liszt transcendental etude 4

An historical and analytical survey of the Transcendental

The Twelve Transcendental Etudes, op 11, dedicated to the memory of Franz Liszt, are masterpieces of immense value both from a technical and artistic standpoint Russian musicologist B R Asafiev wrote: “These études contain all of the best qualities and techniques of Balakirev-Liapunov piano style ”5 While Mily Balakirev played an

of the twentieth century LISTENING GUIDE

he Transcendental Étudeswere first composed in 1826, when Liszt was fifteen years old But, as with much of Liszt’s music, the works were revised and reissued later—in this case, 1839 Though the music was extremely difficult to perform in its earlier version, Liszt’s revisions made it even more demanding

Music Performance in Action: Mathematical Interpretation of

the context of Liszt’s Transcendental Études, some observations can likewise be made when comparing performances of each pianist individually For instance, Bolet has the slowest interpretations of five of the six minor-key études, including Nos 4, 6, 8, 10, and 12 On the contrary, Sherman has the slowest

JS BACH Prelude & Fugue in E-flat Minor, BWV 853 BRAHMS

Liszt’s 1852 Transcendental Etude No 4 in D Minor, “Mazeppa,” a program piece inspired by Polish history and a fateful quote from Victor Hugo, provides the finishing touch for McLean While not quite so demonic as a Cziffra exhibition of this piece, the McLean has the detonations and mass we recall in Ronald Smith

An Examination of Innovations in Alexander Scriabin’s Late

Op 56, No 4 (1908) and the last three etudes of Op 65 (1912) date from his last period of composition In the Op 49 etude, Scriabin started to abandon traditional tonality

Musical Genres in the ROMANTIC P