I think this earlier set of paganini etudes is far more difficult than the revised 1851 version. I feel like his teacher Czerny has built a strong fundation for Liszt's formidable techniques. Probably that's also why Czerny's etudes are also critically acclaimed for piano players from learners to masters. Even though Lisztian etudes are indeed eye-catching and flamboyant, but most of the techniques can be traced back to relatively easier Czerny etudes. This is said by my piano teacher actually 😂.
prob bcz he cannot play liszts etudes so hes saying sour grapes czerny is better. czerny was nothing compared to liszt he wouldn't have even been a great pianist by todays standards but surely liszt would be
@@dustovshio ????? it is saying that Czerny established a baseline which allows you to attain the Lizstian flair. It is clear op's teacher has a deep respect for both Lizst and Czerny.
@@Skullemojiiii no liszt's finger exercises and etudes allow you to attain the "lisztian flair" not czerny. Liszt was the greatest pianist to ever live and czerny is barely a footnote in music history.
Ooooh, so the first version of Etude n°3 also featured the theme from the last movement of Paganini's 1st concerto, together with the one from the last movement of his 2nd concerto ("La Campanella")! Very interesting. It's surprising that at some point Liszt decided these compositions were far too hard and revised them, removing the 1st concerto part from this etude.
They are on IMSLP! imslp.org/wiki/%C3%89tudes_d'ex%C3%A9cution_transcendante_d'apr%C3%A8s_Paganini%2C_S.140_(Liszt%2C_Franz) It helps to look for the "opus" number (S.140 in this case).
Petrov has the best recording for No.5! Simply my favorite among all the others whom I've listened to 18:40 - Petrov's tenths are much better than Filipec's and Tomellini's recordings here
1st movement is common time 2nd movement is common time 3rd movement is 6/8 4th movement is 2/4 5th movement is 2/4 5th movement ALSO has a time signature. 2/4!!! Every music has to have some kind of signature if you didnt know... This must be the dumbest RU-vid comment I've ever seen. If you dont know how to spot a time signature it's said after the key signature AND sometimes these pieces change time signature in the middle of the piece but I dont have time for naming them.
The S.140 set is an earlier version of the Paganini etudes, with many different ideas. Liszt published the S.140 set in 1838 and the S.141 set (the one that most people know) in 1851.
Lol liszt had to nerf this set so hard.. However, im kind of surprised that very little of, if not none of, the "technical masters" of piano have made their recordings of this 1838 set. So far, the only recordings of this set I can find is of this one of Petrov's. Why though? Are Liszt's first editon etudes THAT hard?(not implying that I can do my own recordings) Or is it that most "technical masters" of piano can't find any musical value off of this set?
While I can’t give you a solid answer to your question, I will let you know that Goran Filipec, Elisa Tomellini, and Wojciech Waleczek have all made complete recordings of the S.140 set; I actually have another vid using Filipec’s recordings, although I personally find Tomellini’s to be the most intriguing. It’s not a lot, but it’s more than just Petrov at least.
@@applejuices i can reach tenths too ,, but its a bit painfull ,, i can manage to play tenths slowly but its physically impossible to play those tenths that fast
The most important part of his piano work are the transcriptions. More than Hungarian rhapsodies or studies The Reminiscences, symphonies, caprices and even transcriptions of his own pieces, such as Mazeppa, which is originally a symphonic poem and the Libestraum, which is for voice and piano
