Mehmet K. Okonsar Vidéos
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2024-05-21
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Franz Liszt David Ezra Okonsar Cramer Czerny Rostand Wagner 1826 1837 1851
Franz Liszt Études d'exécution transcendante (The Transcendental Études [S.139]) Complete Audio & Video Recording by David Ezra Okonsar. Even though the developments of the brilliant ideas exposed in the introduction of the Etude No. 7 in E-flat major: "Eroica" may seem somewhat naive as compared with what Liszt will do with similar ideas ("heroic" themes) in his future works, the scope and power of this Etude is nevertheless remarkable. The "heroic" themes are fully developed and expanded using the widest possible keyboard range. The famous double octaves section is specially remarkable. The Etudes d'Execution Transcendente are fully original compositions, not transcriptions or arrangements. The series which makes the foundation for all piano music which has been composed afterwards, gets its final aspect in 1851. As early as 1826, when he was fifteen, Liszt started "Etudes pour le piano-forte en 48 exercices dans tous les tons majeurs et mineurs". They are actually didactic exercises in the spirit of a Cramer or Czerny. Twelve of them were finished and published. In 1837 Liszt was in quest of expanding the piano technique to new territories and started to rework on this early attempt. He kept the initial thematic material and rewrote them including amazing and incredible new technical "tour de forces". However it would be erroneous to see in this series of Etudes just a showcase for pianistic virtuosity display. The composer was then immersed into romantic poetry and literature. Many of the Etudes then got a suggestive title which refers to a piece of literature. As such, these Etudes are, according to Claude Rostand, "the first state of an embryo which will evolve into the core of the programme-music." The tonal succession of the Etudes are remarkable too. They move as tonic, relative, sub-dominant. That makes a descending scale by thirds: C - A - F - D - B-flat ... a feature which is going to be seen in many of Wagner's harmonic progressions. Even though mostly heroic in character, The Transcendental Etudes (S.139) cover the entire spectrum of feeling translated for the piano. They can be extremely delicate, tender, impressionist as well. [read more: okonsar.com]
Franz Liszt David Ezra Okonsar Cramer Czerny Rostand Wagner 1790 1826 1837 1851 1869
Franz Liszt Études d'exécution transcendante (The Transcendental Études [S.139]) Complete Audio & Video Recording by David Ezra Okonsar. The poetic atmosphere of the Etude No. 11 in D-flat major: "Harmonies du Soir" is in the purest "Lamartinian" style. Alphonse de Lamartine +••.••(...)) was a French writer, poet and politician who was instrumental in the foundation of the Second Republic. This particular sensitivity is both contemplative and captivating. The piece deploys on large range chords sometimes built on resonating bells-like basses. One "elegiac" middle section in E Major creates a "crepuscular" atmosphere of a rare beauty. The Etudes d'Execution Transcendente are fully original compositions, not transcriptions or arrangements. The series which makes the foundation for all piano music which has been composed afterwards, gets its final aspect in 1851. As early as 1826, when he was fifteen, Liszt started "Etudes pour le piano-forte en 48 exercices dans tous les tons majeurs et mineurs". They are actually didactic exercises in the spirit of a Cramer or Czerny. Twelve of them were finished and published. In 1837 Liszt was in quest of expanding the piano technique to new territories and started to rework on this early attempt. He kept the initial thematic material and rewrote them including amazing and incredible new technical "tour de forces". However it would be erroneous to see in this series of Etudes just a showcase for pianistic virtuosity display. The composer was then immersed into romantic poetry and literature. Many of the Etudes then got a suggestive title which refers to a piece of literature. As such, these Etudes are, according to Claude Rostand, "the first state of an embryo which will evolve into the core of the programme-music." The tonal succession of the Etudes are remarkable too. They move as tonic, relative, sub-dominant. That makes a descending scale by thirds: C - A - F - D - B-flat ... a feature which is going to be seen in many of Wagner's harmonic progressions. Even though mostly heroic in character, The Transcendental Etudes (S.139) cover the entire spectrum of feeling translated for the piano. They can be extremely delicate, tender, impressionist as well. [read more: okonsar.com]
Franz Liszt David Ezra Okonsar Cramer Czerny Rostand Wagner 1826 1837 1851
Franz Liszt Études d'exécution transcendante (The Transcendental Études [S.139]) Complete Audio & Video Recording by David Ezra Okonsar. The Etude No. 5 in B-flat major: "Feux Follets" is a gleaming, almost impressionistic goblins dance. A "leggiero" etude in perpetuum mobile. The theme is based on an alternating succession of the intervals of major and minor seconds. This is turn creates an undulating motion in double notes. Altogether the perception of vertical harmonies are loosened while the feeling of the tonality center is weakened too. Harmonically, this Etude is one of the most advanced of the series. The most audacious harmonic innovations of the composer, which are to come only several decades later in his life, are present here in an embryonic form. The Etudes d'Execution Transcendente are fully original compositions, not transcriptions or arrangements. The series which makes the foundation for all piano music which has been composed afterwards, gets its final aspect in 1851. As early as 1826, when he was fifteen, Liszt started "Etudes pour le piano-forte en 48 exercices dans tous les tons majeurs et mineurs". They are actually didactic exercises in the spirit of a Cramer or Czerny. Twelve of them were finished and published. In 1837 Liszt was in quest of expanding the piano technique to new territories and started to rework on this early attempt. He kept the initial thematic material and rewrote them including amazing and incredible new technical "tour de forces". However it would be erroneous to see in this series of Etudes just a showcase for pianistic virtuosity display. The composer was then immersed into romantic poetry and literature. Many of the Etudes then got a suggestive title which refers to a piece of literature. As such, these Etudes are, according to Claude Rostand, "the first state of an embryo which will evolve into the core of the programme-music." The tonal succession of the Etudes are remarkable too. They move as tonic, relative, sub-dominant. That makes a descending scale by thirds: C - A - F - D - B-flat ... a feature which is going to be seen in many of Wagner's harmonic progressions. Even though mostly heroic in character, The Transcendental Etudes (S.139) cover the entire spectrum of feeling translated for the piano. They can be extremely delicate, tender, impressionist as well. [read more: okonsar.com]
Franz Liszt David Ezra Okonsar Cramer Czerny Rostand Wagner 1826 1837 1851
Franz Liszt Études d'exécution transcendante (The Transcendental Études [S.139]) Complete Audio & Video Recording by David Ezra Okonsar. The Etude No. 12 in B-flat minor: "Chasse-Neige" is a sound-scape depicting a pale and heavily loaded sky. Fast and light chromatic runs as well as many tremolos notated with small-size notes evoke large and small snow whirlwinds. The sound-scape evolves from the distant contemplation of a dark and menacing landscape to the most raging furious tempests. The Etudes d'Execution Transcendente are fully original compositions, not transcriptions or arrangements. The series which makes the foundation for all piano music which has been composed afterwards, gets its final aspect in 1851. As early as 1826, when he was fifteen, Liszt started "Etudes pour le piano-forte en 48 exercices dans tous les tons majeurs et mineurs". They are actually didactic exercises in the spirit of a Cramer or Czerny. Twelve of them were finished and published. In 1837 Liszt was in quest of expanding the piano technique to new territories and started to rework on this early attempt. He kept the initial thematic material and rewrote them including amazing and incredible new technical "tour de forces". However it would be erroneous to see in this series of Etudes just a showcase for pianistic virtuosity display. The composer was then immersed into romantic poetry and literature. Many of the Etudes then got a suggestive title which refers to a piece of literature. As such, these Etudes are, according to Claude Rostand, "the first state of an embryo which will evolve into the core of the programme-music." The tonal succession of the Etudes are remarkable too. They move as tonic, relative, sub-dominant. That makes a descending scale by thirds: C - A - F - D - B-flat ... a feature which is going to be seen in many of Wagner's harmonic progressions. Even though mostly heroic in character, The Transcendental Etudes (S.139) cover the entire spectrum of feeling translated for the piano. They can be extremely delicate, tender, impressionist as well. [read more: okonsar.com]
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- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): O...