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Correction about alternate title Appassionata - made it clear that this title was not seen or approved by Liszt, is not official, was a minor suggestion in one of Busoni’s early editions, and is not widely used. This is imperative for scholarly accuracy. Acknowledging the alternate titles is acceptable, but it should be made clear that they are not official, widely used, or academically recognized as replacements for Liszt’s choice to leave the piece untitled. Added source.
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{{Short description|Composition for piano by Franz Liszt}}
[[File:Allegro Adagio Molto.png|thumb|360px|The first two bars of the Transcendental Etude No. 10]]▼
{{more citations needed|date=December 2020}}
▲[[File:Allegro Adagio Molto.png|thumb|360px|The first two bars of the Transcendental EtudeÉtude No. 10]]
 
'''Transcendental Étude No. 10 in [[F minor]], "Allegro agitato molto"''', is the tenth of twelve [[Transcendental Études]] by [[Franz Liszt]]. The occasionally-used alternate title, “''Appassionata”,'' was not given or authorized by Liszt, but instead provided by [[Ferruccio Busoni]], in an early edition.<ref>{{Cite book |last=Busoni |first=Ferruccio |url=https://archive.org/details/essenceofmusic0000unse |title=The Essence of Music and Other Papers |publisher=[[Philosophical Library]] |year=1957 |pages=162 |language= |translator-last=Ley |translator-first=Rosamond}}</ref><ref>{{Cite web |title=Transcendental Etudes Scholarly Preface |url=https://www.henle.de/media/42/b2/c8/1690886071/0717-1690886071-sync.pdf}}</ref>
'''Transcendental Etude No. 10 in F minor, "Allegro agitato molto"''' is the tenth [[Transcendental Etudes|Transcendental Etude]] of a set of twelve by [[Franz Liszt]]. It bears a strong resemblance to [[Chopin]]'s [[Etude op.10 no.9]] in the same key. It is possibly the most played of the etudes and has a prominent melody.
 
[[Passage (music)|Passage]] work for the left hand is rather difficult, while the right hand plays the melody mostly in [[octave]]s. There are several portions where the left and right hands alternate to play descending chords reminiscent of a sigh. Other difficulties include cramped spacing (the hands are often close together), left-hand [[Arpeggio|arpeggiated]] passage work, complex figurations in [[polyrhythm]], and the right hand ascending the keyboard in swiftness using only the thumb, the third, and fourth finger.
Musically, it is a study in pushing melodic lines to the razor's edge with passion and dramaticism while maintaining the [[melody]]. The climax occurs right after the softest part of the piece and is an octave D-flat played 23 times in a row with rhythmic changes and rapid left-hand arpeggios that constantly change theme.
 
The [[étude]] is in [[sonata form]], with a second group in [[E-flat minor|E{{music|flat}} minor]], and an explosive [[Coda (music)|coda]]. The climax occurs right after the softest part of the piece and is an octave [[D♭ (musical note)|D{{music|flat}}]] played 23 times in a row with rhythmic changes and rapid left-hand arpeggios that constantly change [[Theme (music)|theme]]. The 1837 version bears a coda which is modelled after the coda in the finale of [[Ludwig van Beethoven|Beethoven]]'s [[Piano Sonata No. 23 (Beethoven)|"Appassionata" Sonata]].
This is one of the more popular etudes of the set, and, while difficult, it is not considered to be one of the hardest.
 
[[Moscow]] native and classical pianist, [[Evgeny Kissin]], launched into the limelight in 1994 in [[Los Angeles]] performing his interpretation of Transcendental Étude No. 10 at [[Dorothy Chandler Pavilion]].<ref>{{Cite web|url=https://www.latimes.com/archives/la-xpm-1994-02-22-ca-25633-story.html|title = MUSIC REVIEW : Yevgeny Kissin Recital: Poetry vs. Mannerism|website = [[Los Angeles Times]]|date = 22 February 1994}}</ref> Kissin has continued to perform interpretations of Liszt's work throughout his career.
It is in sonata form, with a second group in E-flat Minor, and an explosive coda. The 1838 version bears a coda which is modelled after the coda in the finale of Beethoven's Opus 57 [[Appassionata]].
 
[[Diocesan College]] alumni, Liam Pitcher,<ref>https://www.bishops.org.za/magazine/Dec2011/College.pdf {{Bare URL PDF|date=March 2022}}</ref> won the Rustenberg Piano Festival in 2011<ref>{{Cite web|url=http://www.findglocal.com/ZA/Cape-Town/277292728963383/Wetpups-Alumni|title=Wetpups Alumni, 49 Newlands Road, Claremont, Cape Town (2021)}}</ref> performing Transcendental Étude No. 10.
{{multi-listen start}}
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{{multi-listen item|filename=Liszt transcendental etude n10.ogg ‎ |title=Transcendental Etude N10 in F minor|description=Performed by [[Giorgi Latsabidze]]|format=[[Ogg]]}}
 
South Korean pianist and 2015 gold medal winner of the [[International Chopin Piano Competition]],<ref>{{Cite web|url=https://culture.pl/en/article/and-the-winner-of-the-2015-chopin-competition-is|title=And the Winner of the 2015 Chopin Competition is…}}</ref> [[Seong-Jin Cho]], performed Transcendental Étude No. 10 at the [[Walt Disney Concert Hall]] in October 2018 for his Los Angeles debut.<ref>{{Cite web|url=https://www.latimes.com/entertainment/arts/classical/la-et-cm-seong-jin-cho-la-phil-review-20181025-story.html|title = Review: South Korean pianist Seong-Jin Cho makes an electrifying L.A. Phil debut|website = [[Los Angeles Times]]|date = 25 October 2018}}</ref>
== External links ==▼
* {{IMSLP2|id=Transcendental_Etudes%2C_S.139_%28Liszt%2C_Franz%29|cname=Transcendental Etudes}}▼
 
==References==
{{Liszt transcendental études}}
{{Reflist}}
 
▲== External links ==
[[Category:Études by Franz Liszt|Transcendental 10]]▼
▲* {{IMSLP2|idwork=Transcendental_Etudes%2C_S.139_%28Liszt%2C_Franz%29|cname=Transcendental EtudesÉtudes}}
 
{{Liszt transcendental études}}{{Portalbar|Classical Music}}{{Authority control}}
[[pt:Estudo Transcendental Nº10]]
 
{{DEFAULTSORT:Transcendental Etude No. 10 (Liszt)}}
▲[[Category:Études by Franz Liszt|Transcendental 10]]
[[Category:1852 compositions]]
[[Category:Compositions in F minor]]
[[Category:Compositions for solo piano]]
[[Category:Piano études]]
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