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Liszt's technical achievements in his late music are one side of a more complex picture. Along with the increasing interest in Hungarian and other national schools of composition already mentioned, essential parts of this picture are tragedy in Liszt's personal life and developments in his friendship with Wagner. [17] Photograph of Liszt in the ...
Transcendental Étude No. 12 in B ♭ minor, "Chasse-neige" (snow-whirls) is the last of twelve Transcendental Études by Franz Liszt. The étude is a study in tremolos but contains many other difficulties like wide jumps and fast chromatic scales, and it requires a very gentle and soft touch in the beginning.
The Transcendental Études contain extreme technical difficulties, such as the right hand configuration and left hand leaps in the Transcendental Étude No. 5.. The genesis of the Transcendental Études goes back to 1825, when 14-year-old Liszt wrote a set of youthful exercises called the Étude en douze exercices (Study in twelve exercises), S.136.
Franz Liszt, after a painting of 1856, by Wilhelm von Kaulbach. Hungarian Romantic composer Franz Liszt (1811–1886) was especially prolific, composing more than 700 works. A virtuoso pianist himself, much of his output is dedicated to solo works for the instrument and is particularly technically demanding.
Grand galop chromatique in E-flat major, S.219 is a bravura piece by Franz Liszt, composed in 1838. This galop was one of Liszt's favorite encores which he considered a "rouser". [ 1 ] The galop chromatique was published as a piano solo and also in a version for piano duet ( S.616 ).
Three Concert Études (Trois études de concert), S.144, is a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.
Liszt had made both in 1872. In a separate volume with the Années de Pèlerinage, the only piece of Liszt's third volume is "Les Jeux d'Eaux à la Villa d'Este", while all of the rest was excluded. Of Liszt's transcriptions and fantasies on operatic melodies, the "Feierliche Marsch zum Heiligen Gral" of 1882 is present.
In addition, the passages are often asymmetrical and unpredictable. It reaches several climaxes that are technically demanding and ends in pianissimo arpeggios. Despite the mechanical difficulties of the work, its greatest challenge lies in doing justice to its whimsical and mysterious character.