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In the old complete-edition of the "Franz Liszt Stiftung" this version was omitted since it was feared, it might throw a bad light on Liszt as composer. Liszt in his music room in Weimar, photograph by Louis Held, June 1884. One of the most striking of Liszt's late paraphrases is his setting of the Sarabande and Chaconne from Handel's opera Almira.
Liszt was himself a virtuoso pianist and was able to easily play many complex patterns generally considered difficult. The Italian subtitles now associated with the études— Il lamento ("The Lament"), La leggierezza ("Lightness"), and Un sospiro ("A sigh")—first appeared in the French edition.
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.
Horowitz, after claiming to Backhaus that the most difficult piano piece he ever played was Liszt's Feux-follets without hesitation, he added that Réminiscences de Don Juan is not an easy piece either. Horowitz had it in his concert programs, as well as the Liszt Sonata, which was not often played at the time, in his early years in Europe [2].
The Transcendental Études (French: Études d'exécution transcendante), S.139, are a set of twelve compositions for piano by Franz Liszt.They were published in 1852 as a revision of an 1837 set (which had not borne the title "d'exécution transcendante"), which in turn were – for the most part – an elaboration of a set of studies written in 1826.
The sacred keyboard music is a small group of pieces, the most substantial of which were written mainly between 1877 and 1879. Several of these works are arranged from vocal music, including a piano solo arrangement of Via crucis, one of Liszt's most daring and original compositions. [35]
It is one of the most difficult Transcendental Études, being ranked 9 out of 9 by publisher G. Henle Verlag—one of six in the series to receive the highest possible difficulty ranking. [1] Ferruccio Busoni stated the étude was the "noblest example, perhaps, amongst all music of a poetising nature." He described the work as "a sublime and ...
After a recitative passage, the music goes somewhere unexpected. The second theme is brought back, this time fortissimo and marked trionfante with chords in both hands. The most technically difficult part of the entire piece consists of multiple pages of chordal jumps and repetition, requiring a large amount of stamina.