Of course the pianos of 1826 might not have had the dynamics or range of this in the later period. Double escapement and overstringing were in early stages. A strong influence of Schubert here.
It’s great to see u just chillin in random piano videos, the way u comment in others videos is almost like ur a normal person... oops, just forgot that people that upload videos and play super well are also normal, my fault ownsjwbjdd
When i was 15, a year ago, before august 10, i experienced quarantine my first love and sudden interest in piano, so much interest that i decided to study music and compose! So my 15 were a pivot of change in my life, and i was and am doing school, but im woking in composing, not like mr liszt but hope i coud get to that level one day hahahahaha
To clarify, is "i experienced quarantine my first love and sudden interest in piano" a list? As in do you mean "i experienced quarantine, my first love, and sudden interest in piano?" I
These are just plain beautiful. Some almost pure Czerny passages (especially in Feux Follets) but lots of pure young Liszt. Yes, they were what he used later in life as the basis of the transcendental studies. If you think these are technically impressive for 15 then have a look at Brahms's F minor sonata, written when he was just 14.
Yea franz liszt is like an VIP student of Carl Czerny, also i played czerny op.365 and i have to go to hospital cuz i broke my hand when playing op.365 all 60 etudes by Czerny
WOW! I'm stunned. I've never heard this version. This is exceptional and from a 15 year old Liszt. Astonishing! I'm amazed at no.5 feux follets which is nothing like what was to become yet wonderfully musical. Hearing this is a treasure to me. Thanks you. I'm hooked. Now I have to get the score and learn it. I've got a shot with this compared to the final version. Thanks!
So I was already impressed by the fact that he wrote the first versions at such a young age but I think I'm even more impressed with how amazingly he reworked them into the "Douze Grandes" version (before the Transcendental version). Also there are elements of his first version I like more than the later versions but the "Douze Grandes Etudes" will ALWAYS be my fave❤🎵
@@NicolasEjzenberg No. 11 is it's own work. Harmonies du Soir is the revision of the 7th Étude in this set. No. 11 here was never actually revised, and was instead replaced with Erioca which itself is somewhat based off of the beginning of S.150. The closest thing No. 11 here got to a revision was Von Bulow's rewriting of it in the 1890s
@@waidi3242 Repent and trust in Jesus. We deserve Hell for our sin. Lying, lusting, etc, but God sent his son Jesus to die on the cross and ride from the grave to free us from sin. If you repent and trust in him youll be saved. Romans 3:23 John 3:16
@@sashh9997 who cares about that? Is that what you live for? What meaning exactly, what concrete meaning is in the notion of trying to have people acknowledge you.
@@ms-dosguy6630 I never said that anyone should care about that, I was probably doing something really stupid when I was younger too. I just said that as a solid fact and nothing else
@@katttttt that's what...Liszt didn't revise it at all. Instead he replaced it with Eroica in the upcoming sets (#7 in both S.137 and S.139) and S.136/7 would become Harmonies du Soir (S.137/11, S.139/11).
I started at 4, classical, but lacked proper mentors along the way and lost a lot of progress to it. Like I always wanted to play Liszt and Beethoven, but should've had someone to push me towards Prokofiev and Bartok. So I stagnated, though I can play almost everything. I promise you, as long as you get the appropriate guidance, you'll be a star.
@@vrominatorx2668 Chopin had hardly any knowledge of Liszt's music at that time. He was in Vienna and then on his way to Paris through Stuttgart when he wrote his op. 10. He did meet Czerny, though.
It is FASCINATING to see these “prototypes” of the Transcontinental Etudes and their evolutions: they haven’t even been given their titles yet! If I remember correctly, there is the “intermediate” version between the two, as well. Ooh, No. 7 eventually became “Harmonies du soir” (No.11)! No. 8 is quite similar to Chopin Op.10-12 in so many ways! No. 9 might have inspired Saint-Saens into Delilah’s air “Mon coeur”! No. 11 didn’t “survive” into the final version, I see.
haha when I was 15 i started practicing the second one of these etudes, the a minor one. It took me about a year to learn it properly. Biggest challenge of my musical studies but I'm no prodigy, nor a musician :D
I am wondering could this set of etudes be a preparation for anyone who wishes to play Transcendental Studies in the future? Or to let students play these etudes to replace Czerny Op.740/299 if their technical demands are similar?
These use very different techniques and are heavy on fingerwork - the Transcendental Studies are much, much more advanced and require advanced arm/body weight techniques.
I like some of these ever more than the Transcendental Etudes. Seems more musical, less technical difficulties that sacrifice musicallity for virtuosity. Also, on No. 6 and 8 I have a weird Beethoven-esque sensation
@@Medtszkowski Because Liszt writes opuses from the begining of his carier, and Liszt this write under marking Opus 1. But after some time Liszt stopped to mark his pieces as opuses.
At 15...I was first learning piano and making up simple music in FL Studio. But I can say that after years of study, I can now play some sections of some Liszt pieces at a mediocre level... 😅😭
I mean there might be a tinyyy chance that this is playable (for more people than like only concert pianists as maybe in the case of the later versions)
idk if its too late to answer the question , Im 15 atm and Im learning classical music , I started 10 months ago ( Learning 6 consolations and Chopin Op 32 no 2 ) , Im also a video editor and an artist . I plan on making visualizer piano videos when I reach a decent level , I think it will be a good way to combine my hobbies and abilities together . Tho I think its rly impressive of someone to compose such music at 15 , it shows how genius he is , he was a prodigy.
I think so too! It really is! Thanks for voting! Just trying out these automatic replies YT added for some reason. Anyways, I also think No. 6 is actually real nice.
wow the last one sounded so basic... I guess somehow in his alcoholic elder state he edited it in such a magnificent way. Most of these sound amazing. Some of the transcendental ones sound better. Thank you for this video!
I'm not even 15 yet. I'm only 14. But I can maybe play a few of these etudes (I already uploaded the fourth one on my channel). Some of these sound more Czerny than Liszt but of course that is not strange as Liszt was Czerny's student.
@@ruby_R53 wrong. Preludes have nothing to do with time. Some are longer than most. Its a piece that is expressive and represents the composers artistry. In a larger work, a prelude serves as the introduction. Not just a prelude alone. That's a character piece. Point is that preludes don't have any rules in terms of structure. Sort of like a Fantasie, except fantasies are longer works for that matter. Perfect example: Chopin. His preludes aren't all short. Some take up a few pages at slow tempo & moderate tempo. Food for thought.
@@FranzLiszt0904it's the shortest not because it's titled prelude, rather it's the original that was transcribed in manner which Liszt kept a similar but more complex rendition of technique and tempi in the succeeding works. His second set was actually God awfully difficult to the point he transcribed another set which we all know of. Some find that much harder, but that wasn't Liszt's goal, because, well... Liszt had to be Liszt and no matter what he did in his prime, his works required formidable technique that were beyond many pianists of those times.
All are completely different compared to S. 137, S. 138 and S. 139... I almost didn't recognize some... (For example, No. 11 "Harmonies du soir" and No. 6 "Vision").
@@thenotsookayguy Yes, I even made another comment about that. I meant that S. 136 No. 11 doesn't sound like any piece from S. 137, S. 138 or S. 139...
He rewrote them in 1837 as the Grande Etudes (S.137) which are way more difficult than the Transcendental Etudes, he later revised them again in 1851 where he removed some difficulties and replaced them with other less difficult difficulties or chromatic scales.
at 21:48 look at the lower stave on the last bar of the etude. that is the hardest thing anyone ever wrote - only a virtuoso like liszt would put that in his music
When I was 15... I watched raindrops drip down windows and bet money on which one out of two or three would make it down first. My imaginary friend there with me got really rich.
