Press question mark to learn the rest of the keyboard shortcuts. 18). 2, Liszts most famous work, and also no. The fourth etude is titled Mazeppa, inspired by a Victor Hugo poem of the same name. Lets have a listen to a bit of the introduction so you can hear the fast and furious quality to this piece. Alternate titles: tudes dexcution transcendante, Grandes tudes. Im on mobile Im not sure I can access it but perhaps you can help me :) is Un Sospiro on this list and which level would it be in? Press question mark to learn the rest of the keyboard shortcuts. No idea why every difficult piano pieces ranking includes it but this just destroys credibility. I think harmonies du soir is pretty achievable compared to, say, Mazeppa or feux follets. France Clidat is probably the greatest Liszt pianist of all time, next to Cziffra and Bolet. I take the very strange perspective that something like Feux Follets (or something similar like Schumann's Toccata or Chopin's Op 10 no 7) should already be "possible" at least technically before you even seriously tackle any of this repertoire. I can't believe how easy it is. 1856/7: Charles-Valentin Alkan: Concerto for Solo Piano Op. Pilgrimage book 2: Il Penseroso (Henle 4/5) Just listening to these.mind boggling, though Im surprised Litolffs Scherzo is not in there. And not forgetting Beethovens most famous show-off piece ever, Moonlight Sonata. She wasnt the only one who disliked it, either Brahms, among others, wasnt a fan. Web tudes d'excution transcendante, S.139, R.2b Could you do Ravel next, please? If you can't gauge the difficulty of a piece of music yourself, then you're probably not ready for a Liszt etude. This is a collection of four waltzes that are around a Grade 10 ARCT level in the RCM. Each of the 12 etudes in this set has a colorful title and sound, making them less like etudes (studies), and more like little character pieces. Its also a great piece to display Liszts forward-leaning artistic techniques. WebToday, he is probably best known for his 60 Grandes tudes, Op. 1, is out of reach at an ARCT (RCM) level. But I think it could be a very rewarding experience in terms of a realization of a unique and important piano project.. https://imslp.org/wiki/Illustrations_de_l%27opra_L%27Africaine,_S.415_(Liszt,_Franz), Etude S.137/5, Feux Follets S.139/5, Etude S.140/4, Etude S.140/6, Spanish Fantasy S.253, Spanish Song-book S.695c, Rminiscences des Puritains S.390/1, Rminiscences de Lucrezia Borgia S.400, Rminiscences des Huguenots S.412/3, Rminiscences de Robert le diable S.413, Rminiscences de Don Juan S.418, Fantasy on La clochette S.420, Tannhauser Overture S.442, Beethoven Symphony S.464/6, Symphonie Fantastique S.470, Fantasy on Don Giovanni and Figaro S.697, Etude S.137/4, Etude S.137/12, Mazeppa S.138, Mazeppa S.139/4, Chasse Neige S.139/12, Etude S.140/3, Etude S.140/4a, Scherzo und Marsch S.177, Sonata in B Minor S.178, Galop S.218, Rondo Fantastique S.252, Fantasy on La Sonnambula S.393/1, Rminiscences de La juive S.409a, Fantasy on Niobe S.419, Rminiscences de La Scala S.458, Beethoven Symphony S.464/1, Beethoven Symphony S.464/2, Beethoven Symphony S.464/3, Beethoven Symphony S.464/4, Beethoven Symphony S.464/5, Beethoven Symphony S.464/8, Totentanz S.525, Etude S.137/7, Etude S.137/8, Etude S.137/10, Etude S.141/3, Etude S.141/6, Dante Sonata S.161/7, Variations on Bach S.180, Sarabande and Chaconne on Handel S.181, La Tyrolienne fantasy S.385/2, Turkish Capriccio on Beethoven S.388, Rminiscences de Norma S.394, Fantasy on Soires musicales S.422/2, Fantasy on Der Freischtz S.451, Mephisto Waltz S.514, Danse Macabre S.555, Erlknig S.558/4, Etude S.137/2, Eroica S.139/7, Wilde Jagd S.139/8, Etude S.140/1, Etude S.140/2, Orage S.160/5, Tarantella S.162/3, Ballade S.170/2, Legend S.175/2, Grosses Konzertsolo S.176, Grand Galop Chromatique S.219, Hungarian Rhapsody S.244/1, Hungarian Rhapsody S.244/2, Hungarian Rhapsody S.244/6, Hungarian Rhapsody S.244/9, Hungarian Rhapsody S.244/10, Hungarian Rhapsody S.244/13, Hungarian Rhapsody S.244/14, Hungarian Rhapsody S.244/15, Hungarian Rhapsody S.244/19, Spanish Rhapsody S.254, Tarantella di Bravura S.386, Rminiscences de Lucia di Lammermoor S.397, Valse de Faust S.407, Il galop S.411/2, La serenata del marinaro S.411/4, Il brindisi S.411/5, La zingarella spagnuola S.411/6, Miserere du Trovatore S.433, Rigoletto Paraphrase S.434, Finale de Don Carlos S.435, Rminiscences de Boccanegra S.438, Fantasy on Rienzi S.439, William Tell Overture S.552, Mephisto Waltz S.515, Les morts S.112/1, Etude S.136/8, Etude S.136/10, Etude S.137/6, Etude S.137/9, Etude S.137/11 , Fuses S.139/2, Appassionata S.139/10, Harmonies du Soir S.139/11, Etude S.140/5, Etude S.141/1, Etude S.141/2, Morceau de salon S.142, Ab Irato S.143, Gnomenreigen S.145, Apparition S.155/2, Apparition S.155/3, Valle d'Obermann S.160/6, Sposalizio S.161/1, Gondoliera S.162/1, Ballade S.170/1, Bndiction de Dieu dans la solitude S.173/3, Funrailles S.173/7, Berceuse S.174/2, Legend S.175/1, Hungarian Rhapsody S.244/7, Hungarian Rhapsody S.244/8, Hungarian Rhapsody S.244/11, Hungarian Rhapsody S.244/16, Ballade d'Ukrane S.249/1, Solovei "Le rossignol" S.250/1, Chanson bohmienne S.250/2, Barcajuolo S.399/1, La torre di Biasone S.399/3, Liebestraum S.541/1, Auf dem Wasser zu singen S.558/2, Die junge Nonne S.558/6, Gretchen am Spinnrade S.558/8, Stndchen S.558/9, Der Wanderer S.558/11, Ave Maria S.558/12, 6: Advanced (Beethoven Pathetique Sonata), La notte S.112/2, Le triomphe funbre du Tasse S.112/3, Etude S.136/5, Etude S.136/11, Etude S.137/1, Preludio S.139/1, Vision S.139/6, Ricordanza S.139/9, La Leggierezza S.144/2, Un Sospiro S.144/3, Waldesrauschen S.145, Apparition S.155/1, Au bord d'une source S.160/4, Les jeux d'eaux la Villa d'Este S.163/4, Invocation S.173/1, Pense des morts S.173/4, Miserere d'aprs Palestrina S.173/8, Cantique d'Amour S.173/10, Bach Prludium Weinen Klagen Sorgen Zagen S.179, Toccata S.197a, Mephisto Waltz S.216, Galop de bal S.220, Csrds S.225/2, Hungarian Rhapsody S.244/4, Hungarian Rhapsody S.244/17, Hungarian Rhapsody S.244/18, Mlodies polonaises S.249/2, L'ide fixe S.395, L'alito di bice S.399/2, La primavera S.411/1, Il pastore svizzero S.411/3, Valse de concert S.430, Elsas Brautzug zum Mnster S.445/2, Les morts S.516, Sei mir gegrsst S.558/1, Frhlingsglaube S.558/7, Rastlose Liebe S.558/10, Stndchen S.560/7, Widmung S.566a, Etude S.136/1, Etude S.136/2, Etude S.136/4, Etude S.136/6, Etude S.136/9, Etude S.136/12, Etude S.137/3, Etude S.141/4, Etude S.141/5, Il Lamento S.144/2, Le mal du pays S.160/8, Les cloches de Genve S.160/9, Canzone S.162/2, Marche Funbre S.163/6, Sursum corda S.163/7, Consolation S.172/6, Andante lagrimoso S.173/9, Die Glocken von Rom S.182, Schlaflos! Liszt wrote about Chopin, never was there a nature more imbued with whims, caprices, and abrupt eccentricities. I know Liszt was a very prolific composer and I wouldn't expect to be able to play 5% of his pieces, but it is very nice to have so many of his works organized in this way. Harmonies poetiques et religieuses Listening to the set multiple times, it becomes quite clear that the most difficult three are Mazeppa (4), Feux Follets (5) and Chasse-Neige (12). This one is followed by Preludio (1) as that one is way shorter than the other pieces, however still demanding. Last but not least is Liszts 12th etude in the set, Chasse-neige, aka impetuous wind which raises whirls of snow. D-flat major (9' 30") Douze tudes dexcution transcendante, S. 139 6. Its like an athletic event of the most demanding physicality, and in the case of musical performance, at the highest level of craftsmanship and artistic skill. The Piano Concerto is unusual as for a concerto it would be expected that the piano soloist was accompanied by an orchestra whereas in this piece the soloist is quite alone. Paganini was capable of such virtuosity that otherworldly powers were ascribed to him. Finally, half of the 13 pieces in Albenizs Iberia are harder than most of the ones in this list. I could almost play it at half speed once I got past the ridiculous key signature and parsed the double sharps, which is not bad for something you read the first time. He even has a thesis on Liszt and the Grand Style, so I think hes not only a great performer but a great scholar as well. Thanks! This simple statement underscores the idea that rapid velocity, large intervals within very short periods of time, escalations of ornamentation and variations, notes doubled an octave apart are processes of pointless acrobatics and soulless agility. We all know that virtuosity can be seen as an elaborate magic trick, but does this make it any less exciting? On a first hearing and by comparison with some of the pieces that follow in this article, you could be forgiven for imagining that this was a relatively simple piece to perform. Have all your questions answered by phone or email. I agree that some pieces might be placed in other levels but overall I think the placement of most of them are pretty accurate. Of some consolation to us commonfolk trying to learn Liszts music are his Consolations (S. 172). 9 15, Liszt: The Final Years for Piano Late Period Compositions. Could you explain how the Henle rating works please? 12 in B minor is an tude for piano written by composer Franz Liszt. Charles-Valentin Alkan: Le chemin de fer, Op. Instead of playing a transcendental etude, might I suggest playing one of the exercises that inspired the transcendental etudes? He continued to publish piano music, including the Trois Grandes Etudes, one for the left hand, one for the right hand, and the third for both hands together. Reddit and its partners use cookies and similar technologies to provide you with a better experience. [embedyt] https://www.youtube.com/watch?v=McUQ7aj2E5g[/embedyt]. 7. Not enough fire or virtuosity in my opinion. Even though the above pieces represent a section of very difficult works it is not by any means conclusive. Rate Difficulty. 4: Mazeppa, Liszt: Transcendental Etudes No. 39. Theyre definitely worth checking out. Ten of the 12 tudesincluding Wilde Jagd (No. Next up are Liszts Forgotten Waltzes (Valses oubliees, S. 215). He would write a pretty theme and then transform it several times, first having it played fast, then perhaps slower, and finally as a climaxwith a new technique thrown in every time. It's something that I grew up wanting to play (what child doesn't? I've been playing piano for four months and I've been studying Fur Elise which is grade 4. It has the programmatic title "Chasse-neige" ("snow-whirls"), and is the 12th and last of the Transcendental tudes. With all of this said, it is still true that Liszts works are not only generally virtuosic in nature but primarily virtuosic in nature. Worth noting that Liszt actually wrote three versions of each of those tudes: the tudes en douze exercises first, which are not easy (some of them feel more Beethovenish than Lisztish; he was pretty young) but far easier than their transcendental counterparts, then douze grandes tudes which in most (but not all) cases are actually considered harder than the transcendental ones (and are barely ever played because I dont think its humanly possible to play them all at full speed), and then finally the famous set. It has the programmatic title "Chasse-neige" (" snow-whirls" ), and is the 12th and It is unrelenting and makes strenuous demands on any piano player including extremely difficult stretches that open the work. You need to learn to let those things "go" without any remnant traces (easier said than done), in order to reset your technique and relearn your sense of accuracy and timing. General assumptions are made too often about Liszt. Author: James Huneker. Liszt assigned specific programmatic titles to all but two of these works. (He just didnt mention that his cycle was completing Liszts idea out of modesty.) What does connecting the piano to a lan network / wifi do? A physician, whose specialty is female diseases, and whom I asked to explain the magic our Liszt exerted upon the public, smiled in the strangest manner, and at the same time said all sorts of things about magnetism, galvanism, electricity, of the contagion of the close hall filled with countless wax lights and several hundred perfumed and perspiring human beings, of historical epilepsy, of the phenomenon of tickling, of musical cantharides, and other scabrous things, which, I believe have reference to the mysteries of the Bona Dea (An ancient Roman goddess associated with chastity and fertility). So, the enthusiastic words that Liszt wrote to Steinway were obviously his reverie to the piano that he adored. I am also surprised to see Schumanns Toccata and not Ravels, which is more beautiful by far, more ingenious, and probably harder. Or maybe even jazz pianist if possible. But why arent any pieces by Beethoven on here? Why did you pick just 1 piece from Chopins Etudes but picked the entire set of Liszts Transcendental Etudes? A performance of it takes about 6 minutes, much more manageable than the sonatas. WebTranscendental tudes, original French name Grandes tudes, revised French name tudes dexcution transcendante, series of 12 musical tudes by Franz Liszt, published Related Sheet Music. They are highly varied and technically demanding, and they exhibit little of the sense of overall structure that someone such as Beethoven would have employed. Liszt has many collections of etudes, including Two Concert Etudes (S. 145), Transcendental Etudes (S. 139), Three Concert Etudes (S. 144), Grand Etudes de Paganini (S. 140), and Twelve Etudes (S. 136). Well take a listen to a clip from the beginning, which should give you a sense of the high drama in this piece, as well as the difficulty. Another approachable collection is Liszts Five Piano Pieces (S. 192). 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