Werke des Wunderkindes[ Bearbeiten Quelltext bearbeiten ] Op. Jugendwerke[ Bearbeiten Quelltext bearbeiten ] Op. Erste Version komponiert , erster Konzertvortrag durch Liszt am 7. April in Paris. Zweite Version komponiert im Sommer , erster Konzertvortrag durch Liszt am 1. Oktober in Genf.
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Liszt dedicated this etude to his former student Dionys Pruckner. Masterclass Bar 1: Stay close to the keys. Practice with accents on the main notes. It helps you get the right articulation at full speed. Bar 5: Think of them as almost being written together chord-like. Breaking them too much will slow you down. Bar Bring out the difference between 32nd notes demi-semi-quavers and crushed notes acciaccaturas Bar Keep it strong until the very last note!
Bar Right Hand: Use Arm weight for the melody, and fingers for the accompaniment. Left Hand: Play the last chord with sharpness and energy. Apply the same to similar parts. Bar Play E-D -E with the left hand. Use Apply this fingering to similar parts. Bar Play the left hand chords with energy. Bar Start soft, and delay the crescendo until bar It makes it more dramatic.
Bar Play the left hand chord with power, and the right hand notes with brilliance. Think of energy. Bars Regroup this section. Think in overlapping phrases. It makes it more natural and musical.
The left hand should move in a circular motion to avoid tension. Bar Release tension. Move the wrist with the phrase down-up and change pedal per beat. Prepare for the ascending chromatic chords. Bar Left hand fingering: use the 2nd finger for black keys and 1st finger for white keys.
It makes the movement more natural. Bar and Strong left hand! Keep up the power. Bar Keep the left hand strong until the last chord! Accent on the top left hand note! Bar Pedal on slurred notes. Change per beat. Bar Bring out the top notes. Analysis Gnomenreigen is in F minor. It is in a free formal structure, based on two themes. It resembles a classical rondo-sonata form.
Bars Introduction. Crushed notes and staccatissimo 8th notes, based mostly on the dominant chord of F minor. Bars First theme, F minor. Augmented chords are used frequently in bars Bars Second theme, A major relative major. Moves through Bb major bar 27 to B major bar Bars Transition. Based on diminished 7th harmony, leading to the return of the introductory theme in F minor. Bars Second theme, Bb major an unexpected key.
Moves through B major bar 63 to C major bar Bars Similar to before, but leading to a new rhythmic figure based on the first theme. Bars Transformation of the first theme, G minor. Dominant pedal in the bass from bar 84, with many augmented triads played above. Diminished 7ths are used from bar Bars First theme, F minor, above a dominant pedal, ending with a series of chromatically rising augmented chords. Bars Second theme, F major the tonic major key. Moves through G major bar and G major bar then returns to F major bar Bars Coda, F major.
Continuous run of 8th notes in the left hand. Fragments of the first theme in bars
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