Schirmer's Library of Musical Classics

fI

Vol. 835

NICCOLO PAGANINI

SIX GRAND ETUDES

ARRANGED FOR PIANOFORTE

BY

FRANZ LISZT

INSTRUCTIVE EDITION

CRITICALLY RBVISED, WITH FINGERING. PEDALLlNG AND MARKS OFaXPRESSION

BY

PAOLO GALLICO

G. SCHIRMER (INC.), NEW YORK Copyright, 1906, by G. Schirmer (Inc.)

Printed in the U. s. A.

EDITOR'S PREFACE

THE profound impression created by Paganini's sensational appearance in Pari. (1831) opened a new and wide horizon to young Liszt's artistic field. Paganini'. performance of the 'Twlnly-jour Capr;cts for Yiolin inspired Liszt's wonderful genius to completely revolutionize pianism; and thus. new era in modern piano-technics 'was ushered in.

The adaptation of the Paganini Caprices for the piano was begun by Liszt in 183~-33; but he left the work unfinished for several years. It was not until 1 H38, after his great success as a virtuoso in Vienna, that he completed it-a masterwork of the modern art of arrangement; pianistic, and still absolutely true to the spirit of the original.

This work was first pu blished by Tobias Haslinger in Vienna (1839) and bore the title: Breuour Eludls afllr Paganini, arranged for th« Piano, elc.

The faa that these Bravour Etudes had the reputation of being of insurmountable difficulty induced Liszt, twelve years later, to revise them (in the present form), and to publish a second edition, which he dedicated to Mme. Clara Schumann. This edition (Breitkopf & Hartel, 1851) bears the title Grandu Eludes de Paganini, pour II piano par ••. etc,

To promote and facilitate a more general study of this remarkable work, the present edition is issued. I t has been critically revised and analyzed, the many imperfections of earlier editions have been corrected, and careful directions for fingering, pedalling, phrasing and dynamics have been added.

PAOLO GALLICO •

. ,...

CONTENTS

Etude No.1. G Minor

PAGE

1

Etude No.2 . .& major

10 18 31 36 42

Etude No.3. B major (LA CAMPANELLA)

£tude No.4. E major

:Etude No.5. E major (LA CHASSE) Btude No.6. A minor

17691

1

Dedlcatlit to Madaml Cla,a Schumann.

Grand Etudes after Paganini.

Preludio. Andante

,

Etude 1.

Franz Liszt.

Piano.

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17491

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sim't'le

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Etude II.

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Andante. ? :1 · it
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III • simile
- Andantino capriccioso.

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Poco piu animate. A ~;. trr-- i" ~~:!::~ ... ~;. ...
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4' " •• 4- 'fl'~ 5" :>
4- 4- :....-'4 ten

4

4

4- 5

5 (DHere, and in the corresponding passage in the left hand, the contrapuntal voices must be well accentuated, and care should be taken to give the held notes absolutely full value.

17491

14

~~ CD 45~' .. _--q I 4 .•
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.

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PO(}O 1ft r. ;,.

r.h.

CD See Note CD on Page 10. tn9.

us

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18

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tJ·································································1

. ,

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~

0111&: ~~ .~ 1- lb ~~ lh W l~ :JL [I.. ~~ ~J i ~ ~L" !~ ~ , h, J.. L1 IJ
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•

17491

17

1-..;

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8············································1

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( tJsprtJss.)t:\

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-

L.... ~''''''~ I"::

~. tpp(dchcato) , . . ~ ...

~. -8i··········································1 ~

.JJ~JW . pOOO 1'all._

~ .~ ~ J I I I' • ,

--

fi fi 4 II

-

8··············,

K. :

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l II. '"I '"I n
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CD The Editor recommends the following Tersion as in accordance with all the other similar figures:

tn91

18

I'

Etude ID.

La Campanella.

Allegretto. 8o.oooooooooooooooooooooooooo.oooooooooooo.ooooooooooo0000000000000000000000000.···· .oooooooooooolooooooooooooo.oooooo

Piano.

~ ~~. ~ ~ ~ e ! e e e ! er.\ ... '~~ l ~ l~
I II ~
,
) P,... P ma sempr«
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.
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\
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) ben marcato it tema
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800000000000000000000000.0 •• 0000000 •••• 00000.0000.00;

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80 ••• 00.0000000.00000.00 ••••• 0.0000000.0.00 •• 000000.00 •• 0000.00 •• 00000 •• 000.0.00.0000 ••• 0

5

i7491

19

8 .... ··· .. ··.······.· ... ·

4 0

8 ................... e ~ ~ ~ 3 '1:e 't\~ i e '~ ~
····~~··e ~ ~~I~:~ _h_~ ~ ~ II I~ e J. ~ L ~ I
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.... '3 '3 'a '3 8············; .. ·····················: .. ················ : .

~ a

I 2

it"

~.

17491

20

8' ,

,

8··················· ········ ,

!. ·~'4' ~4:

~ .

A 3

8····················~·····························

8····················································· .

5 > >

3 2 4

I

3

.

- 2 I

~

8····················································· .

. . " . ,

>

. 5

!-=

(PO{)O atrz1zg-,)

8····················································· .

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- - - - -
,
I -, ~ ~ • ypt • • • • • •
J I
(.s·cmpre staccato) p (lil tempo)
l 'br" .
I\a~ (po(Jo tratt.) '." .... :1- , ,
. ' ..
.
, • • ..
• • ~ ..
- (poco marcato) l. ! ~ ~ ~ l!

17491

21

... __ __ 10..; _ _ - -.--- -.- .

8······································
1'\ J& fi. .~ I' r .. .~ Ii ~ I. ~ ~
, • • • • --. • :~ --. • • • ~ p ~ r
. . .
. . R . ..
J K "~ . . .
II • I . . :.. .
I .
. .
If stmz10 ~ • ..!./ ~ • -,-r:...J
~ . . . ~ .

(sdolfo) a tempo

~.

(molto p 0 leKg-oro) ~

o 8··························

4

x~

~

8' .

5 " ..

.

~ ..

.

a 6

••

a

•

8····················································· :

~.

~.

CD The following execution is suggested, to bring out the melody more clearly:

8·····,,···:···,·········;

II I.h. I.h.~ r.lI. ~ II •

f _IU" 5Je t iit itt it! Of I ete .

17491

22

.::..: :.: :-::~~-==-=~ .:~~~.:=~=.=~-= ~.:~ ~~ ~===~::.:::.=-==:-:-.=-==.::-.

. .::.=:---- = =--- = = = == =-=-==:==

CD The following somewhat simplified version, while not changing the character of the original. will facilitate the execution for pl ayor s with small stretch:

8' 0._ .. ----0---._ -_ 0.- ··-··-·····-············-··········6~·······-;········, ~- : - - _- __ .

8 :l48 1143I1R.t8 } ~ ~ II j) ~ ~8'l:t

-t'!!!tltm~~Jffl8Wr,.firrijfd.frkH & •• i~mm

I. It. I. h. I.". I. h. I. II.

8····················································· .

~ 8~ 4]) 8h 4h ~ ~ l/ 4 a ~

:'l'['. t;. ~!'rl:r. Ter.r Eo "I rr-A., c

I. h. I. It.

17491

J>

.

~

.

8 _-_ .. _-

.. --::::,.

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<D The higher fingerings are for practising. The lower one is recommended as more practical; after mastering it, it will be noticed that the changes of fingers will relieve the tension caused by constant stretches.

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(!) The following execution is recommended.

The help of the 1. h. in beginning the chromatic run will relieve the tension of the r. h. after the foregoing persistent stretches.

. _-_. __ .-.-.----_ __ _-- .

8·· ·· .. · .. ··· ··· ··· · .. ·· .. · ·:

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Etude IV.

Vivo. CD

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(!) This Study is a remarkable example of modern arrangement. Tho notation remains almost as in the orig-inal (one staff), only the f iguro has been made pianistic by inter lockingrthe hands.c; The spirit of the original is so true in this piece, that, on hearing it, we are vividly reminded of bowing's on the violin.

This Etudr. requires great lig-htness of execution and, throughout, the 1101l !I'lrll/O touch corresponding to the ,'p,,"n.

I(,,"""r Bf/X'''" on the violin. Care should be taken t () «mphastae slig-htly the progressing lower notes of the arpngK'io, in order to recall the effect of the "down. bow" (~) in similar figures over the four strings.

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Etude V. (La Chasse.)

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un poco animato .

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per en 081 me udes both ritardando and dimin.

11491

..

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•

42

,

Etude VI.

Quasi presto. (Tema)

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".-:-. ,Iegg.

•

•

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(p) /I

(poco maroato}

sensa pedaie

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44

Var.lI. (p.u m08'0)

3

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.
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...... - -
(eoorreoote) -
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\
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4 1\

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r.h. a 2

t "

a 2

perden dosi _ r.h.

'- ~ ~ # ~

~ tr ~ '- '- '-

~ ~ 2~ 2 :l 2 2 :1

CD The Editor thought it ad visabl e to change the notation of this passage in order to insure its well-graduated per-

formance. The original notation, I: ;; 1=4 1 et c., wou l d indicate the continued alternation of U"

=~ qUA w.YPSj

hands for playing the figure in 16 ths; in which case the difficulty of striking the chords with the left hand would be very great. Besides, the performance of the figure in 16 ths entirely with the left hand, would not seem to bring out the desired dynamic effect.

17491

Va.r.III. (pooo meno mosso del lema)

41

:l 51)1)5 ~ ~
~ II n ~. 0 3 0 4
I
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Var.IV. (an,'mato)

(sototte] p

1

11 "

sene« pedal e

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, .. I - 174111

4

Var.V. (non troppo presto e motto legato)

4'

8········;

(p';u oreso . _

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8···················i

48

. Va.r.V1.(Tempo 1.) (non legato) Ii

8···················································· :

3 I'

5 • IJ

8 • 8

non legato)

8,.,···················································· ;

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~

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4 ~ 11 ~ ..

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8

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., Var.VII. (meno m08~'o)

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49

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. (pocAissimo 1"'#.) .

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•

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Ii Anlmato.:
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IS 3

Var. X.

Plii moderato (6 caimo)

B,'mile

8-----------------------------------jJ]1---------------------------"--.- •• --

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