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List Of étude Composers
An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument. For the piano Born 1700–1799 *Hélène de Montgeroult (1764–1836): 114 études * Daniel Steibelt (1765–1823): fifty études (Op.78) * Johann Baptist Cramer (1771–1858): eighty-four études, Op. 50, Short Studies, Op. 100 *Johann Nepomuk Hummel (1778–1837): twenty-four études (Op. 125) * Alexandre-Pierre François Boëly (1785–1858): 30 études (Op. 6) *Carl Czerny (1791–1857): many études, of which the best known are his Opp. 299 and 599 *Ignaz Moscheles (1794–1870): études (Op. 70), twelve character études (Op. 95), three concert études (Op. 51) *Henri Bertini (1798–1876): twenty-four études (Op. 29) * * Born 1800–1850 *Amédée Méreaux (1802–1874): sixty études, op. 63 *Henri Herz (1803–1888): Études de l'agilité (Op.179), thirty etudes progressives (Op.119), 24 etudes (Op.151), 24 etudes (Op ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
étude
An étude (; ) or study is an instrumental musical composition, usually short, designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory. Études written in the 20th century include those related to traditional ones (György Ligeti) and those that require wholly unorthodox technique (John Cage). 19th century Studies, lessons, and other didactic instrumental pieces composed before the 19th century are extremely varied, without any established genres. Domenico Scarlatti's ''30 Essercizi per gravicembalo'' ("30 Exercises for harpsichord", 1738) do not differ in scope fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franz Liszt
Franz Liszt, in modern usage ''Liszt Ferenc'' . Liszt's Hungarian passport spelled his given name as "Ferencz". An orthographic reform of the Hungarian language in 1922 (which was 36 years after Liszt's death) changed the letter "cz" to simply "c" in all words except surnames; this has led to Liszt's given name being rendered in modern Hungarian usage as "Ferenc". From 1859 to 1867 he was officially Franz Ritter von Liszt; he was created a ''Ritter'' (knight) by Emperor Franz Joseph I of Austria, Francis Joseph I in 1859, but never used this title of nobility in public. The title was necessary to marry the Princess Carolyne zu Sayn-Wittgenstein without her losing her privileges, but after the marriage fell through, Liszt transferred the title to his uncle Eduard in 1867. Eduard's son was Franz von Liszt., group=n (22 October 1811 – 31 July 1886) was a Hungarian composer, pianist and teacher of the Romantic music, Romantic period. With a diverse List of compositions by Franz L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bedřich Smetana
Bedřich Smetana ( , ; 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style that became closely identified with his people's aspirations to a cultural and political "revival." He has been regarded in his homeland as the father of Czech music. Internationally he is best known for his 1866 opera ''The Bartered Bride'' and for the symphonic cycle ''Má vlast'' ("My Fatherland"), which portrays the history, legends and landscape of the composer's native Bohemia. It contains the famous symphonic poem "Vltava", also popularly known by its German name "Die Moldau" (in English, "The Moldau"). Smetana was naturally gifted as a composer, and gave his first public performance at the age of 6. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theodor Kirchner
Fürchtegott Theodor Kirchner (10 December 1823 – 18 September 1903) was a German composer and pianist of the Romantic era. Musical career Kirchner enjoyed the friendship and admiration of many leading composers of the 19th century yet was unable to maintain a successful career, apparently due to a disordered way of life which included extravagant spending and an addiction to gambling. He was born at Neukirchen near Chemnitz and at the age of eight was already an accomplished organist and pianist. From 1838 to 1842, he studied in Leipzig under J. Knorr (piano) and K. F. Becker (organ and theory). Kirchner subsequently was a pupil of J. Schneider in Dresden and attended the Leipzig Conservatory for a short time. In 1843, he became organist in Winterthur, Switzerland on the recommendation of Mendelssohn. He remained there for nearly 20 years, but travelled much in Germany, befriending Robert and Clara Schumann and Brahms. Clara Schumann was very fond of him, though she wro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adolf Von Henselt
Georg Martin Adolf von Henselt (9 or 12 May 181410 October 1889) was a German composer and virtuoso pianist. Life Henselt was born at Schwabach, in Bavaria. At the age of three he began to learn the violin, and at five the piano under Josephe von Flad (1778-1843), who had trained in composition with Franz Danzi, Abbé (George Joseph) Vogler, Joseph Graetz and studied piano with Franz Lauska (who later coached Meyerbeer, Felix and Fanny Mendelssohn). His concert debut was at the Odeon in Munich, where he played the opening Allegro to one of Mozart's C major concertos, a free fantasy with variations on a theme from Weber's ''Der Freischütz'', and a rondo by Kalkbrenner. It was through Flad's influence with King Ludwig I of Bavaria that Henselt was provided the financial means to undertake further study with Johann Nepomuk Hummel (1778-1837) in Weimar in 1832 for some months. Later that year, he went to Vienna, where, besides studying composition under Simon Sechter (the later tea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stephen Heller
Stephen Heller (15 May 1813 – 14 January 1888) was a Hungarian pianist, teacher, and composer whose career spanned the period from Schumann to Bizet. Heller was an influence for later Romantic composers. He outlived his reputation, and was a near-forgotten figure at his death in 1888. Biography Heller was born in Pest, Hungary in 1815. He had been destined for a legal career, but instead decided to devote his life to music. At the age of nine he performed Jan Ladislav Dussek's Concerto for Two Pianos with his teacher, F. Brauer, at the Budapest Theater. He played so well that he was sent to study in Vienna, Austria, under Carl Czerny. Unable to afford Czerny's expensive fees, he became a student of Anton Halm. After a success in his first public concert in Vienna at the age of 15, his father undertook a concert tour through Hungary, Poland and Germany. Heller returned to Budapest by way of Kassel, Frankfurt, Nuremberg, Hamburg, and Augsburg. After passing the winter of 1829 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Le Chemin De Fer (Alkan)
"Le chemin de fer" (French for "the railway" or "the railroad"), Op. 27, is a programmatic étude for piano composed by Charles-Valentin Alkan in 1844, frequently cited as the first musical representation of a railway. It is a '' perpetuum mobile'' composition at an extremely fast tempo, in D minor, and performance at tempo lasts approximately five minutes. Composition The composition is marked ''vivacissimamente'' (extremely brisk, from ''vivace''), 112 half notes per minute. The first theme is sixteenth notes accompanied by a repetitive ostinato bass in eighth notes, illustrating the fleeting steam locomotive. The second is a more lightweight melody that appears first in the submediant major, B-flat major, then in C major, still comprising just sixteenth notes, which depicts the happy journey of the passengers. The only respite from the torrent comes at the coda, in which the note durations lengthen and the piece comes to a close, portraying the train pulling into a st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles-Valentin Alkan
Charles-Valentin Alkan (; 30 November 1813 – 29 March 1888) was a French Jewish composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life. Alkan earned many awards at the Conservatoire de Paris, which he entered before he was six. His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance, for personal reasons. Although he had a wide circle of friends and acquaintances in the Parisian artistic world, including Eugène Delacroix and George Sand, from 1848 he began to adopt a reclusive life style, while continuing with his compositions – virtually all of which are for the keyboard. During this period he published, among other works, his collections of large-scale studies in all the major keys (Op. 35) and all the mino ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Technical Studies (Liszt)
Technical may refer to: * Technical (vehicle), an improvised fighting vehicle * Technical analysis, a discipline for forecasting the future direction of prices through the study of past market data * Technical drawing, showing how something is constructed or functions (also known as drafting) * Technical file, set of technical drawings * Technical death metal, a subgenre of death metal that focuses on complex rhythms, riffs, and song structures * Technical foul, an infraction of the rules in basketball usually concerning unsportsmanlike non-contact behavior * Technical rehearsal for a performance, often simply referred to as a technical * Technical support, a range of services providing assistance with technology products * Vocational education, often known as technical education * Legal technicality, an aspect of law See also * Lego Technic, a line of Lego toys * Tech (other) * Technicals (other) * Technics (other) * Technique (disambigua ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Three Concert Études
Three Concert Études (''Trois études de concert''), S.144, is a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as ''Trois caprices poétiques'' with the three individual titles as they are known today. As the title indicates, they are intended not only for the acquisition of a better technique, but also for concert performance. Liszt was himself a virtuoso pianist and was able to easily play many complex patterns generally considered difficult. The Italian subtitles now associated with the études—''Il lamento'' ("The Lament"), ''La leggierezza'' ("Lightness"), and ''Un sospiro'' ("A sigh")—first appeared in the French edition. Étude No. 1, ''Il lamento'' ''Il lamento'' is the first of the études. Written in A-flat major, it is among Liszt's longest pieces in the genre. It starts with a four-note lyrical melody which folds itself through the work, followed by a Chopin-like chromatic pattern which reappears again in the coda. A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Campanella
"La campanella" (Italian for "The little bell") is the nickname given to the third of Franz Liszt's six ''Grandes études de Paganini'', S. 141 (1851). It is in the key of G-sharp minor. This piece is a revision of an earlier version from 1838, the ''Études d'exécution transcendente d'après Paganini'', S. 140. Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced metaphorically by a 'little handbell'. This is illustrated by the large intervals of sixteenth notes in the right hand.editor Richard Taruskin, ''Oxford History of Western Music'', 5-book set, 2009: "Besides a streamlined version of La campanella, the set included five of Paganini's Caprices freely transcribed, including two of these given above in Ex. 5–1a. Liszt's versions are shown in Ex. 5–5." ::Incipit for "La campanella" by Franz Liszt (''Grandes études de Paganini'' S. 141 no. 3) The étude is played at a brisk ''allegretto'' tem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Niccolò Paganini
Niccolò (or Nicolò) Paganini (; 27 October 178227 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Biography Childhood Niccolò Paganini was born in Genoa (then capital of the Republic of Genoa) on 27 October 1782, the third of the six children of Antonio and Teresa (née Bocciardo) Paganini. Paganini's father was an unsuccessful trader, but he managed to supplement his income by playing music on the mandolin. At the age of five, Paganini started learning the mandolin from his father and moved to the violin by the age of seven. His musical talents were quickly recognized, earning him numerous scholarships for violin lessons. The young Paganini studied under various local violinists, including Giovanni Serve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
