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#518241 - 07/12/01 02:54 PM Questions about a few pieces  
Joined: Jun 2001
Posts: 4,111
CrashTest Offline
4000 Post Club Member
CrashTest  Offline
4000 Post Club Member

Joined: Jun 2001
Posts: 4,111
Has anybody played Liszt's Transcendental study #10, or know of what its difficulties are? Is there a site or book that describes pieces and their difficulties, an analysis of sorts? In the Schirmer edition I have of Beethoven's Sonata Op. 27, No 2, in some areas where therE is a reach of a B to a C (a ninth), or a C# to a D, a half-circle ( like dash appears before it, i was told that in that case you play the B first and then the C, and not both at the same time as it should be. What shout be done? Thanks!

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#518242 - 07/12/01 03:05 PM Re: Questions about a few pieces  
Joined: May 2001
Posts: 1,031
Dan Offline
Dan  Offline


Joined: May 2001
Posts: 1,031
Colorado
Hi Crash,

On the Beethoven, I am able to reach the 9th, so that is what I do. My teacher however said that if the 9th was uncomfortable or undoable, that the lower note should be picked up with the left hand and sounded simultaneouly with the upper. If that isn't possible, then she said taking it as a broken chord was also ok.

As for the Listz, sorry I can't help with that.

Regards,
Dan

#518243 - 07/13/01 06:31 AM Re: Questions about a few pieces  
Joined: May 2001
Posts: 2,506
AndrewG Offline
2000 Post Club Member
AndrewG  Offline
2000 Post Club Member

Joined: May 2001
Posts: 2,506
Denver, Colorado
As to the #10 in F minor, I learned it many years ago. It was not that difficult at all. This is primarily exercise for your left hand. The finger-runs are fast and non-stop. I remember when I was learning it, I played just the left part in sections repeatedly through while I sang the right hand melody. Once you have your left hand 'nailed' the right hand can be added naturally. You can practice the Coda with both hands through and through. The opening bars with the interlocking chords are a lot of fun!

All in all this is one of the relatively less challenging ones. #11 is unusually beautiful. It belongs to S. Richter IMO.


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