instrument. Anyone, with their knowledge, please quote me anything or show me anything pertaining to the research and ideologies of this mans approach! I have also been trying to search in the depths pertaining to Busoni! An absolutely radical giant.

This pianist really understands what my great great great grandfather composed. The sound and touch is so Ferenzji.

... ... ... THIS ... ... ...

He is crazy. Maybe the best Olbermann

divine madness

Did Vallée d'Obermann influence 'Pas De Deux' from The Nutcracker?

Was this and the second Legend he did live both from the 73 concert in San Fransisco?

BRAVO!!!

In a parallel universe, Ervin delivered this performance at an international piano competition in Shangai. At the 10 minute mark he was forcibly removed from the stage by 5 competition staff. Then he forced his way back on stage and finished it. He left the stage again to silence. He then quickly returned to pick up the half bottle of Palinka he left under the piano.

Intense Sound World created…..

I have been lucky enough to perform this piece publicly...but I was nothing like the GREAT Nyireghazi...he makes Horowitz sound like an amateur... what incredible Liszt-Like playing....aren't we lucky to hear this? I was fortunate to meet Ervin in his fleabag hotel in the Tenderloin of SF in the 70's....but that tale is for another time...all said...I suspect this Vallee was very very close to the playing of Liszt himself...shockingly good...yes...I suppose there are a few wrong notes...but NO great pianist played live w/o many wrong notes...THEY (the "wrong" notes) mean NOTHING...except taking chances...which, unfortunately, today's crop does not take chances...hence, extraordinarily ordinary playing is now the norm...

Wow!

Amazing insights. Terrifying in places - perhaps this is more in tune with the book on which the piece is based?

the best

I didn't know my first tortures would be so enjoyable

From 17:40-17:50 and 19:17 to 19:23. Wow.

This reminds me of Mahler 8th "Symphony for A Thousand" ,,,,,, BUT ITS A PIANO. Making it sing. And how he places bass chords. I dream to play like this.

Whispers of the heart

Rest in peace

Astonishing

Staggering. Can't believe it was a piano.

this is an original interpretation. i wonder if this is how the great virtuosos of the 19th century sounded.

❤

Six years ago, now, one respondent a Fritz Maisenbacher, posted thus "17:18 .. .. . . aaarrgghhh ...." I supposed and suppose it to have been with reference to some event that occurred during the play of Mr. Nyiregyházi's at that timing. Whatever the case-actual, it lead to an ever-welling gigantic Tsunami of mostly invective, as it was to turn into, this between fans of Mr. N's, and his powerful detractors. What follows was/is my attempt to lend to the disputation some calm by insertion of reason, example and appeal, here as presented unburied from that impressive pile of rancorous verbiage . . . To all here who seem so disparaging of Mr. Nyiregyházi, please try to understand, if you will, that the gentleman had endured most of his life by the time of this recording and, it was one that had featured within it many 'rough spots,' to put it very leastwise? The Fates, apparently tho granting unto him many technical, re-creative and expressive powers, as well had seriously shorted him on ones-of-life. Noted now-deceased author, scholar, and collector of pianists' records, Harry L. Anderson formerly of San Diego, remarked once to myself with others present, and sans equivocation, that Ervin Nyiregyházi had "played like a house 'afire!" and, that it was note-perfect always. Now, of course he could not have come to know this as knowledge gained from sound recordings, as there were none! No. He had HEARD him while living in New York in Nyiregyházi's first days there, on a number of occasions and then later, in Southern California after both had removed to there. (Hofmann and many others too, this same.) This constitutes professional eye-witness testimony that, if called upon to, would have earned him court accreditation as an expert witness to it. Also, Mr. Anderson, beginning in the early Thirties, had been a columnist for various of scholarly musical journals. (His writings are more than worth-while for any seeking-out. I recommend this.) So, as newly armed with all that and keeping mind as well that he possessed then the vigor of youth, I respectfully call upon all who would dismiss cruelly (yes, that) what is heard here as has been done generally, to imagine that all that we hear now, to be technically WITHOUT FLAW! Any change of opinionation? If actually achieved by any loyal doubtful auditors -- then what so-infuses to the souls of we admirers of Erwin Nyiregyházi, will become finally of the comprehensible, if not actually shared. Fair enough? Speaking now of sound recordings from Nyiregyházi's first early period -- loyal and good honest detractors -- please do seek-out that bit of Liszt's Liebestraum and Hungarian Rhapsody, to be heard in the early sound film "The Lost Zeppelin." kzfaq.info/get/bejne/mLSEiJmAzNXZlKs.html There one will be treated to precious filmed moments of the nearly-helpless genius-youth himself, acquitting himself near-miraculously, in supremely fine phrasing and perfection of play. (All goes well 'till that vase crashes!! Then, no more strapping youth Ervin!) The movie is SO silly but, is some late-Twenties fun alright and, does carry this tiny bit, at least, of evidence oh-so-essential. Ha! If ONLY we had that full hour-and-a-half of his pianism solely, sans all the Romance and like- silly bits! Think of how that would have cinched things up firmly and forever, and for all. : | :

supercalifragilisticexpialidocious !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Sounds like an old man but good enough for this difficult piece

When was this recorded, I asked and skimmed the comments: Orioninthepolder writes among other things, quote: The slips and technical problems can all be explained by his not practising and his years away from the piano, this recording was probably the first time he had played the piece in 50 years, and his technical problems...so what I couldn't care less about them. //endquote// It can be seen that Orioninthepolder also has played this piece.

Nyiregyházi can't be judge in human modern terms....he belongs to eternity, to the Hell and to Heaven....he is between humanity and universe and goes to madness and return from it.....

Wow

17:43

OMG ! OMG!

Fantastic interpretation--thanks for posting. Too bad that the piano seems to have been a problem. And sometimes the pedal seems to be stuck.

Secret Fire

Stark raving mad...

17:43 man

@op 106 if I may know, what year was this recorded?

я не могу понять, нравится ли мне это исполнение или нет

💿💿💿💿

Ah jeez

I don’t understand why people like this recording. Generally octaves should sound like octaves and not minor 9ths. The last 4 minutes of this interpretation is just incredibly sloppy and it’s annoying that people describe it as soulful. You can be soulful and play octaves at the same time. When you are first taught an instrument, pretty early on you will hear the advice that playing faster and louder doesn’t make you sound better. That is exactly what this performer did here.

Capolavoro

E.N.-планета ,движущаяся по своим ,непонятным нам смертным ,своим законам.Простые правила rubato,формы ,стерильность употребления педали не для неё .Музыканта равного Nyiregynazi я припомнить не могу.

Chances are that this is the loudest and slowest version of this piece currently available. I agree that Nyiregyházi creates a very special atmosphere here, not by adding anything to score, but simply by playing the exact notes, going for the slow and loud. The pianist is obviously struggling in the more technically taxing sections, which makes me wonder if he makes a virtue of necessity. Compared to Horowitz, this is crude pianism, indeed not without interest, but very limited in terms of conveying the subtle shades that makes the most convincing musical performances unforgettable.

Le pusieron su santuario. Así era el.

Tromolos @10:10 are electrifying. And his interp of the sliding descending thirds @11:40 is pure genius

14:13…

did a five year old play this?

and y'all thought Horowitz was good.

17:18 .. .. . . aaarrgghhh ....

Sorry, but I just do not care for this performance. Many people say this is so much better than Vladimir Horowitz’ performance of the same piece… I don’t see it, at all. To me, this performance is full of so many heavy-handed and outdated pianistic mannerisms. But, each to their own.

I counsel the player to read about this composition and meditate a better way to play it.No hesitations,please .Liszt have deep thoughts but great actions.

Ninguna obra me es extrña ni rara. Ni. viaje ni habían grabaciones. 🤣

This is nightmarish , nightmarish ... beyond any experience of myself ... I would prefer never have been listening to that ... but I am completely sellotaped to every phrase , every note . And my memory will conserve all the stuff . O Weh , O Weh ! Why am I listening to this.... ?? I should skip or going anywhere else .... why am I staying here ....?

Just terrible. Does had really think his bog tempos add profundity to these wonderful pieces? Although he does have a good sound in some parts-his thumping fffs are unbearable. A pianist of poor judgement.

Divertido.Pero deberían darle crédito al manicomio donde se grabó.

This is just loud and extremely crude playing.

I've heard some bad musical recordings in my years of classical education, but this is singly-handedly one of the most atrocious musical performances I've heard in my life.

His worst flaw is playing out of tune...

Unbearable embarrasing distortion of Liszt.

Other than the first two notes, and this LH figue at 11:39, this performance is horrendous

Poor instrument. Please don’t glorify performances like this.

UN OBROBRIO INCONCEPIBILE. ...UNA VERA OSCENITÀ ORRIBILE !!! NON SI PUÒ INSULTARE E OFFENDERE UN AUTORE COME FRANZ LISZT IN QUESTO MODO!!! È UNA VERGOGNA!!!!