Grandes etudes pour le piano

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Grandes etudes pour le piano 1:15:50 $24.98
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# Track Title Length Format Sample Rate Price
1 Grandes etudes pour le piano Presto (Prelude) 00:01:09 192/24 Album only
2 Grandes etudes pour le piano Molto vivace A capriccio 00:02:46 192/24 Album only
3 Grandes etudes pour le piano Poco adagio (Paysage) 00:05:13 192/24 Album only
4 Grandes etudes pour le piano Allegro patetico (Mazzeppa) 00:07:19 192/24 Album only
5 Grandes etudes pour le piano Egualmente (Feux Follet) 00:04:08 192/24 Album only
6 Grandes etudes pour le piano Largo patetico (Vision) 00:06:44 192/24 Album only
7 Grandes etudes pour le piano Allegro deciso (Eroica) 00:06:01 192/24 Album only
8 Grandes etudes pour le piano Presto strepitoso (Wilde Jagd) 00:07:59 192/24 Album only
9 Grandes etudes pour le piano Preludio Andantino (Ricordanza) 00:11:03 192/24 Album only
10 Grandes etudes pour le piano Presto molto agitato (Allegro agitato molto) 00:05:44 192/24 Album only
11 Grandes etudes pour le piano Lento assai (Harmonies du Soir) 00:10:15 192/24 Album only
12 Grandes etudes pour le piano Andantino (Chasse-Neige) 00:07:29 192/24 Album only

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℗ © 2005 Velut Luna

Franz Liszt (1811-1886):
Studies in 12 exercises (1826)
12 Great Studies (1837)
Studies of transcendental performance (Transcendental Etudes) (1852)

Massimo Gon, Steinway Grand Piano

From the included liner notes by Massimo Gon:

Often the human and artistic adventure of a great composer can be contained in a parable – not for simplification rather to fully represent the sense – with a work at the centre, that special refrain that the composer had been attending to for all his life. This is how it was for Goethe and his most famous work “Faust”, and also for Franz Liszt, to a less absolute but nonetheless equally important extent.

At 15, he composed the “Studies in 12 exercises”, with his very personal adaptation to the style of the time. Ten years later in Paris, in the exciting atmosphere of the French capital, - where Liszt discovered the instrumental wizardry of Paganini, the magic of Chopin’s piano, which was a sublime lesson in charm and elegance, and the unpublished medleys of Berlioz’s orchestrations – the young Hungarian composer returned to those “Exercises”. He reviewed the themes, enhanced the formal structure: they became the “12 Great Studies”, which, more than any other composition, reveal the composer’s character as it is budding, growing and developing without any apparent transitions. Liszt had overcome all the possibilities that were allowed or presumed from the piano and never again would he take such a long, incredible stride. His expressive force is revealed above all in the manner he proposes the two aspects of his soul: the diabolic and the religious.

Although it was created with technical difficulties that had never been considered or tried before,
and hence its fame as being virtually impossible to perform (daring piano figurations, orchestral sonorities and timbres in opposing blocks at the extreme ends of the scales), there is nothing ‘sensational’about this composition, in the sense of being gratuitous, empty or out of context with the structural design. In the third version, “Studies of transcendental performance” he eventually gave the final structure to his work. The “Studies” were now easier to perform, although they had conserved the same penetrating effect, thanks to the greater instrumental knowledge that he had built up over the years. Liszt had removed the dizziness, the sense of infinite and utopia, making the relationship between the sound effect and piano difficulty easier to understand, better balanced and, therefore, more enjoyable.

It is the same parable of the Faustian dynamism who, from titan wanting to dominate the universe became a wise man who recognised the limitations of reality and decided to enter that reality to give vent to his energy. The third draft of the “Studies” is a sort of withdrawal, an aware acceptance of human inconsistency, of the limits of experience within which the aspiration for the absolute dissolves. The opportunity to compare, study and attend to these works has been, for me, a fascinating journey into the mind of this visionary composer.

Recording Details:
Sound engineers: Marco Lincetto, Matteo Costa
Recording assistant: Gabriele Robotti
Editing engineers: Matteo Costa, Gabriele Robotti
Mixing engineers: Matteo Costa, Marco Lincetto

Recorded at Arabesque Hall in Valdagno Italy on March 1- 3, 2004

Microphones:
Schoeps MK 2s linear (front L - R)
Schoeps MK 21 (front C)
Schoeps MK 4 (rear L - R)
Sennheiser MKH 20 (stereo pair for support close recording)

8-CH Microphone Preamplifier:
Millennia Media HV 3D, with 2 split exactly alike with balanced output for each channel

Hard Disk Recording System:
N.1 Genex GX 9048, with 24/192 AD converter