No. 6 in G 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.
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: Claudio Colombo