Lugansky - Liszt, Transcendental Étude No. 10

Franz Liszt (1811 – 1886)
Transcendental Études, S139 (1852)
No. 10 in F minor, nicknamed “appassionata.” - one of the two études in the set which Liszt didn’t name. Allegro Agitato Molto.
Nikolai Lugansky, 2012
“[…] The history of the Transcendental Studies is tolerably well known, but may be briefly recapitulated here. In 1826, not yet fifteen years of age, the young prodigy published the first installment of what promised to be an ‘Étude en 48 exercises’ in which Liszt intended to run twice through all the keys in the pattern C major, A minor, F major, D minor, etc, and the volume included twelve short studies of considerable flair, somewhat under the influence of his teacher Czerny but showing much melodic invention and technical skill. In 1837, at the height of his Glanzperiode, Liszt took these little pieces and developed a formidable set of studies which, as Schumann noted in his laudatory review, were probably too difficult for anyone other than Liszt to play musically. The essential musical poetry of the pieces was rescued by Liszt from the more extreme technical demands in the final version published in 1852, in which the pieces become by no means easy, but much clearer in musical intent.

…In the final version, titles are appended to ten of the pieces. Of course these titles are only guides for performance rather than clues to the sources for Liszt’s inspiration, but they are evocative enough, and often uncannily paraphrase the atmosphere conjured up by the music. The second and third versions of these studies both bear a dedication to Czerny. Liszt exploits every then-known device of piano technique in a set of original structures in which the dramatic argument is often heightened by harmonic tensions and juxtapositions very daring for their day.”

- Leslie Howard

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