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An example which illustrates the problem might be Liszt's "La Notte", the second piece of the Trois Odes funèbres. Projected 1863 and achieved 1864, "La Notte" is an extended version of the prior piano piece Il penseroso from the second part of the Années de pèlerinage. According to Liszt's remark at the end of the autograph score, "La Notte ...
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.
The piano duet version is a straightforward transcription of the orchestral version, while the solo piano version is an independent composition. Liszt dedicated the piece to Karl Tausig, his favourite pupil. [5] A further two piano version, published by Schuberth in 1885, was arranged by Dr. Fritz Stade and later revised by Isidor Philipp.
Ballade No. 1 in D-flat major, S.170, is a solo piano piece by the Hungarian composer Franz Liszt, composed between 1845 and 1848. In the original edition it contained the title "Le Chant Du Croisé" or "The Chant of the Crusader". [1] A typical performance of the piece lasts about 7 to 8 minutes.
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.
The pieces are all based on some of the Caprices (Nos. 6/5, 17, 1, 9, and 24) and concertos (No. 2/1) by Niccolò Paganini for violin, and are among the most technically demanding pieces in pianistics (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties).