Transcendental Étude No. 7 (Liszt): Difference between revisions
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Many [[Composer|composers]] and [[Pianist|pianists]], including [[Leslie Howard (musician)|Leslie Howard]] and [[Ferruccio Busoni]], consider the 1837 version of this piece superior to the final Transcendental version. |
Many [[Composer|composers]] and [[Pianist|pianists]], including [[Leslie Howard (musician)|Leslie Howard]] and [[Ferruccio Busoni]], consider the 1837 version of this piece superior to the final Transcendental version. |
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== Difficulties == |
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The main theme, beginning on [[Bar (music)|measure]] 20, makes use of the [[sostenuto pedal]]. It requires precise coordination to only sustain the fanfare-like melody, with the [[pizzicato]] accompaniment in the background. |
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== External links == |
== External links == |
Latest revision as of 19:07, 10 September 2023
Transcendental Étude No. 7 in E♭ major, "Eroica" is the seventh of the twelve Transcendental Études by Franz Liszt. It is a study of rapid downward runs, bravura and octaves (at the end).
In a customary manner of Liszt, the piece begins with some sharp notes and fast, powerful descending scales. The "heroic" theme is then introduced. The piece becomes more chaotic and finally erupts in difficult octave arpeggiations. It ends with a final restatement of the theme.
Many composers and pianists, including Leslie Howard and Ferruccio Busoni, consider the 1837 version of this piece superior to the final Transcendental version.
Difficulties
[edit]The main theme, beginning on measure 20, makes use of the sostenuto pedal. It requires precise coordination to only sustain the fanfare-like melody, with the pizzicato accompaniment in the background.
External links
[edit]- Transcendental Études: Scores at the International Music Score Library Project