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Étude No. 6 in a minor

Introduction'''

“Étude No. 6 in a minor” is the sixth and final étude of Franz Liszt’s six Grand études de Paganini (“Grand Paganini Études”), S. 141 (1851). It is in the key of a minor. The entire piece is based directly off of Nicollo Paganini's 24 Caprices for Solo Violin # 24.

Inspiration

On April 20, 1832, Liszt attended a charity concert organized by Niccolò Paganini for the victims of a Parisian cholera epidemic. Paganini, considered a great virtuoso and greatest violinist, inspired Liszt to become as great a virtuoso on the keyboard. The 1830’s generation of music solved some of the most intractable problems of the piano technique, raising the general level of performance possibilities to previously unimaginable levels. Paganini’s 24 Caprices for Solo Violin, considered among the most difficult violin pieces ever created, inspired Liszt to create difficult piano pieces as well. He based five of the six Grand Études de Paganini off of Paganini’s 24 Caprices for Solo Violin. Liszt’s strength, technique, and abilities to stand out during this time secured his spot as perhaps the greatest virtuoso to play the piano.

Compositional History

From 1835 to 1839, Liszt occupied himself with three projects of compositions. He worked on two sets of études, his transcendental études, and the six Grand études de Paganini. The six Grand études de Paganini were soon followed by the six Études d’Exécution Transcendante d’après Paganini, o which the third is again La Campanella, but on a much smaller scale. The other five études are transcriptions of some of the caprices for solo violin. Paganini had been persuaded to publish those capirces in about 1830. The twelve étude studies were originally announced for publication, and possibly Liszt may have intended at one time to transcribe all twenty-four caprices. According to Lina Ramann, he began working on this project the same time he began working on his Clochette fantasy, but no trace of the other mentioned études has been found. In 1851, Liszt created a revised and simplified version of the original six studies. The simplified versions are the form in which they are generally known today – as the ‘seule edition authentique, entiérement revue et corrigée par l’auteur,’ From the periods of 1913 and 1923, Busoni also published his own versions of the entire set.

Musical Composition

The étude, just like Niccolo Paganini’s caprice, is composed of a main theme, and eleven variations of the theme, generally increasing in complexity and difficulty. The majority of the piece is played at Quasi Presto, or very fast, and is often used in many other famous Liszt pieces. In variation ten, the piece is played at più moderato, before the grand finale of the piece. Each variation studies a different technical aspect of keyboard playing. The theme studies on large interval chords, larger than one octave on both hands.

Variations

The first variation studies on arpeggios on the right hand, with a complex left hand melody. The second variation focuses on trills on both hands. The third variation studies both hands jumping between chords and octaves. The fourth variation focuses on chromatic, octave scales. The fifth variation studies crossovers for both hands between large, one to two octave intervals. The sixth variation studies on chord scales on both hands. The seventh variation focuses coordination and synchronization of both hands between two octaves. The eighth variation studies rapid chords between both hands, and their syncopation. The ninth variation mimics a violin’s pizzicato by using arpeggios on the right hand. The tenth variation studies trills and endurance. The eleventh variation begins the grand finale with massive arpeggios with both single notes and chords and octave scales on the right hand, and jumping between notes and chromatic scales on the left hand. The ending of the grand finale finishes with nearly full keyboard length arpeggios for both hands, and the piece ends abruptly afterwards with a quick cadence.

As a whole, the étude can be practiced to increase endurance, accuracy, and coordination between the weaker fingers and two hands. A player’s dexterity can be improved as well, as the piece includes many jumping intervals.

Famous Performances

Some well known pianists that have interpreted and performed this étude include Marc-André Hamelin, and Alexander Lubysanstev. Lubyantsev’s performance of the étude on November 29, 2006 in St. Petersburg’s Music House was notable for its near perfect accuracy.

Étude No. 1 in G minor

Introduction

“Étude No. 5 in g minor” is the first étude of Franz Liszt’s six Grand études de Paganini (“Grand Paganini Études”), S. 141 (1851). It is in the key of g minor. The entire piece is based directly off of Nicollo Paganini’s Paganini's 24 Caprices for Solo Violin #6, as well as the introduction and coda of Paganini's 24 Caprices for Solo Violin #5.

Inspiration

On April 20, 1832, Liszt attended a charity concert organized by Niccolò Paganini for the victims of a Parisian cholera epidemic. Paganini, considered a great virtuoso and greatest violinist, inspired Liszt to become as great a virtuoso on the keyboard. The 1830’s generation of music solved some of the most intractable problems of the piano technique, raising the general level of performance possibilities to previously unimaginable levels. Paganini’s 24 Caprices for Solo Violin, considered among the most difficult violin pieces ever created, inspired Liszt to create difficult piano pieces as well. He based five of the six Grand Études de Paganini off of Paganini’s 24 Caprices for Solo Violin. Liszt’s strength, technique, and abilities to stand out during this time secured his spot as perhaps the greatest virtuoso to play the piano.

Compositional History

From 1835 to 1839, Liszt occupied himself with three projects of compositions. He worked on two sets of études, his transcendental études, and the six Grand études de Paganini. The six Grand études de Paganini were soon followed by the six Études d’Exécution Transcendante d’après Paganini, o which the third is again La Campanella, but on a much smaller scale. The other five études are transcriptions of some of the caprices for solo violin. Paganini had been persuaded to publish those capirces in about 1830. The twelve étude studies were originally announced for publication, and possibly Liszt may have intended at one time to transcribe all twenty-four caprices. According to Lina Ramann, he began working on this project the same time he began working on his Clochette fantasy, but no trace of the other mentioned études has been found. In 1851, Liszt created a revised and simplified version of the original six studies. The simplified versions are the form in which they are generally known today – as the ‘seule edition authentique, entiérement revue et corrigée par l’auteur,’ From the periods of 1913 and 1923, Busoni also published his own versions of the entire set.

Musical Composition

The étude is considered a preludio. It is composed of three main sections by tempo: adante, non troppo lento, and cantabile. The “Tremolo” section is based after Paganini’s 24 Caprices for Solo Violin #6. The introduction and coda however, is based off Paganini’s 24 Caprices for Solo Violin #5. The étude 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. The voicing and dynamics are quite important in the “Tremolo”. Interestingly, the dynamics are one aspect of study that made the piece difficult. Liszt wanted players to focus not only on accuracy, but voicing (particularly the arpeggios) as well.