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FRANZ LISZT BICENTENARY. Live Recording. Michel Mañanes plays LISZT Grandes Etude Paganini No. 6 A minor . paganini liszt etude 6. Michel Mañanes study piano in France, Spain and Austria. With recitals for europa and south america specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Paganini Etude Liszt.classical concert pianist.
http://www.myspace.com/michelmananesclassicalpianist
Michel Mañanes has obtained, recently, the University Title of "Expert in Pianistic Interpretation", gotten with "Cum Laudae" by Unanimous vote (International University of Andalusia)
Franz Liszt (Hungarian: Ferencz Liszt, in modern use Ferenc Liszt,from 1859 to 1867 officially Franz Ritter von Liszt)(October 22, 1811 -- July 31, 1886) was a 19th century Hungarian composer, virtuoso pianist and teacher.
Liszt became renowned throughout Europe during the 19th century for his great skill as a performer. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably 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.
The Grandes études de Paganini 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 the compositions of Niccolò Paganini for violin, and are among the most technically demanding pieces in the piano literature (especially the original versions, before Liszt revised them, thinning the texures and removing 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).
Liszt first heard Paganini in April 1831 and was so entranced by the unfettered expressiveness of his playing, and Paganini's ability to use his legendary technical ability for purely musical ends, that the young Liszt immediately declared his intention of achieving upon the piano an equivalent new technical mastery in order to unleash musical thoughts which had remained hitherto inexpressible.
Liszt and Schumann (who both rated Paganini very highly as a composer) began the trend of writing pieces on Paganini's themes in 1831/2: Schumann first with a sketched work for piano and orchestra, and then his first set of six Studies (opus 3) on Paganini's Caprices, and then Liszt following with his Grande fantaisie de bravoure sur 'La clochette' (S.420) based upon the third movement of Paganini's Second Violin Concerto. Schumann later wrote a second set of six piano studies (opus 10), and then at the end of his creative life produced piano accompaniments to Paganini's Caprices (an accomplishment later echoed by Karol Szymanowski). Liszt wrote a set of six studies in 1838 (S.140), sketched a further fantasy [combining the 'Clochette' theme with the Carnaval de Venise] in 1845 (S.700), and rewrote the six studies into their commonly-known final version in 1851 (S.141).
Paganini's 24 Caprices for Solo Violin, Op. 1, were composed during the early years of the 19th century, and were published in 1820. They pay homage to a like-named work by Pietro Locatelli, and were of incalculable influence upon whole generations of violinists, and —just as importantly— composers. They form the basis for all but one of Liszt's Études d'exécution transcendante d'après Paganini, and Liszt remains very faithful to Paganini's text. (It is interesting that, although these works are really transcriptions, they are always catalogued and published as original Liszt works. Certainly there is a wealth of original thinking in what Liszt wrote, but the basic material and structure remain Paganini's.) Liszt dedicated the 1838 set of studies to Clara Schumann and —typical of his generosity and magnanimity— went on happily to dedicate the 1851 set to her as well, in spite of her carping
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Daniil TSVETKOV plays liszt/paganini etude n°6by dafuckinmart14,714 views
A musical gem in a brilliant pianistic performance!!! Marvelous!!! ♥♥♥♪♫♪♥♥♥
CristinaCeaicovski 1 year ago