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Étude Op. 10, No. 12 in C minor, known as the "Revolutionary Étude" or the "Étude on the Bombardment of Warsaw", [1] is a solo piano work by Frédéric Chopin written c. 1831, and the last in his first set, Études, Op. 10, dedicated "à son ami Franz Liszt" ("to his friend Franz Liszt").
Variation VI: Largo (Chopin) - (coda) (Liszt) Finale: Molto vivace quasi prestissimo (Liszt) Pianists Ingolf Wunder, Raymond Lewenthal, Leslie Howard, Francesco Nicolosi and Marc-André Hamelin, among others, have recorded the piece. [3] Liszt made arrangements of the piece for piano and orchestra (S.365b) and for two pianos (S.654).
He worked in production and distribution by Sony Music before receiving recognition for the albums Beethoven Piano Works (2000) and Tzvi Erez plays Chopin (2003) under Niv Classical. [2] His interpretations and technique are documented on his YouTube channel, which has 99,400 followers.
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.
Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire.
Frédéric François Chopin [n 1] (born Fryderyk Franciszek Chopin; [n 2] 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period, who wrote primarily for solo piano.
There are several recordings of Tausig's piano music on YouTube. Setrak Setrakian has recorded the rare Chopin E minor concerto transcription. Historically, Tausig's arrangement of Strauss's waltz You Only Live Once! was recorded by Sergei Rachmaninov and Ignacy Jan Paderewski.
Liszt also wrote a transcription for piano solo of Chopin's "A Maiden's Wish" in his Six Chants polonais, S. 480, but in conception it is quite a different piece from its appearance in Glanes de Woronince. [5] The suite has had few recordings. They include those by Robert Black, France Clidat, Leslie Howard, and Aleksandra Mikulska.