독주곡 | 파가니니 주제에 의한 대연습곡 S.141 (No.3 La campanella)

Liszt - Grand Etudes after Paganini S.141

조르쥬 볼레 (피아노)

Jorge Bolet (piano)

1972/08/24 (ⓟ 2001) Stereo
RCA Studio A, New York City
 
 
Grandes études de Paganini
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The Grandes études de Paganini are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published as Études d'exécution transcendante d'après Paganini, S.140, in 1838). It is almost exclusively in the final version that these pieces are played today.

The pieces are all based on the compositions of Nicolo Paganini for violin, and are among the most technically demanding pieces in the piano literature (especially the original versions, before Liszt revised them, thinning the texures and removing the more outrageous technical difficulties). The pieces run the gamut of technical hurdles, and frequently require very large stretches by the performer of an eleventh (although all stretches greater than a tenth were removed from the revised versions).

Liszt first heard Paganini in April 1831 and was so entranced by the unfettered expressiveness of his playing, and Paganini’s ability to use his legendary technical ability for purely musical ends, that the young Liszt immediately declared his intention of achieving upon the piano an equivalent new technical mastery in order to unleash musical thoughts which had remained hitherto inexpressible.

Liszt and Schumann (who both rated Paganini very highly as a composer) began the trend of writing pieces on Paganini’s themes in 1831/2: Schumann first with a sketched work for piano and orchestra, and then his first set of six Studies (opus 3) on Paganini’s Caprices, and then Liszt following with his Grande Fantaisie de bravoure sur ‘La Clochette’ (S.420) based upon the third movement of Paganini’s Second Violin Concerto. Schumann later wrote a second set of six piano studies (opus 10), and then at the end of his creative life produced piano accompaniments to Paganini's Caprices (an accomplishment later echoed by Szymanowski). Liszt wrote a set of six studies in 1838 (S.140), sketched a further fantasy [combining the ‘Clochette’ theme with the Carnaval de Venise] in 1845 (S.700), and rewrote the six studies into their commonly-known final version in 1851 (S.141).

Paganini’s 24 Caprices for Solo Violin, Op. 1, were composed during the early years of the nineteenth century, and were published in 1820. They pay homage to a like-named work by Pietro Locatelli, and were of incalculable influence upon whole generations of violinists, and —just as importantly— composers. They form the basis for all but one of Liszt’s Études d’exécution transcendante d’après Paganini, and Liszt remains very faithful to Paganini’s text. (It is interesting that, although these works are really transcriptions, they are always catalogued and published as original Liszt works. Certainly there is a wealth of original thinking in what Liszt wrote, but the basic material and structure remain Paganini’s.) Liszt dedicated the 1838 set of studies to Clara Schumann and —typical of his generosity and magnanimity— went on happily to dedicate the 1851 set to her as well, in spite of her carping ingratitude (see note to Etude No. 1, below).

Contents
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1 Étude No. 1 (G minor)
2 Étude No. 2 (E flat major)
3 Étude No. 3 (A flat minor) (G sharp minor) (commonly known in its revised version as La campanella)
4 Étude No. 4 (E major)
5 Étude no. 5 (La Chasse) (E major)
6 Étude No. 6 (Theme and Variations) (A minor)
7 Piece listing
8 External links
 
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[edit] Étude No. 1 (G minor)
For the first study Liszt employs the sixth of Paganini’s Caprices, but adds transpositions of the introduction and coda to No. 5 – grand arpeggios – in the equivalent places. Paganini’s work imitates two violinists at once, the one playing a lyrical melody, the other a tremolando accompaniment, mostly in thirds. In his first version, Liszt uses just the left hand to practise a similar feat, and the right hand joins in as his pianistic devices become more complicated. (In the first edition Liszt arranged for the text of Schumann’s study on the same work to be printed above his own, as an alternative text. Schumann makes almost no attempt to imitate the violin tremolos, providing instead a completely different solution in triplet chords. Liszt intended the parallel to be a homage to Schumann, whom he constantly admired, but Clara Schumann took offence, thinking that Liszt had wanted to show his superiority. In the later edition Schumann's text no longer appears, two hands are required rather sooner, the technical demands are somewhat moderated, and the spirit is generally more reflective.)

[edit] Étude No. 2 (E flat major)
Apart from the familiar thinning of textures, the second version sounds similar to the first, but the differences in the arrangements of the hands (to make the best musical solutions) are subtleties worthy of close observation. (For many years it was the fashion to ‘improve’ the little valedictory coda which Liszt composed for this work with a crass flourish. Fortunately this practice has almost entirely ceased.)

[edit] Étude No. 3 (A flat minor) (G sharp minor) (commonly known in its revised version as La campanella)
Uniquely in this study, Liszt does not preserve Paganini’s original tonality or structure. In his early ‘Clochette’ Fantasy, S.420 (1832), Liszt had transposed into A minor the main theme and a ritornello theme from Paganini's Second Concerto, in B minor. When returning to the theme to write the first version of the study, Liszt used A flat minor —putting all the nastier leaps between black notes, which are much easier to target— and incorporates a repeated-note elaboration of the first theme of the 3rd movement of Paganini’s First Violin Concerto (transposed here into A flat major from the original E flat). The first version of this study turns out to be quite a boisterous affair, and could not be in greater contrast with its second version, now in G sharp minor (for ease of reading, no doubt) and with the theme from the First Concerto totally removed. La Campanella has, over the years, often been used by unthinking players as some gigantic warhorse, whereas (as evinced in Josef Lhévinne's recording – even on a piano-roll) it is clearly a study in quiet playing with a mystical quality. It is marked Allegretto until the last pages, and only grows in volume towards the end. Forte never occurs, but fortissimo is indicated once – just for the last eleven bars.

[edit] Étude No. 4 (E major)
Paganini’s first Caprice (which quotes Locatelli’s seventh) is the basis for Liszt’s fourth study. In the first edition it appears in two versions: the first as a single-note arpeggio in each hand, the second (and more difficult) with double-note arpeggios in both hands. Even though they are both marked Andante quasi Allegretto, they inhabit the very edge of the technically-possible with their stretches, leaps and hand-crossings. Liszt adds grand melodic lines in counterpoint to the straightforward broken chords of the original. In the 1851 version the piece is marked Vivo and the music is printed, uncannily like Paganini’s original to the casual view, on one stave; the hands intricately alternate in a neatly-woven replica of the Caprice, shorn of all added melodies.

[edit] Étude no. 5 (La Chasse) (E major)
La Chasse is the nickname often given to Paganini’s ninth Caprice —a study in double-stopping— as well as to Liszt’s fifth study which is based upon it. Both Paganini and Liszt mark the opening theme as imitando il flauto, and the lower repetition as imitando il corno. The spiccato phrases tossed from one register of the violin to another in the middle section are cleverly adapted by Liszt, right down to some rather violinistic fingering which produces just the right articulation. The first version is somewhat thicker in texture than the second, and Liszt’s staccato scales in octaves and chords in the first version become double glissandi in the second. (The first version also has a simpler alternative text for the majority of its length. This produces in effect an a second earlier version of the work, whose character is quite different.)

[edit] Étude No. 6 (Theme and Variations) (A minor)
Paganini's 24th caprice is certainly the best known, or at least its theme is, since it has been widely employed by so many other composers for variations of their own. Paganini wrote eleven variations and a coda, and Liszt sticks to this plan in both editions of his sixth study. The differences between the two Liszt pieces are too many to be enumerated here; the second version is not as monumentally treacherous as the first, and the textures vary enormously – especially in Variation IX with its different attempts to compensate for the wondrous effect of left-hand pizzicato on the violin.

[edit] Piece listing
Études d'exécution transcendante d'après Paganini – 'Dedicated to Madame Clara Schumann' – original version (1838), S.140

Étude No. 1 in G Minor (Preludio: Andante; Non troppo lento, cantabile) ("Tremolo") – After Paganini's 24 Caprices for solo violin #6 (with the introduction and coda of #5)
Étude No. 2 in E-flat Major (Andantino capricciosamente) – After Paganini's 24 Caprices for solo violin #17
Étude No. 3 in A-flat minor (Allegro moderato) – After the final movement of Paganini's Violin Concerto #2 in B minor, and containing the first theme of the final movement of Paganini's Violin Concerto #1 in E-flat major
Étude No. 4 in E Major (Andante quasi allegretto) – After Paganini's 24 Caprices for solo violin #1
Étude No. 5 in E Major (La Chasse) (Allegretto, dolcissimo) – After Paganini's 24 Caprices for solo violin #9
Étude No. 6 in A Minor (Theme and Variations) (Quasi presto, a capriccio) – After Paganini's 24 Caprices for solo violin #24
Grandes Études de Paganini – 'Dedicated to Madame Clara Schumann' – revised version (1851), S.141

Étude No. 1 in G Minor (Preludio, Andante; Etude – Non troppo lento) ("Tremolo") – After Paganini's 24 Caprices for solo violin #6 (with the introduction and coda of #5)
Étude No. 2 in E-flat Major (Andante capriccioso) – After Paganini's 24 Caprices for solo violin #17
Étude No. 3 in G-sharp Minor (La Campanella) (Allegretto) – After the final movement of Paganini's Violin Concerto #2 in B minor
Étude No. 4 in E Major (Vivo) ("Arpeggio") – After Paganini's 24 Caprices for solo violin #1
Étude No. 5 in E Major (La Chasse) (Allegretto) – After Paganini's 24 Caprices for solo violin #9
Étude No. 6 in A Minor (Theme and Variations) (Quasi presto, a capriccio) – After Paganini's 24 Caprices for solo violin #24

리스트 파가니니 주제에 의한 대연습곡 `라 캄파넬라` Grand Etudes after Paganini S.141 - No.3 La campanella [04:51]