Grandes études d’après Paganini, S.141 No. 3 in G-sharp minor “La Campanella”Franz Liszt57rank/position
Nobuyuki Tsujii - La Campanella
Franz Liszt’s Grandes études de Paganini, S.141 No.
3 in G-sharp minor—one of the pieces many pianists aspire to play—is widely known by its title La Campanella, meaning “the little bell.” This hallmark of Liszt’s demands transcendental technique: it’s a notoriously difficult work packed with passages that torment performers, including rapid, repeated two-octave leaps.
But the sense of fulfillment when you master it is surely exceptional.
While it’s hard to push the tempo like a concert pianist, it might be nice to follow the notes slowly to savor the atmosphere.
Grand Étude No. 5 after PaganiniFranz Liszt59rank/position
2013 Oji Hall Prize / Ryota Yamazaki Liszt: “La Chasse” (The Hunt)
When it comes to the Grandes Études de Paganini, No.
3 La Campanella and No.
6 Variations on a Theme are the famous ones, but I highly recommend No.
5 as well.
In the first half and at the end it evokes people setting out on a hunt, the middle signals the start of the chase, and you can almost hear birds chirping—it’s a charming little piece.
Grand Etude No. 6 “Theme and Variations” by PaganiniFranz Liszt60rank/position
Paganini/Liszt Etude 6
Using the melody that begins the piece as its main theme, this work unfolds while constantly shifting character.
It is so famous that many people may feel they have heard it even if they do not recognize its name.
Originally an extremely difficult piece for violin, it was arranged by Liszt into a set of variations for piano that faithfully reproduces even the technical challenges of the original.
Piano Sonata in B minor, S.178/R.21Franz Liszt61rank/position
Liszt / Piano Sonata in B minor (Complete) / Performed by: Mamiko Tomari
A piano sonata published in 1854 and dedicated to Schumann.
Its musical ideas undergo intense transformations throughout, leading Schumann’s wife, Clara, to dismiss it as nothing more than “purposeless noise.” However, today it is a piece frequently performed by many distinguished pianists.
A choral symphony composed by Franz Liszt and premiered in 1857, it consists of three movements titled “Faust,” “Gretchen,” and “Mephistopheles.” Liszt was deeply captivated by Goethe’s Faust, which had been recommended to him by his friend, the composer Hector Berlioz—known for Symphonie fantastique—and he later produced multiple works based on this subject.
