Added: 3 years ago
From: nazhiitoxx
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  • Stunning. 

  • I give great respect to Leslie Howard for recording ALL of the works of Liszt-I actually have the complete box set-BUT I think this recording is awful...maybe its the quality or something; the attack just sounds so harsh. Shouldn't this piece be delicate, and magical?

  • Bloody hard etude! lol

    Just virtuoso pianists can play this

  • Comment removed

  • @salamence47: ummm since when was T.E. no 3 La Campanella...?

    Beautiful playing, one of my all-time favourites.

  • From 1:21 to 1:51 - No other music can move me more than these 30 seconds!

  • @natevjthiori give liszt's 'fuocoso molto energico' a try. it is contained within 'hexameron'. this gave me multiple chills of awesomeness. check it out.

  • i dont see the difference between this and the transcendental version

  • I guess both Liszt's and the pianist's hands are made by balata

  • This is fucking brilliant! :D It is now oficially my favorite piano etude.

  • woow it is even harder than transcendental etude 5

  • may I ask, who's performing this piece? it's amazing!

  • One of isn't this THE hardest of the set? I like this version MUCH better then the Transcendental version. Liszt cut out all the good stuff.

  • Chopin wrote an etude that is similar to this one! Op. 10 No. 7!

  • Holy shit! Dat be crazy!!! DAMN, NATURE! YOU SCARY!!!!

  • It's surprising that this etude didn't change all that much in the final version!

  • excellent performance... Look at my Folk Paganini Variations if you are interested

  • 1837 version. That's the hardest one right?

  • i've watched this sooo many times...I just can't get over this! sooo much virtuosity it's just stupidly amazing

  • Who's the pianist?

  • I believe leslie howard ?

  • For Liszt lovers - see 1.16 - 1.20. Liszt used this in his Piano Concerto No. 1.

  • Whos the pianist playng this?

  • dude, NO WAY!!!!!!!!!!

  • Well, I goofed! It is actually marked "Egualmente" (as indicated by the author of the post) in this 1837 version (which is presumably more difficult to play than the later versions of the transcendental etudes)... so it is not "Allegretto" (as indicated in the later version)... But the tempo is just great for the piece in this performance as "egualmente" means equally... that's pretty open to interpretation with regard to cjosen tempo... but the performance here is very clear and "egualmente".

  • Although ity has become (for perhaps at least a century now) to play Feux Follets at a presto tempo, I believe that this rendition is at about the speed that Liszt had envisioned when he indicated "Alegretto" on the score... the notes are so very clear in this excellent performance... just a great job and musically very sensitive as well... the best of the "allegretto" Feux Follets I've ever heard and also, for that matter, one of the very best performances of this work as well. Very clear!

  • Hm nagut, da werde ich wohl noch ein bisschen üben müssen.

    :D *lach*

    ...Schade, nichtmehr in diesem Leben. ;-)

  • Don't you mean marked "Egualmente" in B-flat major?

  • wow the final is diferent and more beautiful!!!

  • wow! can someone teach me how to write like that? i mean composing THAT technically difficult and sounding beautiful?!

  • That was a joke, right?

  • Apparently, people these days are too stupid to compose like that anymore. Sorry, but you're on your own.

  • Yeh...Only someone with extreme talent and a person who is that interested in classical music, like me...(What? I used to improvise when I was 5. I'm not joking.) Most people these days like other types of music, so classical music is getting less and less popular. We are the people to stop it and keep classical music forever!

  • @Gutelimpa That's an incredibly snobby thing to say. No one and nothing can define what music is and is not. It's arrogant comments like that that turn people away from classical music, no one wants to be grouped with an elitist idiot. All music is music, that's all that ever mattered and like it or not that rule is here to stay.

  • Even more arrogant is it when someone replies back saying someone is arrogant when he was just stating his opinion.

    This is my secondary account in case you wonder why I spontaneously reply you.

  • Opinion or not that is still a damn arrogant thing to say. I ain't here to argue.

  • No problem.

    If you are genious like Liszt or Chopin somebody will teach you

  • First study music theory so you know the basics of what's going on. You'll know what patterns are being used and the different scales. Then start listening to music and reading the sheet music simultaneously to build your ear and all the pieces will come together. This piece is all about the whole tone scale and the chromatic scale with a few key changes. While it's technically difficult, it remains structurally easy to understand. Don't let all the accedentals fool you. There's always patterns.

  • thphaca great compositions are not about difficulty in changing keys and understanding it or not ... franz liszt was genious becuase of his melodies first then u talk about his technical difficulties..

    look at the simpliness of changing keys fur elise for ludwig but u find complex of feelings it's hard to understand franz liszt if u dont open ur heart

  • I'm not degrading Lizst. Yes, he was genius and we all know it. That doesn't mean that his works are so overwhelmingly above our understanding. I never said music was about difficulty, but contrary to what you said, it IS about changing keys. It IS about harmony, rhythm and voice structure. After all, those are the building blocks of music, right? Music is a simple common language. It's not some abstract art. I simply want to let people see beyond the illusion of confusion.

  • music a universal language that we all understand but only a gifted few can speak with grace

  • Um........these are etudes, they were written for EXACTLY the reason of developing theory.

  • i used to listen to him before knowing at least his name and i was so attracted to his peices , it's not important wat reason wilde jagd or feux follet or mazeppa were written for ,

  • the great Hungarian composer, Franz Liszt is most of the time only remembered as a superb piano virtuoso or as the composer who wrote solely for that instrument. It is very wrong to do so, as Liszt was also immensely active in the orchestral field, being the creator of the symphonic poem, and for me i felt like playin a whole orchestra when i played mazeppa last year although its difficulcy

  • @thphaca you have to know that the main theme have 3 variations, which is divided into 2 couples of 2 variations. The 2 couples of the main theme are separeted by other themes: a new one and a development of another (the one beetween the intro and the main theme - bar 7 to 17). Then there's a kind of "divertissment" bar 53 to 61. Now a variation of theme bar 7 to 17 from bar 62 to 66 which goes to a cadenza bar 67 to 71; now, there's the second couple of 2 variations of the main theme to bar 90

  • Followed by a developement of theme from the bars 38 to 41. Bar 101 : Coda.

  • @anotherpianodude Sure, I'll take your word for it sense I havn't studied the form of the piece enough to verify, but you just proved my point about the importance of theory.

  • @thphaca Yes, that was the meaning of my comment.

  • Fabulous, fantastical madness!!!

  • Can someone tell me why No. 6 is posted NOWHERE....It's the one I'm learning now but I can't find any interpretations...LISZT IS UCKIN INSANITY TO A NEW LEVEL!!!! Woooooooooo

  • Thanks for this... It seems this is the only music education I'm going to get.

  • wtf is impossible...Liszt crazy

  • absolutely fascinating to hear feux follets in the grande etudes version.

    between the versions liszt completely re-thought his approach to the piano.

    thanks for posting

  • I think this version is simular to the version later(Transcendental Etudes) but the later version is better...I think

  • the first edition is the best! ) why should Liszt change anything??)

  • It was too hard. He had to release a simplified version, the more famous transcendental etudes. The only transcendental version that is harder is no. 4, "Mazeppa".

  • I find that some parts in the GE verson no. 4 is harder than TE no. 4. And It´s more beautiful and melodic ;)

  • new pianos with heavier keys were developed, so, the 1837 version became even harder to play.

  • This is not the first edition. The first are the "Czerny-like" studies Liszt wrote at the age of 15. This is the second edition. (1837) "The History of Pianoforte" states; "Liszt revised Etudes over a considerable period of time and came to distinguish between proper pianoforte effects and mere dare-devil bravura." Apparently, Liszt changed them because he wanted to...

  • LOL! That looks like one tough cookie to play. My God!! :-D

    Thanks for putting up the scores. It's entertaining just reading what Liszt wrote for the world's mortals!

  • woow!!!

    I really love this TRANSCENDENTAL ETUDE...

    Of all the etudes except the transcendental etude no.3 which is the la campanella, this is my FAVORITE!!!

    I'm 100% sure that this etude is considered as one of the most difficult solo piano piece...right???

    THANKS for Posting this wonderful ETUDE!!!

    I really like it!!!

    Magnificent!:)

  • well you're a little confused, this is not a trascendental etude, the trascendental etudes are the version of these etudes written in 1851, and these are "Douze Grandes Etudes", written in 1837, but they're almost the same (the only difference is the 1837 version is more difficult and intense), and "la campanella" isn't a trascendental etude (the third trscendental etude is "paysage") campanella is a "paganini etude", because Liszt composed some etudes based on themes by paganini

  • Ahhh... ok...

    I learned from your about the "transcendental studies"...

    buT I already knew about the La Campanella,

    Liszt changed it from the piece of a VIOLIN made by Niccolo Paganini because Liszt admired

    the style of paganini in the violin...

    By the way!!!

    Thanks for your help about the trascendental study!

    :) ThankS!

  • By the way, it's B flat major, not B major.

  • @nazhiitoxx Actually, if you look at the title of the paganini etudes, they are listed as "Études d'exécution transcendante d'après Paganini." So, they are technically transcendental etudes of a sort :)

  • la campanella is a paganini etude.

    transcendental etude no.3 is "landschaft" or "paysage" ; )

  • ahhh ok...

    then

    Grandes Etude de PAganini no. 3...

    right???

    :)

  • @salamence47 This is nowhere near one the hardest works in the solo piano repertoire. This music is still tonal and features many patterns of harmony that help in learning the music; also, it's really short. Sorabji, Boulez, Stockhausen, Finnissy, and a myriad of other 20th century composers have created far more demanding works in terms of technique, endurance, rhythm, and just about every other criterion you could imagine.

  • @salamence47 La Campanella is not grouped with the Trascendental Etudes, you idiot, it's grouped with the Grande Etudes based on thems of Paganini

  • isn't it B flat major? at least it says so on the score

  • yeah, B flat major=B major and B major = H major , do you understand??

  • oh I get it.

    SO it's German notation....

    B-dur and H-dur.....

    for B flat major and B major

  • yeah, I like the german notation, and I always use it, when I speak in english, and even in my normal life (because my original language is spanish) I use to say for example "esa pieza está escrita en C-dur", sometimes it sounds a little wird, but I don't care it :D

  • do you know how to spell bach in that special german notation, doesnt b=b h=b flat

  • @lukefenderrhodes no, b=b flat, h=b natural

  • 1837 version, not 1937

  • aps, stupid mistake xD, thank you :D

  • lOVE THIS TEMPO

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