This is a video of me performing Liszt's Transcendental Etude in D-flat Major at Levine, the eleventh in the set of twelve Transcendental Etudes. The Transcendental Etudes are studies, each of which focuses on a set of specific technical issues. For example, the fifth in the set focuses on double notes and evenness, the twelfth focuses on tremolos, namely rapid oscillations between two notes or two clusters of notes, and the eleventh one, which I perform in the video above, focuses on chords and leaps across the keyboard. The technical issue of interest is heavily incorporated into the writing of the etude; for example, in the twelfth etude, the melody is stated over constant tremolos, whereas in the etude in the video above, the music is full of chords and passages where the pianist would need to rapidly displace his hands across half the length of the keyboard. The intuition behind this is that through learning and performing the etude, the pianist perfects the execution of the technical difficulty of interest through sheer repetition.
But also, these etudes are studies disguised as concert pieces, as opposed to dry technical exercises by composers such as Czerny and Cramer that do not pretend to be anything but. The technical challenges in each of these etudes are written in such a way that they add texture and color and therefore become integral to the music. In the etude above, for example, the leaps in the central section (5:27 through 6:26 in the video) allow the pianist to seem like he is simultaneously playing in different registers, creating the impression of layers of sound; this, together with the large chords, gives a massive, orchestral feel to the piece. Thus, successful performances of pieces like these not only require the technique, but a degree of musicality as well.
Meanwhile, for the rolled chords in measures 24 through 29 (1:41 through 2:07), 59 through 76 (3:40 through 4:40), and 143 through 153 (7:23 through 8:18), care must be taken to avoid what my teacher calls a "hit and run", namely when the pianist is so concerned about getting ready to play the next notes that he ends up glossing over the current ones. Every note in each of these broken chords needs to have a robust sound, and this is achieved by not only depressing the keys fully, but also using the arms to guide the fingers in each rolled chord rather than simply stretching the fingers from note to note. In the introduction and ending, the topmost notes of these rolled chords also spell out the introductory theme; the top note in each rolled chord needs to be voiced over all the others, and they, like with the unbroken chords, need to be connected. For the rolled chords, I also made sure the topmost notes were sustained enough to last until the next note in the theme.
In measures 98 through 119 (5:27 through 6:26), on top of the chords from the preceding sections, Liszt introduces the second technical focus of this etude: leaps. A full fortissimo statement of the secondary theme occurs here as right hand chords in the higher registers of the keyboard; in between each note of the theme, the right hand plays a repeated chord accompaniment one octave lower, requiring the pianist to rapidly displace his right hand to cover both the theme and the accompaniment. Meanwhile, the left hand mirrors these leaps in contrary motion.
Perfecting these leaps also requires slow practice, but after weeks of repeating the same passage over and over again at half tempo, a pianist learning this piece will be able to almost intuitively sense exactly where he needs to strike. These leaps require an attack from above the keyboard, where the pianist is to use the full weight of his entire arms to drop down upon the notes, as opposed to preparing the placement of his hands and then using his forearms and wrists to execute the chords; the faster tempo of this section allows no time for the latter, and the former guarantees a fuller sound without inducing the fatigue that the latter does. Plus, the notes of the theme needs to have a sufficiently robust sound to allow them to sustain over the heavy chords in the accompaniment; thus, care must be taken not to "hit and run" the notes of the theme, especially given the strong temptation to do so with the very busy right hand. Glossing over the notes of the theme in this manner will produce a much weaker sound and will most likely cause the melodic line to become buried in the thick textures.
Bringing the Piece Up to Performance Standards
After learning the notes and perfecting the attack of the many chords in this piece, the next step is to incorporate some musicality so that this piece sounds more like a concert piece and less like a technical study; again, this etude is meant to be a technical study disguised as a concert piece. Liszt gave this etude, along with nine others in the set, programmatic titles; he had a very strong vision of the imagery that the music in this etude would conjure. Pianists performing this etude should aim to invoke "Harmonies du Soir", or evening harmonies with their playing. When I perform this, I try to invoke a musical depiction of a tempo run along the monuments here in Washington, DC on an evening in November.
Within each section, we need to consider how to shape the statements of the three main themes so that they have a clear trajectory. For the introductory and primary themes, I typically shape each phrase within these themes according to their melodic contours, treating the highest note in each phrase as the destination; I incorporate a long crescendo through the notes preceding this high point and a diminuendo through the notes following. For the secondary theme, I usually give the notes more equal emphasis with a more marcato (strongly articulated) attack. Equally as important is how phrases within the themes relate to one another, and this is also crucial in giving a clear direction for the entire section. For example, if a phrase is repeated one whole step higher, such as in measures 38 through 40 (2:40 through 2:49) and measures 42 through 44 (2:51 through 3:00), I give the repeat statement more intensity than the first.
In addition to changes in the loudness of the notes of each phrase, taking time, letting up the intensity, and playing with rhythm in well-chosen places are also very helpful in shaping the melodic lines. For example, at the high point of the first entry of the primary theme (3:12 through 3:17), I elongate the right hand chords a little, making this feel like somewhat of an arrival. I do something similar during statements of the introductory theme in the introduction and ending (1:41 through 2:07 and 7:23 through 8:18). Some well-placed delays in the music can also enhance some important notes, making them ring a little more. In measures 98 through 119 (5:27 through 6:26), I do not play strictly in time; after each note in the theme, I take a little time before beginning the following triplet repeated chords. Doing this helps the theme resonate a little more in this passage. I also delay a little before unusual chord progressions such as in measure 72 (4:25), drawing attention to the unexpected harmonies. Dropping the intensity at appropriate locations within the heavy chordal passages can also help make the climaxes even more powerful; I bring down the volume to a mezzo forte in measures 112 and 113 (6:05 through 6:10) right before the transition to the final reemergence of the primary theme in measure 120 (6:27). Doing this allows an even more noticeable crescendo toward the climax than had I played this entire section at full volume.
But also, these etudes are studies disguised as concert pieces, as opposed to dry technical exercises by composers such as Czerny and Cramer that do not pretend to be anything but. The technical challenges in each of these etudes are written in such a way that they add texture and color and therefore become integral to the music. In the etude above, for example, the leaps in the central section (5:27 through 6:26 in the video) allow the pianist to seem like he is simultaneously playing in different registers, creating the impression of layers of sound; this, together with the large chords, gives a massive, orchestral feel to the piece. Thus, successful performances of pieces like these not only require the technique, but a degree of musicality as well.
During my Spring 2013 jury, after a performance of "Alborada del Gracioso" from Ravel's Miroirs, one of the teachers evaluating me suggested that I do some Liszt in order to work on creating a fuller, more orchestral sound on the piano; he felt the large chords in "Alborada" were a little thin-sounding. I brought this suggestion back to my teacher, and she gave this particular piece among a list of suggestions. Given that I needed to work on getting a richer, more sonorous sound out of the piano and on wide leaps across the keyboard, I selected this piece, thinking it would be perfect for me. Plus, out of all of the Transcendental Etudes, as well as the piano repertoire in general, this has been among my favorites ever since I listened to it for the first time when I was seventeen years old; it was something about the exotic harmonies and modulations, the way that the three main themes (0:47 through 1:10, 2:40 through 3:25, and 3:40 through 4:40 in the video) are interwoven, and the way it satisfyingly builds to its climax (6:27 in the video) and then fades away.
I was able to learn the notes and bring this piece up to performance standards in about four months. This etude was not nearly as technically difficult as I thought it would be. It was not exactly something that I could sight-read at tempo, but it certainly was not one of the more difficult of the Transcendental Etudes; the consensus among most pianists indicate that honor goes to either the fourth or fifth of the set. Working on this piece was extremely useful for me; chords have never been my strong suit, as I often have been unable to play chords with the full sound they need, and I would often tire in dense chordal passages. I can tell in more recent repertoire that having learned and performed this piece has helped; I noticed that I have been able to execute thick chords with better sound, and I do not tire as easily when I need to play a sequence of them.
Learning the Piece
These seven sections are different enough in terms of technique required and character that I ended up trying to learn and polish one section at a time.
As mentioned before, this etude is a study in chords, and unsurprisingly, every one of these sections contains an abundance of them, including large rolled chords spanning two octaves or more as in the introduction (0:00 through 2:39), central arioso (3:37 through 4:50), and ending (6:46 through the end), and unbroken chords. Like with just about every other piece in the piano repertoire, learning the notes should start with slow practice at half tempo. But while learning this etude, perfecting the attack of the chords is also extremely important. All of the notes in each unbroken chord must sound simultaneously, particularly in the softer passages during the introduction and the first appearance of the primary theme (2:40 through 3:25), where any chord where the notes do not sound completely together are especially noticeable. During each chord, the keys need to be depressed fully with firm fingers as well in order to give the chords fullness and sonority, even in these softer sections. Also, these chords must be played with the weight of the entire arm rather than just the forearms and wrists; achieving as full or rich of a sound with the latter is very difficult. Plus, doing the latter will quickly lead to fatigue in the denser chordal passages in measures 80 through 129 (4:51 through 6:45).
I was able to learn the notes and bring this piece up to performance standards in about four months. This etude was not nearly as technically difficult as I thought it would be. It was not exactly something that I could sight-read at tempo, but it certainly was not one of the more difficult of the Transcendental Etudes; the consensus among most pianists indicate that honor goes to either the fourth or fifth of the set. Working on this piece was extremely useful for me; chords have never been my strong suit, as I often have been unable to play chords with the full sound they need, and I would often tire in dense chordal passages. I can tell in more recent repertoire that having learned and performed this piece has helped; I noticed that I have been able to execute thick chords with better sound, and I do not tire as easily when I need to play a sequence of them.
Learning the Piece
I found it helpful, both for learning the notes to the piece and for mapping out the trajectory of the music, to divide the etude into seven sections:
Measures 1 through 37 (0:00 through 2:39): A slow, tonally ambiguous introduction where an introductory theme is developed, amidst fragments of the primary theme, which will make its first full appearance in the second section.
Measures 38 through 57 (2:40 through 3:36): A flowing section marked "poco piu mosso" (a little faster) that serves as the first full exposition of the primary theme. The theme is stated in right hand chords over a rising and falling figuration in the left hand outlining open fifths. Liszt instructs that the theme is to enter pianissimo, with the soft pedal depressed; the melodic line reaches higher and higher as Liszt instructs the pianist to release the soft pedal and the music builds to a fortissimo high point that abruptly fades to bare B octaves.
Measures 58 through 79 (3:37 through 4:50): An calm arioso that serves as the first full exposition of the secondary theme. A rhythmically free statement of this theme occurs in the right hand over large rolled chords to be taken up by both hands, imitating the sound of a vocalist singing over an instrumental accompaniment. Liszt indicated that this accompaniment is to sound harp-like and this section to be played "Piu lento con intimo sentimento" (slower, with intimacy and sentimentality). The section ends in a recitative that resolves to an E major chord that ushers in the following section.
Measures 80 through 97 (4:51 through 5:26): a transformation of the primary theme. This time, it is stated in the right hand as thicker chords with a heavier accompaniment consisting of repeated triplet chords and broken octaves (4:51 through 5:13). Liszt marks this section "molto animato" (very animated) and gives the directions to play "trionfante" (triumphantly) and fortissimo. The melodic line is gradually deconstructed into chromatic broken octaves, providing a transition to
Measures 98 through 119 (5:27 through 6:26): the most technically difficult section of the entire etude. This section is a transformation of the secondary theme, at full volume and in a higher register than the first full statement in the third section, over a dense repeated chord accompaniment.
Measures 120 through 129 (6:27 through 6:45): a reprise of the fourth section, which leads to
Measures 130 through the end (6:46 through the end): a slow, quiet ending beginning with an interlude consisting of a fragment of the secondary theme over similar rising and falling figurations in the left hand as the ones in the second section and ending with a restatement of the introductory theme over large rolled chords that fades away to three simple D-flat major chords.
Measures 1 through 37 (0:00 through 2:39): A slow, tonally ambiguous introduction where an introductory theme is developed, amidst fragments of the primary theme, which will make its first full appearance in the second section.
Measures 38 through 57 (2:40 through 3:36): A flowing section marked "poco piu mosso" (a little faster) that serves as the first full exposition of the primary theme. The theme is stated in right hand chords over a rising and falling figuration in the left hand outlining open fifths. Liszt instructs that the theme is to enter pianissimo, with the soft pedal depressed; the melodic line reaches higher and higher as Liszt instructs the pianist to release the soft pedal and the music builds to a fortissimo high point that abruptly fades to bare B octaves.
Measures 58 through 79 (3:37 through 4:50): An calm arioso that serves as the first full exposition of the secondary theme. A rhythmically free statement of this theme occurs in the right hand over large rolled chords to be taken up by both hands, imitating the sound of a vocalist singing over an instrumental accompaniment. Liszt indicated that this accompaniment is to sound harp-like and this section to be played "Piu lento con intimo sentimento" (slower, with intimacy and sentimentality). The section ends in a recitative that resolves to an E major chord that ushers in the following section.
Measures 80 through 97 (4:51 through 5:26): a transformation of the primary theme. This time, it is stated in the right hand as thicker chords with a heavier accompaniment consisting of repeated triplet chords and broken octaves (4:51 through 5:13). Liszt marks this section "molto animato" (very animated) and gives the directions to play "trionfante" (triumphantly) and fortissimo. The melodic line is gradually deconstructed into chromatic broken octaves, providing a transition to
Measures 98 through 119 (5:27 through 6:26): the most technically difficult section of the entire etude. This section is a transformation of the secondary theme, at full volume and in a higher register than the first full statement in the third section, over a dense repeated chord accompaniment.
Measures 120 through 129 (6:27 through 6:45): a reprise of the fourth section, which leads to
Measures 130 through the end (6:46 through the end): a slow, quiet ending beginning with an interlude consisting of a fragment of the secondary theme over similar rising and falling figurations in the left hand as the ones in the second section and ending with a restatement of the introductory theme over large rolled chords that fades away to three simple D-flat major chords.
These seven sections are different enough in terms of technique required and character that I ended up trying to learn and polish one section at a time.
 |
| The first several measures of the introductory theme (top), primary theme (middle), and secondary theme (bottom). As can be seen, much of the writing in this etude consists of large chords. Source: imslp.org |
As mentioned before, this etude is a study in chords, and unsurprisingly, every one of these sections contains an abundance of them, including large rolled chords spanning two octaves or more as in the introduction (0:00 through 2:39), central arioso (3:37 through 4:50), and ending (6:46 through the end), and unbroken chords. Like with just about every other piece in the piano repertoire, learning the notes should start with slow practice at half tempo. But while learning this etude, perfecting the attack of the chords is also extremely important. All of the notes in each unbroken chord must sound simultaneously, particularly in the softer passages during the introduction and the first appearance of the primary theme (2:40 through 3:25), where any chord where the notes do not sound completely together are especially noticeable. During each chord, the keys need to be depressed fully with firm fingers as well in order to give the chords fullness and sonority, even in these softer sections. Also, these chords must be played with the weight of the entire arm rather than just the forearms and wrists; achieving as full or rich of a sound with the latter is very difficult. Plus, doing the latter will quickly lead to fatigue in the denser chordal passages in measures 80 through 129 (4:51 through 6:45).
After learning the notes and perfecting the attack of these chords, the next step is to determine which notes are the important ones to emphasize and which are there for texture and coloration. This is crucial for maintaining clarity in the dense passages of this etude. In my performances of this etude, I sought to emphasize any statement or fragment of the introductory, primary, or secondary themes; most often, these ended up being the topmost notes of a sequence of chords, but on some occasions, such statements occurred in the tenor (0:47 through 1:09) or in the bass (1:30 through 1:40). I also sought to make sure individual notes within such statements were connected to one another. I would usually make sure each note within the theme were sustained enough so that their sound would last until the next note, while also being careful not to elicit a harsh tone.
Meanwhile, for the rolled chords in measures 24 through 29 (1:41 through 2:07), 59 through 76 (3:40 through 4:40), and 143 through 153 (7:23 through 8:18), care must be taken to avoid what my teacher calls a "hit and run", namely when the pianist is so concerned about getting ready to play the next notes that he ends up glossing over the current ones. Every note in each of these broken chords needs to have a robust sound, and this is achieved by not only depressing the keys fully, but also using the arms to guide the fingers in each rolled chord rather than simply stretching the fingers from note to note. In the introduction and ending, the topmost notes of these rolled chords also spell out the introductory theme; the top note in each rolled chord needs to be voiced over all the others, and they, like with the unbroken chords, need to be connected. For the rolled chords, I also made sure the topmost notes were sustained enough to last until the next note in the theme.
In measures 98 through 119 (5:27 through 6:26), on top of the chords from the preceding sections, Liszt introduces the second technical focus of this etude: leaps. A full fortissimo statement of the secondary theme occurs here as right hand chords in the higher registers of the keyboard; in between each note of the theme, the right hand plays a repeated chord accompaniment one octave lower, requiring the pianist to rapidly displace his right hand to cover both the theme and the accompaniment. Meanwhile, the left hand mirrors these leaps in contrary motion.
 |
| The leaps in the central section of the etude. The notes with the upward stems in the right hand comprise the secondary theme, whereas the notes with the downward stems comprise the repeated chord accompaniment. Source: imslp.org. |
Perfecting these leaps also requires slow practice, but after weeks of repeating the same passage over and over again at half tempo, a pianist learning this piece will be able to almost intuitively sense exactly where he needs to strike. These leaps require an attack from above the keyboard, where the pianist is to use the full weight of his entire arms to drop down upon the notes, as opposed to preparing the placement of his hands and then using his forearms and wrists to execute the chords; the faster tempo of this section allows no time for the latter, and the former guarantees a fuller sound without inducing the fatigue that the latter does. Plus, the notes of the theme needs to have a sufficiently robust sound to allow them to sustain over the heavy chords in the accompaniment; thus, care must be taken not to "hit and run" the notes of the theme, especially given the strong temptation to do so with the very busy right hand. Glossing over the notes of the theme in this manner will produce a much weaker sound and will most likely cause the melodic line to become buried in the thick textures.
Bringing the Piece Up to Performance Standards
After learning the notes and perfecting the attack of the many chords in this piece, the next step is to incorporate some musicality so that this piece sounds more like a concert piece and less like a technical study; again, this etude is meant to be a technical study disguised as a concert piece. Liszt gave this etude, along with nine others in the set, programmatic titles; he had a very strong vision of the imagery that the music in this etude would conjure. Pianists performing this etude should aim to invoke "Harmonies du Soir", or evening harmonies with their playing. When I perform this, I try to invoke a musical depiction of a tempo run along the monuments here in Washington, DC on an evening in November.
An effective performance of this piece requires a firm understanding of the broad structure of this piece, specifically identifying the direction of the music within each individual section and of the entire piece. Measures 1 through 37 (0:00 through 2:39) is an introduction that sets the context of the entire etude with hints of the themes to come. I consider the piece to have two climaxes: the true climax during the third and final appearance of the primary theme in measures 120 through 129 (6:27 through 6:45), and a false climax during the first appearance of this theme in measures 38 through 57 (2:40 through 3:36), where the music builds to the high point (3:12) and then abruptly fades away. The arioso in measures 58 through 79 (3:37 through 4:50) is a calm interlude, and measures 80 through 119 (4:51 through 6:26) is one long buildup to the true climax. The last section, measures 130 on (6:46 on) closes out the piece.
The overall structure, along with Liszt's dynamics and tempo indications and the textures and harmonies, are useful for determining the character and color of each of these different sections. For example, the primary theme enters in full three times during this etude, and as mentioned before, I consider the last of these three statements as the climax of the entire etude. Thus, I make each appearance of this theme more intense than the last. Whereas I try to achieve an airy feel in the first statement in measures 38 through 57 (2:40 through 3:36) by being a little more liberal with the rhythm, holding down the damper pedal through each phrase, and fully releasing each right hand chord before playing the next one due to the pianissimo marking, the open fifths outlined in the left hand, and the instructions to hold down the soft pedal, I play the second statement in measures 80 through 90 (4:51 through 5:13) more majestically and in strict rhythm, and the final statement in measures 120 through 129 (6:27 through 6:45) more ecstatically and pay less attention to the rhythm. Meanwhile, the constantly shifting tonality and the unusual harmonic progressions in the introduction (0:00 through 2:39), and Liszt's request to play much of this part piano or pianissimo all indicate that this section is to sound hazy and dreamlike.
The overall structure, along with Liszt's dynamics and tempo indications and the textures and harmonies, are useful for determining the character and color of each of these different sections. For example, the primary theme enters in full three times during this etude, and as mentioned before, I consider the last of these three statements as the climax of the entire etude. Thus, I make each appearance of this theme more intense than the last. Whereas I try to achieve an airy feel in the first statement in measures 38 through 57 (2:40 through 3:36) by being a little more liberal with the rhythm, holding down the damper pedal through each phrase, and fully releasing each right hand chord before playing the next one due to the pianissimo marking, the open fifths outlined in the left hand, and the instructions to hold down the soft pedal, I play the second statement in measures 80 through 90 (4:51 through 5:13) more majestically and in strict rhythm, and the final statement in measures 120 through 129 (6:27 through 6:45) more ecstatically and pay less attention to the rhythm. Meanwhile, the constantly shifting tonality and the unusual harmonic progressions in the introduction (0:00 through 2:39), and Liszt's request to play much of this part piano or pianissimo all indicate that this section is to sound hazy and dreamlike.
Within each section, we need to consider how to shape the statements of the three main themes so that they have a clear trajectory. For the introductory and primary themes, I typically shape each phrase within these themes according to their melodic contours, treating the highest note in each phrase as the destination; I incorporate a long crescendo through the notes preceding this high point and a diminuendo through the notes following. For the secondary theme, I usually give the notes more equal emphasis with a more marcato (strongly articulated) attack. Equally as important is how phrases within the themes relate to one another, and this is also crucial in giving a clear direction for the entire section. For example, if a phrase is repeated one whole step higher, such as in measures 38 through 40 (2:40 through 2:49) and measures 42 through 44 (2:51 through 3:00), I give the repeat statement more intensity than the first.
In addition to changes in the loudness of the notes of each phrase, taking time, letting up the intensity, and playing with rhythm in well-chosen places are also very helpful in shaping the melodic lines. For example, at the high point of the first entry of the primary theme (3:12 through 3:17), I elongate the right hand chords a little, making this feel like somewhat of an arrival. I do something similar during statements of the introductory theme in the introduction and ending (1:41 through 2:07 and 7:23 through 8:18). Some well-placed delays in the music can also enhance some important notes, making them ring a little more. In measures 98 through 119 (5:27 through 6:26), I do not play strictly in time; after each note in the theme, I take a little time before beginning the following triplet repeated chords. Doing this helps the theme resonate a little more in this passage. I also delay a little before unusual chord progressions such as in measure 72 (4:25), drawing attention to the unexpected harmonies. Dropping the intensity at appropriate locations within the heavy chordal passages can also help make the climaxes even more powerful; I bring down the volume to a mezzo forte in measures 112 and 113 (6:05 through 6:10) right before the transition to the final reemergence of the primary theme in measure 120 (6:27). Doing this allows an even more noticeable crescendo toward the climax than had I played this entire section at full volume.
Critique of this Performance
The technique felt sound during the performance; most of my issues were minor musicality issues. I felt the introduction could have been more hazy, and I could have provided even more dynamic contrast between the introduction and the first emergence of the primary theme in measures 1 through 39 (0:00 through 3:25) and the louder chordal passages. I could have taken even more opportunities to breathe and play with rhythm in the central section, to really give this statement of the secondary theme here some power.
Overall, I was pleased with this performance. This certainly will not be the last time I perform this etude in public; I enjoy performing this piece, and, like many of Liszt's other etudes, it is usually well-received by the audience.
Overall, I was pleased with this performance. This certainly will not be the last time I perform this etude in public; I enjoy performing this piece, and, like many of Liszt's other etudes, it is usually well-received by the audience.
No comments:
Post a Comment