Six piano études by Franz Liszt from themes of Paganini
The Grandes études de Paganini,
S. 141, are a series of six
études for the piano by
Franz Liszt, revised in 1851 from an earlier version (published as Études d'exécution transcendante d'après Paganini, S. 140, in 1838). It is almost exclusively in the final version that these pieces are played 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). The pieces run the gamut of technical hurdles, and frequently require very large stretches by the
performer of an
eleventh (although all stretches greater than a
tenth were removed from the revised versions).
Études
Étude
Original version (1838), S. 140 – Dedicated to Madame
Clara Schumann
Étude No. 1 in G minor "Tremolo", marked Andante Non troppo – lento cantabile, which is after Paganini's Caprice No. 6 in G minor (with the introduction and coda of
No. 5).[1] Begins with a prelude of rapid
arpeggios and scales and then enters the main étude section, as the name suggests, the piece is meant to employ
tremolos.
Voicing and
dynamics are important in
tremolos, and adding to its difficulty is the fact that many
tremolos are marked to be played by the left hand only.
Étude No. 2 in E♭ major, marked Andantino capricciosamente, which is after Caprice No. 17 in E♭ major. Contains many rapid scales and
octaves and requires
elegance and quality of tone.
Étude No. 4 in E major, marked Andante quasi allegretto, which is after Caprice No. 1 in E major.
Étude No. 5 in E major "La Chasse", marked Allegretto –
dolcissimo, which is after Caprice No. 9 in E major.
Étude No. 6 in A minor, marked Quasi presto a capriccio, which is after
Caprice No. 24 in A minor, with a slightly altered theme and 10
variations. The technically demanding work abounds with rapid
octaves, scales,
arpeggios, and high pitched themes.
Revised version (1851), S. 141 – dedicated to Madame
Clara Schumann
Étude No. 1 in G minor "Tremolo", marked Andante – Non troppo lento, which is after Caprice No. 6 in G minor (with the introduction and coda
No. 5).
Étude No. 2 in E♭ major, marked Andante capriccioso, which is after Caprice No. 17 in E♭ major.
Étude No. 3 in G♯ minor "La Campanella", marked Allegretto, which is after the final movement of Paganini's
Violin Concerto No. 2 in B minor.
Étude No. 4 in E major "Arpeggio", marked Andante quasi allegretto, which is after Caprice No. 1 in E major. It was written on one line only, omitting the usual separate line for the left hand, this was fixed in the new version. Furthermore, its lowest tone is the G3, the score thus mimicking a score for
violin.
Étude No. 5 in E major "La Chasse", marked Allegretto, which is after Caprice No. 9 in E major.
Six piano études by Franz Liszt from themes of Paganini
The Grandes études de Paganini,
S. 141, are a series of six
études for the piano by
Franz Liszt, revised in 1851 from an earlier version (published as Études d'exécution transcendante d'après Paganini, S. 140, in 1838). It is almost exclusively in the final version that these pieces are played 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). The pieces run the gamut of technical hurdles, and frequently require very large stretches by the
performer of an
eleventh (although all stretches greater than a
tenth were removed from the revised versions).
Études
Étude
Original version (1838), S. 140 – Dedicated to Madame
Clara Schumann
Étude No. 1 in G minor "Tremolo", marked Andante Non troppo – lento cantabile, which is after Paganini's Caprice No. 6 in G minor (with the introduction and coda of
No. 5).[1] Begins with a prelude of rapid
arpeggios and scales and then enters the main étude section, as the name suggests, the piece is meant to employ
tremolos.
Voicing and
dynamics are important in
tremolos, and adding to its difficulty is the fact that many
tremolos are marked to be played by the left hand only.
Étude No. 2 in E♭ major, marked Andantino capricciosamente, which is after Caprice No. 17 in E♭ major. Contains many rapid scales and
octaves and requires
elegance and quality of tone.
Étude No. 4 in E major, marked Andante quasi allegretto, which is after Caprice No. 1 in E major.
Étude No. 5 in E major "La Chasse", marked Allegretto –
dolcissimo, which is after Caprice No. 9 in E major.
Étude No. 6 in A minor, marked Quasi presto a capriccio, which is after
Caprice No. 24 in A minor, with a slightly altered theme and 10
variations. The technically demanding work abounds with rapid
octaves, scales,
arpeggios, and high pitched themes.
Revised version (1851), S. 141 – dedicated to Madame
Clara Schumann
Étude No. 1 in G minor "Tremolo", marked Andante – Non troppo lento, which is after Caprice No. 6 in G minor (with the introduction and coda
No. 5).
Étude No. 2 in E♭ major, marked Andante capriccioso, which is after Caprice No. 17 in E♭ major.
Étude No. 3 in G♯ minor "La Campanella", marked Allegretto, which is after the final movement of Paganini's
Violin Concerto No. 2 in B minor.
Étude No. 4 in E major "Arpeggio", marked Andante quasi allegretto, which is after Caprice No. 1 in E major. It was written on one line only, omitting the usual separate line for the left hand, this was fixed in the new version. Furthermore, its lowest tone is the G3, the score thus mimicking a score for
violin.
Étude No. 5 in E major "La Chasse", marked Allegretto, which is after Caprice No. 9 in E major.