In the sphere of piano performance or piano artistry there are few human activities where the necessity for extraordinary physical prowess is so closely aligned with the greatest intellectual and emotional capacities.
The virtuoso must possess a memory capable of maintaining thousands of pages of music in the mind and fingers, under the stress and distractions of public performance; the virtuoso must be cultured and self-aware, musically able to convey the great range of meaning embodied within a chosen repertoire; the virtuoso must project both physical excitement and emotional communication; and the virtuoso must experience life to the fullest while remaining cloistered with an instrument in a relentless quest to maintain his or her craft at its highest level.
A capricious, even morbid, temperament is demanded, and there must be the fire that kindles and the power that menaces; a fluctuating, wavering rhythm yet a rhythmic sense of excessive rectitude; a sensuous touch, yet a touch that contains an infinity of coloring; supreme musicianship-Chopin was a musician first, poet afterwards; a big nature overflowing with milk and honey; and, last of all, you must have suffered the tribulations of life and love, until the nerves are whittled away to a thin sensitive edge and the soul is aflame with the joy of death’
The Goldberg Variations Analysis
Chopin Ballade Manuscript Opus 23 g minor
Ludwig van Beethoven Manuscript
Johann Sebastian Bach
Frédéric François Chopin
Ludwig van Beethoven
Rachmaninoff Prelude No. 2 C# minor
Harmonies Poetiques et Religieuses
is a piano suite comprised of ten compositions, Liszt dedicated the suite to his companion princess Sayn-Wittgenstein.
II. Ave Maria
III. Benediction de Deus dans la Solitude
IV. Pensee des Morts
V. Pater Noster
VI. Hymne de L’enfant a Son Reveil
VIII. Miserere D’Apres Palestrina
VIIII Andante Lagrimoso
X. Cantique d’Amour
Many innovative concepts are explored in this suite such as constantly changing meters, no key signatures in addition to emphasis on the tritone. Liszt develops these innovations further in his later compositions. Fifty years later Liszt once again returned to the exploration of atonality in his Bagatelle ohne Tonart (Bagatelle Without Tonality).
On the autograph manuscript of Funérailles,Liszt writes October 1849. Liszt indicated it was an elegy written as a tribute to three of his friends who died in the failed Hungarian Revolution. Prince Felix Lichnowsky, Count Laszlo Teleki and the Hungarian Prime Minister, Count Lajos Batthyany. It was a colossal defeat to the Hungarian people.
Death of Chopin October 1849
The intuitive use of material from Chopin’s heroic Ab Major Polonaise Opus 53 leads to speculation that this piece was more than an elegy to the Hungarian people but also an elegy to his dearly departed colleague F. Chopin.