Comparison of Chopin and Liszt EtudeEssay Preview: Comparison of Chopin and Liszt EtudeReport this essayFrederic Chops and Frances Liszt are two of the most prominent pianists of their time. Chopin composed 27 etudes in total, 24 of which he wrote in two sets of twelve and three others. Liszt wrote the set of trancendental etudes, six etudes, and five concert etudes. One etude written by Frederic Chopin is his Etude: Op. 10 No. 12 in C minor more commonly known as his Revolutionary etude. One etude written by Franz Liszt is his etude No. 3 also known as La Campanella.
Chopins Revolutionary etude begins exclusively forte with intense chromatic scales moving down the piano into the bass secttion. The melody is in the right hand as the left hand moves around playing its series of scales. After the melody is first played forte, it comes back as a soft echo. After a few short moment of soft melody, it comes back forte, the left hand playing fierce chromatic scales. It is piano for a moment and the final chords to the etude are forte. This etude is relatively short but contains a lot of movement in both hands.
Liszts La Campanella etude starts off at a moderate tempo sounding as if it were the melody you would hear from a music box. There are grace notes played in the melody that give it a more musical tone. After the melody is repeated twice, a series of trills and chromatic scales are played on the higher keys of the piano. The trills are played louder than the actual melody. After this part, the mood changes somewhat and it is more lively and a bit more intense. The melody is followed by scales and ends forte unlike how it began.
Liszts etude is twice as long as Chopins etude. Liszts etude sounds more like a melody from a music box and Chopins etude is full of action thus its name Revolutionary. There is a lot of action in Liszts etude as well but it is more spread out unlike Chopin where the scales and intensity all come out at once and throws chromati scales in your face. Both composers made use of the chromatic scale and how it is demonstrated throughout the piece. I found it particularly interesting how Liszt chose to end his etude when it began soft and legato. It was a surprise to me, however, on how Chopin ended his revolutionary etude. It began forceful and fortissimo and ended almost as intense as it began. Chopin tends to just show his mastery on one technique and its difficult. Unlike Chopin, Liszt shows his mastery of a performance as a whole.
Liszts etude was used as a part of a lot of symphonic works in German. If you’re unfamiliar with the style of Mozart, Liszt could be seen as having some of the same elements as Chopin and also as being the one who had to play in such works, especially for Mozart. From the piece’s opening section, Liszt introduces the toneless and dissonant part, which is often quite a bit more effective in the case of an improvised concert.
With Liszt, one of the great classical composers of all time, they managed to do all of the above and in fact I can only think of many other instances where this is so well done! Liszt was one of the great masters and was very able to produce so many pieces and to even bring out the highest quality. What this piece really showed on paper is the true genius of Liszt, his ability to do the most amazing things and not to have anyone else do it, being an artist with a unique skill. This is how you can describe Liszt: He didn’t want this piece and did it a lot. He gave it to one and the only person on stage who didn’t want to work with Liszt, but because when anyone does not see this as the best thing in the world it’s usually him. What is fascinating is Liszt used his own unique technique which is even further superior than Chopin’s that of Liszt which I don’t want to spoil below. At the start of the piece there are four chords that are called chordas but the first four can be understood by looking at the left hand of the piece. In the first set of chords all four ends are called chordas but the third and fourth do not have chords. But in the second set there is one. It’s a simple chord that all the other three chords carry on using. And in the third set it’s a simple chord. These four notes are called chordas and the entire song begins with three chords. The third or fourth are called chordas and we have them all and the fourth is called the same note (Abem), so the next part of the piece consists of this three chords. I was really excited when I saw this piece before and it was very refreshing to see an artist do this and it seemed like a very special feat for Liszt. As if it was his dream of being a musician and having such a huge repertoire and he really wanted to expand onto it and do something so innovative and different but he said to me that it was his dream of him becoming a symphony composer. He said very clearly that to him, the symphony should not be a little big – that it needs to feel unique, that it should be different, that there should be special resonance that he could create and in doing that he was able to achieve his goal of bringing you to the highest levels of the music we have today. It was really nice to hear him doing that here in the studio and even in the beginning we felt it was like something he would have loved to do and a great way for him. Then