Franz Liszt - Etude S. 136 No. 12 (audio + sheet music)
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- Опубликовано: 6 янв 2015
- No. 12 in B-flat minor, from Etudes en douze exercices S. 136, by Franz Liszt. (year set composed 1826)
Franz Liszt (October 22, 1811 - July 31, 1886) was a 19th-century Hungarian composer, virtuoso pianist, conductor, teacher and Franciscan tertiary.
Liszt gained renown in Europe during the early nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered to be the greatest pianist of all time. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.
As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.
The composition of the Transcendental Études S. 139 began in 1826, when 15-year-old Liszt wrote a set of youthful and far less technically demanding exercises called the Étude en douze exercices (Study in twelve exercises) S. 136. Liszt then elaborated on these pieces considerably, and the far more technically difficult exercises called the Douze Grandes Études (Twelve Grand Studies) S. 137 were then published in 1837.
The Transcendental Études S. 139 are revisions of his Douze Grandes Études. This third and final version was published in 1852 and dedicated to Carl Czerny, Liszt's piano teacher, and himself a prolific composer of études. The set included simplifications, for the most part: in addition to many other reductions, Liszt removed all stretches of greater than a tenth, making the piece more suitable for pianists with smaller hands and less technical skill.
(Wikipedia)
Please take note that the audio AND the sheet music is NOT mine. Change the quality to 480p if the video is blurry.
Performance by: Marc-Andre Hamelin
(original video: • Marc-André Hamelin's A... ) 
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This rhythm in the beginning is so attractive, more attractive than transcendental
For me the trascendental is amazing
true i agree with you
Interesting how Liszt transformed this into the mighty 12th Study. Thank you for sharing it.
Me: mom, can we get a Chasse-neige
Mom: No, we have Chasse-neige at home
Chasse-neige at home:
Felix Hutagalung hahahhahaha
Vexalord yup!
Genius
And it was still written before chasse-neige
@@artrubenkaljund3660 but chasse neige is more mature, emotional and devestating. Better imo
The technique required to play this reminds me a lot of the Chopin preludes in e flat minor and e flat major.
Really beautiful, a lot closer to Czerny and the "old" style
Sounds like Liszt got tired of playing the same old thing & decided to spice things up a bit in his newer editions.
Also his hands are getting a lot bigger !
when i heard that voice at the beginning i tought it was lang lang
yooooo liszt
The music is start at 0:06
Thanks! Now I don’t need to wait a whole 6 seconds for the music to start...
@@e.hutchence-composer8203 I wasted 6 seconds of my life. I'll never get those 6 seconds back
And to think that from this would come the more known version...
Chasse Nieges paints the windswept wasteland picture he was going for way more convincingly.
This is more like a Chopin etude
I prefer this version to the s.137 or s.139 versions
Damn this was hard to learn...but in the end, I proved to myself that I could do it and it was very worth it!
Nice, very awesome of you. Any way for us to see it? :)
Saulė Atėnė Vaicekauskaitė Try search about Chasse-Neige and you will cry
Dude literally how do u do the start at marked tempo? I can play the whole piece except the start especially the second line 1st bars.
🎉
bravo you liszt dazerferenza you crazy
Este estudio se parece mucho al 45 del 740 de Czerny.
악보만 봐선 체르니 연습곡수준인데 음악이 진짜,..오싹함;; 킹갓아믈랭
the music is so great and im now dying on playing it
Don't die on me... or us, please.
The phrase is dying to play it meaning that you are so intent on doing so that you would go so far as to give your life in the pursuit of your goal.
@@juvenalredivius1077 r/wooooooosh?
youre wrong, this man is dead now rip
@@juvenalredivius1077
Its easy! I play that in 10 years old.
Playing the piece is impressive, but boasting isn't :)
I can see that you're a prodigy but you should be humble as well
🤤🤤
Quieter than the chasse neige, a constant trickling music, unlike the transcendental which is more bombastic with dramatic stops and chords
I prefer this to the final version. I find the incessant tremolos silly.
I think it really depends on who is playing the later version. But this etude is still very good. .
Not if they're played skillfully. Listen to Kissin. It snows on stage. This is little more than mediocre Schubert.
Very well played, but why has he changed some parts in the melody ?
eldrake35 Exactly what was I thinking.... dunno to him...must've forgot the notes and had to improv? (that must've sounded bad, sorry)
No, seriously I find it nice too, but as a Liszt admirer, I can't let such an improvisation without explanation ! ;)
Perhaps it was so that the listeners better recognize the melody of the final version of the etudes, the ones of 1851 ?
+eldrake35 If you don't know, Liszt made 3 versions of the 12 transcendantal etudes, and this is the first. The second was the same as the last version, but too hard for pianists, and so he made the third version, the most popular, 15 years later
I knew it, when I spoke about "he", it refered to Hamelin, not Liszt :) But thanks you for your answer, perhaps it may explain the change, because Hamelin would have modified the melody so as to we could recognize more easily the melody of the third version ! (I'm french, excuse-me for the grammar mistakes)
Wrong note
I prefer this to the final version. I find the incessant tremolos silly.