well... the next one?
how difficult do you think the second one is? I really like that one...
I should give this a listen...Don Juan. you have any stuff you can send me? I know I've asked like a prick for like 1 week now. sorry
not just midi?whos recordings do you have?
It sounds like Harmonies du Soir (11) isn't quite as dangerous as the rest - I've not played it, but from listening it seems this way.
Quote from: allchopin on November 12, 2004, 05:58:00 PMIt sounds like Harmonies du Soir (11) isn't quite as dangerous as the rest - I've not played it, but from listening it seems this way.liszt's works is much more difficult than they sound
Quote from: Hodi on November 14, 2004, 08:43:46 PMQuote from: allchopin on November 12, 2004, 05:58:00 PMIt sounds like Harmonies du Soir (11) isn't quite as dangerous as the rest - I've not played it, but from listening it seems this way.liszt's works is much more difficult than they sound no, Mozart and Haydn's works ARE harder than they sound. Liszt's works are actually very comfortable for the hands because Liszt himself was such an excellent pianist. This makes them easy to learn, but hard to perform and control. I agree with Marik for the most part.donjuanBy the way, Transcendental Etude No.11 isnt nearly as difficult as Grande Etude No.11. However, I cant say either of them can be described as easy...donjuan
After working on Feux Follets on and off for 20 years (for five years every day for an hour), I found it quite easy untill... I played it on stage. After that I realized that I need a few years more.OT, friend of mine has studied with Gilels. He told me that Gilels was working on this etude for whole his life, but never was brave enough to play it in public.
Quote from: Marik on November 15, 2004, 09:00:52 PMAfter working on Feux Follets on and off for 20 years (for five years every day for an hour), I found it quite easy untill... I played it on stage. After that I realized that I need a few years more.OT, friend of mine has studied with Gilels. He told me that Gilels was working on this etude for whole his life, but never was brave enough to play it in public. Then you probably don't want to hear this....heh:https://www.meiting.com/m3u/liszt.transcendental.etude.no.5.feux.follets.20020712.m3ukoji (STSD)
Quote from: Thracozaag on November 16, 2004, 01:05:01 PMQuote from: Marik on November 15, 2004, 09:00:52 PMAfter working on Feux Follets on and off for 20 years (for five years every day for an hour), I found it quite easy untill... I played it on stage. After that I realized that I need a few years more.OT, friend of mine has studied with Gilels. He told me that Gilels was working on this etude for whole his life, but never was brave enough to play it in public. Then you probably don't want to hear this....heh:https://www.meiting.com/m3u/liszt.transcendental.etude.no.5.feux.follets.20020712.m3ukoji (STSD)c'mon! RUDY could do dat
Why is Feux follets mentioned in this topic... Sure, it is probably the prettiest but it is one of the hardest. Unless you actually play it allegretto...
i believe his point was that most pianist today play this piece PRESTISSIMO as possible!
good point, but why didnt he just write it in 16ths and mark it presto?
so would you say meiting plays it as liszt would have?
Quote from: julie391 on November 19, 2004, 09:59:40 PMgood point, but why didnt he just write it in 16ths and mark it presto?It has to do much more with character than with tempo. The hardest thing in this etude is to play it fast, but still, light, with perfect sense of "tranquillo". No rush, no hurry. Presto marking would imply the opposite, like lets say, in Gnomenreigen.
is it not virtuosity for the sake of virtuosity?