Simone Jennarelli Video
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Franz Liszt Simone Jennarelli 1837 1930 2016
Bonus Track - Download complete Album: (http•••) from CD Album Liszt: Grandes Études - Jennarelli: Sunpoem No. 1 Recorded in March 2016 at Vellon Studio, Italy, on a Grotrian-Steinweg ca. 1930. Pianist virtuoso Simone Jennarelli plays the complete 12 Grandes Études S137/R2a (1837), the "impossible" version by Liszt of his Études d'exécution transcendante, the monumental "culmen" of the Lisztian piano technique. Grande Étude No. 4 S137/R2a (1837) - At the first reading, this Mazeppa's ancestor could seem easier than the Transcendental Etude No. 4, but the central part is more difficult, the finale is overloaded with harmonic doublings and the beginning (at full speed) is really a technical challenge (with its octaves for the left hand). The Grande Étude No. 4 is also the culmination of the grand technical fantasy of Franz Liszt. The initial mighty theme is almost technically impossible: the right speed could seem beyond the human limits and the final sections are vigorous and colourful like fireworks,... but for the fingers. The first repeat of the main theme and the "espressivo e un poco marcato il canto" are beautiful and recall the orchestral Symphonic Poem Mazeppa.
Liszt Simone Jennarelli 1837 1930 2016
Bonus Track - Download complete Album: (http•••) from CD Album Liszt: Grandes Études - Jennarelli: Sunpoem No. 1 Recorded in March 2016 at Vellon Studio, Italy, on a Grotrian-Steinweg ca. 1930. Pianist virtuoso Simone Jennarelli plays the complete 12 Grandes Études S137/R2a (1837), the "impossible" version by Liszt of his Études d'exécution transcendante, the monumental "culmen" of the Lisztian piano technique. The first page of Grande Étude No. 6 is a terrific étude for the left hand only (Vision, the Transcendental Etudes version, is similar but the player can use both hands). Here it's simply extraordinary that the left hand only must lead four musical voices at the same time! However, in this case, also, one can say that the Lisztian idea is skilful as usual and this page for the left hand only is not of a gratuitous difficulty, but the musical sense is actually exalted by this left hand amazing writing.
Liszt Simone Jennarelli 1930 2015
Bonus Track - Download complete Album: (http•••) from CD Album Liszt: Études d'exécution transcendante, S. 139. Recorded in April 2015 at Vellon Studio, Italy, on a Grotrian-Steinweg ca. 1930. Pianist virtuoso Simone Jennarelli plays the complete 12 Études d'exécution transcendante S139, the famous impressive technical and musical masterwork by Liszt. Recorded in April 2015. PREVIEW 5. Étude No. 5 (Feux follets) (B-Flat Major) If we listen to Mazeppa and Feux follets at the same time, we can understand the supreme greatness of Liszt, virtuoso composer: actually we can contemplate the whole technic of the piano concentrated in about ten minutes! If Mazeppa is the technic of powerful sound, Feux follets is a challenge of soft touch and of beautiful effects. Its mechanism represents the real difficult element of Feux follets: a sort of double trill, that defies the capabilities of the human resistance and precision. The Grande Étude No. 5 is simply a more difficult version of Feux follets (and Feux follets, the 'easier version', is often called the nightmare of piano players). The first version of Feux follets (Étude No. 5 S136) is really a more simple version of this Étude and presents also a graceful beginning and a beautiful finale.
Liszt Simone Jennarelli Busoni 1826 1930 2015
Bonus Track - Download complete Album: (http•••) from CD Album Liszt: Études d'exécution transcendante, S. 139. Recorded in April 2015 at Vellon Studio, Italy, on a Grotrian-Steinweg ca. 1930. Pianist virtuoso Simone Jennarelli plays the complete 12 Études d'exécution transcendante S139, the famous impressive technical and musical masterwork by Liszt. Recorded in April 2015. 10. Étude No. 10 Allegro agitato molto (F Minor) Busoni called this piece 'Appassionata' and indeed it is a splendid, gorgeous and impressive Romantic Étude, with one of the most beautiful 'stretta' finale ever written. It is also very difficult to play, demanding a supreme co-ordination and a superb left hand. Unbelievable but true, the Grande Étude No. 10 is harder to play than the 'Appassionata'. The Grande Étude No. 10 perhaps collects the hardest piano difficulties of all time in one piece only. Jumps, speed, acrobatics and techniques for a large hand only (an amazing hand span of eleven notes is at least physically required to play certain passages with confidence and agility) are the bearing vaults of one of most beautiful and exciting pieces ever written for piano. A terrific 'Presto feroce' precedes the marvellous finale. The 1826 version, S136, is really more simple. However, after an amusing beginning, this piece becomes the most Romantic piece of the 1826 cycle with its terrific and stormy finale, very difficult to play and already really transcendental.
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): J...