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2nd version of S.171a/4; arr. for org/harm by Liszt and Alexander Wilhelm Gottschalg as S.672d/2; arr. for vc pf/org/harm by Liszt and Deswert as S.382a/2 172/5 A111b/5 (Andantino) pf E major 1849–50 Piano, original 2nd version of S.171a/5; arr. for org/harm by Liszt and Gottschalg as S.672d/3 172/6 A111b/6 (Allegretto sempre cantabile) pf E ...
The Mephisto Waltzes (German: Mephisto-Walzer) are four waltzes composed by Franz Liszt from 1859 to 1862, from 1880 to 1881, and in 1883 and 1885. Nos. 1 and 2 were composed for orchestra, and later arranged for piano, piano duet and two pianos, whereas nos. 3 and 4 were written for piano only.
Liszt, in some of his works, supported the idea of program music. It means that there was a subject of non-musical kind, the "program", which was in a sense connected with a sounding work. Examples are Liszt's Symphonic Poems, his Symphonies after Faust and Dante, his two Legends for piano and many others.
Grand galop chromatique in E-flat major, S.219 is a bravura piece by Franz Liszt, composed in 1838. The 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.
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].
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. Pianissimo and leggierissimo markings abound in the double-note sections, making it more difficult to play. The ...
Liszt noted on the sonata's manuscript that it was completed on 2 February 1853, [2] but he had composed an earlier version by 1849. [3] [4] At this point in his life, Liszt's career as a traveling virtuoso had almost entirely subsided, as Carolyne zu Sayn-Wittgenstein had influenced him to concentrate on composing rather than performing. [5]