Transcendental Étude No. 7 (Liszt): Difference between revisions
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'''Transcendental Etude No. 7 in E-flat, "Eroica"''' is the seventh of the twelve [[Transcendental Etudes]] by [[Franz Liszt]]. It is a study of rapid downward runs, bravura and octaves (at the end). |
'''Transcendental Etude No. 7 in E-flat, "Eroica"''' is the seventh of the twelve [[Transcendental Etudes]] by [[Franz Liszt]]. It is a study of rapid downward runs, bravura and octaves (at the end). |
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In a customary manner of Liszt, the piece begins with some sharp notes and fast descending scales. The "heroic" theme is then introduced. The piece becomes more chaotic and finally erupts in octave arpeggiations. It ends with a final restatement of the theme. |
In a customary manner of Liszt, the piece begins with some sharp notes and fast 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. |
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The material is not very difficult in comparison to the other etudes. Many composers and pianists, including Leslie Howard and Ferruccio Busoni, consider the 1837 version of this piece superior to the final Transcendental version. |
The material is not very difficult in comparison to the other etudes. Many composers and pianists, including Leslie Howard and Ferruccio Busoni, consider the 1837 version of this piece superior to the final Transcendental version. |
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Revision as of 18:14, 18 April 2008
Transcendental Etude No. 7 in E-flat, "Eroica" is the seventh of the twelve Transcendental Etudes 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 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.
The material is not very difficult in comparison to the other etudes. Many composers and pianists, including Leslie Howard and Ferruccio Busoni, consider the 1837 version of this piece superior to the final Transcendental version.
