Transzendente Studie 2 - Largo alla Presto
Uploaded on Apr 17, 2019
These uploads are ONLY for the availability of MIDI files, there are rhythmical errors, as well as other differences in notation in this edition, it is not to be used for performance of any kind!
I'm currently working out handwritten transcripts for those Ètudes, these should be more accurate
(even thought not as perfect, at least speaking from the overall look of the notes etc.) than the typeset...
It should also be noticed, that these pieces are probably among the most difficult ones I've ever composed they are also very musically written, speaking of their context, harmony and melodical language.
I sincerely believe that one must've a similar patience, stamina and strength of expression
to those of pianists like
Marc-André Hamelin, John Ogdon, Jonathan Powell, Fredrik Ullén, Arcadi Volodos and other highly regarded virtuosos, who wouldn't be scared by the sheer amount of notes that I wanted to use and had to use
whilst composing those Ètudes
(Just look at the last few pages of the 2nd Ètude "Largo alla Presto" which uses 6 staves at once!)
If one should be tempted to play these Ètudes, I would like to send him the transcript when it's finished, probably at a low price...
A few performance notes:
- Do as much as possible to make it sound musical
- In some Ètudes, especially the 1st, the notes shouldn't be played exactly as written - for example - they muist be played swung or staccato to make it sound more like the desired result
- Make certain notes "stand out"; one must've acquired the indipensable skill of phrasing multiple notes in one hand totally different from each other, the melodic line in Ètude 2, for example, must stay out to the other notes played in the same hand, whilst those notes could be phrased differently too, if the performer desires to do so
- Practice those pieces until you can play them as fluently as they are written.
To reach the goal of playing those pieces as beautiful and perfectly as they are thought to be played, one must play them long enough to be acquainted with their difficulties, melodies and harmonies to such a degree that one doesn't fail in the fluent and well-sounding execution of the music, regardless of their technicality!
With kindest regards,
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