1. Ranked first:
Piano Concerto No.2 in B flat minor, Op.16-prokofiev
Piano Concerto No.2-prokofiev
Prokofiev's Piano Concerto No.2 in G minor, Op. 16, written on 19 13, was dedicated to Smithhoff because his classmate committed suicide at that time. Due to the loss of the original music, Prokofi Yeda rearranged it from her memory on 1923.
This song 1965438+ was premiered by prokofiev on August 23rd, 2003. When it premiered, it was scolded by many people because of the fierce beating of rhythm and the continuity of dissonance chords. Most reports say, "This future music, send it to the devil. We are here to have fun, and my cat can play this kind of music. " When Jia Gilev listened to this song, he invited prokofiev to compose dance music for him. Critic Calati Ji said: "I am sure that in 10 years, the audience will give this young composer considerable applause to make up for yesterday's reckless ridicule."
This song has four movements:
The first movement: andantino in G minor, free form of sonata.
The presentation part is guided by the two-bar sequence of plucking and clarinet. The piano plays scattered chords in its left hand and the first theme full of sadness appears in its right hand. The theme goes back and forth between woodwind and piano, and goes to the fast sound group. The second theme is Allegro. After the piano pops up the second theme, it continues to develop gorgeous sound patterns. After switching to flute and oboe, flute and clarinet, slow down a little and end the speech with a band ensemble. With cello vibration as the background, the development department started from the gorgeous development of the first theme of piano and quickly reached its climax. After the calm, the first theme of the piano reappeared and then ended.
The second movement: Scherzo, lively, D minor, three parts, is a fast Tokata movement.
The first paragraph is centered on the strong piano theme from the beginning, with the funny mode of string plucking and wind music playing in the middle. In the middle, the accompaniment band kept playing dynamic music, and the piano kept playing Tokata.
The third movement: interlude, allegro, trilogy.
The first paragraph begins with the heavy rhythm sequence of the band, and the piano enters a gorgeous development. Viola set aside a clear theme and developed it. The piano plays the sliding mode repeatedly, and the band alternates with it, forming a beautiful timbre effect. The third paragraph changes the elements of the first paragraph in various ways.
The fourth movement: Allegro in G minor, A-B-C-B-A structure.
At the beginning of a, the piano and flute present a free and unrestrained melody, and the piano enters by tapping, in contrast to plucking the strings. The speed slowed down. After the piano played a semitone, the clarinet, bassoon and cello played a simple Russian melody in D minor. After the piano was inherited, it was handed over to bassoon and oboe, and the horn was retrograde. C speed up and enter Allegro. Flute and plucked strings produce overlapping sound patterns, and the band growls and piano chords form a climax. After the calm, after the heavy chord, the piano solo is colorful, and the elements in paragraph B reappear until the andante tends to calm down, and then it becomes a fast group and a piano meditation solo. Then the band formed a shrill voice, returned to the enthusiasm of Allegro A, and finally ended with a short ending composed of C elements.
2. Ranked second
Petrushka Stravinsky?
Petrus Ka Stravinsky
Petrus's card was originally an orchestra, but later it was adapted for the piano and dedicated to Rubinstein. This is extremely difficult. When Shen Wenyu played the extremely difficult Petrus card in Britain, the local Contemporary Concert Hall magazine praised him for his "superb skills and varied timbre, even surpassing Porini (the famous piano master)."
The first movement, Russian dance music: Allegro in moderation, C major: strong and cheerful melody with obvious Russian style, the main theme is cheerful chords, and the auxiliary theme is granular G major melody. The two themes are intertwined and changeable, and the difficulty is getting bigger and bigger, and finally they end in a powerful chord. This action is very difficult, and the skills are fast chords, difficult keys, octave jump, big jump, third degree and octave melody. ?
The second movement, Petrushka's Room: The second movement is ups and downs, sometimes humorous, sometimes beautiful, sometimes funny, sometimes fast and sometimes slow, and it is very technical. Playing this action requires the following skills: octave, touching keys, alternating hands, vibrato, three to eight, decorative tone, fast tone group, big jump, octave vibrato, holding tone+triple jump, four to six.
The third movement "Confession Day" is vivid in D major: the melody of the third movement is elegant and cheerful. The first part is 6/8 beat, which has always been dominated by two sounds, and the melody is calm and pure; The second part is 3/2 time, D minor, Allegro, with a lot of decorative sounds, and the melody is very lively; The third part is 4/4 and 6/8 beats. First, there are intense and fast chords, and the second half reproduces the main theme of C major. The fourth part is intense and cheerful dance music, with 2/4 beat or 6/8 beat, including A major, C major, E major and A major. Finally, the whole song ends with a long slide. Skills required for this action: vibrato, third degree, octave, alternating hands, big jump decorative tone, big jump, fast chord, chord vibrato, decorative tone, press and hold+repeat third degree, fast scale, slide, repeat chord, press and hold+vibrato, repeat, octave+major chord, octave jump, chord jump, touch key skills, syncopation.
3. Ranked third
Variations on the theme of Carmen-Holovitz
Variations by Carmen Holovitz
Variations on Carmen in 3/4 or 2/4 Time, Allegro and E Minor is an acrobatic song adapted by Holovitz, a famous modern pianist. First hit the theme, and then further expand from the theme, deepening the difficulty and skills again and again. The melody is lively and lively, and the technique is very difficult. Here are all the playing skills of this song:
Touch keys, decorative tone, third degree, third degree decorative tone, big jump, hold tone, irregular passing chord, chromatic scale, syncopation of sixth degree, skipping chord, fast chord, three-degree long span, ultra-fast irregular arpeggio, ultra-fast chromatic scale, skipping chord, alternating hand+octave chromatic scale, chord+sixth degree+third degree+alternating hand, single and double tone.
4. Ranked fourth
Fantasia "La Campanela" S.420-Listz
Liszt, the first fantasia adapted for the bell
Fantasia for Bell is a difficult acrobatic work adapted from Paganini's violin concerto in B flat minor (different from the bell in Paganini's etude).
The introduction begins with a soft andante, and the theme is presented in andante and Allegro respectively. The former is soft, while the latter is full of fantasy. After a short silence, the speed suddenly increased, and the rapid 32-minute notes, vibrato and fast sounds were dazzling enough until they were finally interpreted as emergency boards and directly entered the theme of "bells" in the intense octave; The theme is presented in A minor, and the lively skipping rope is very similar to the etude "Bell". The theme started on the basis of a minor and ended vividly. Thus, variations on the theme of "Zhong" began. At this time, the performer must also start to show his skills. All kinds of ripples, decorative sounds, double-tone chords repeated and jumped a lot, which was a great test for his fingers. The epilogue is the hardest part of the whole song. Performers perform vibrato, two-tone repetition and scales at a very fast speed, of course, from the theme to the climax, and the whole song ends with a fierce allegro.
5. Ranked fifth
Oriental Fantasy-Balakirev
Fantasia of the East-Balachiev
Barac is an excellent piano player. He plays the piano by memory and never reads the music.
He created a set of superb piano works, the most famous of which is Islam. This song Islam was first performed by nikolai rubinstein in 1869. This is a difficult work to play, which is the product of Balakirev 1870' s trip to Caucasus. The subtitle of this work is "Fantasia of the East".
Its main theme is an Laiszky dance music in Dagestan Caucasus, impassioned Allegro; The second theme (like the middle paragraph) is the melody of a song sung by an opera singer in Balaqi.
This work consists of three parts: first, the main performance, expressing the theme. The theme is a grainy sound group, which is very clear and pleasing to the ear. After playing the theme, it is the sub-theme in B-flat minor, then the complex sound group in C-sharp minor, then the main melody of the sub-theme, and then the main melody is reproduced in an exciting octave. Then there is andantino in D major in the middle, playing with emotion and lyrical melody. After that, arpeggios were added to the theme, which made me feel free and unrestrained. However, the rapid scale added later broke this silence and the melody became a bit awkward. The first theme is lively again, and it is more and more difficult to interpret the melody bit by bit. The music suddenly became 2/4 beats, and finally it was interpreted as an emergency board, ending with two hands hitting hard.
This piece of music has many difficult skills, such as a lot of quick repetition and holding, three degrees, big jump, alternating chords with both hands, arpeggio, jumping chords and so on. Because of its extreme difficulty, many pianists regard it as a challenge.
6. Ranked sixth
Piano Concerto No.3 in D minor, Op.30-Rachmaninov
Piano Concerto No.3-Rachmaninov, or "Lasan" for short.
Written in 1908- 1909, completed in September 1909, and presented to pianist josef hofmann. 19091On October 28th, rachmaninoff made his piano debut in the United States.
The third piano concerto is famous for its strong emotional expression and difficult playing skills. This work occupies an important position in piano concerto literature and is called "the king of piano concerto".
Rachmaninov's Piano Concerto No.3 shows the firmest Russian spirit and the strongest vitality, and the composer's personal strength is also fully demonstrated in this work: "Rachmaninov is made of steel and amaranth Kim Joo-sung, steel is his arm, and gold is his heart." This is the most precious place of Rachmaninov's music.
La San is called "the most difficult work in the world", which is worthy of the name. Cyril Smith, David's real-life professor at the Royal Conservatory of Music, once described that playing "La San" is equivalent to "shoveling ten tons of coal". 1909165438+1October, when rakhmaninov himself premiered as a piano soloist in new york, he even dubbed his concerto "the work of an elephant" to compare its greatness and heaviness. From all aspects, La San is an extension of the composer's masterpiece La Er (Piano Concerto No.2 in C minor), but La San is obviously more difficult to play than La Er.
This is thought-provoking music, inspiring music, God's music. Of course, this is also a tragic past, a helpless reality and a beautiful vision.
The first movement: Allegro Manon Tanto (Allegro in D minor, 4/4 time, free sonata form)
Although the piano performance of the whole concerto is daunting, the beginning of the whole concerto is extremely peaceful and serene. The soft prelude of strings and bassoon is reminiscent of Mendelssohn's violin concerto. Under this velvet prelude, the piano shows the first theme of Russian folk songs in octaves. This theme is far-reaching and lasting, gradually unfolding in the narrow and tortuous, rippling with the most simple style of Russia. Then the center of gravity moved to the band, the piano was decorated, and complex sound patterns flashed like particles. Then there is the cadenza, and the gorgeous arpeggio ends the first theme.
After a short silence, clarinet and horn have new motives, and the strong performance of strings shows a sense of security and loudness, forming the second theme in the light interweaving of orchestra and piano. Then the piano solo. The second theme of lyricism in B flat major and the ingenious combination of fluency, relaxation and warmth implicitly imply the band. Then the theme turned to E flat major, and the melody fluctuated. After this unpretentious ups and downs, the band once again appeared its first theme, which was deeper and darker than the first one.
Development department, the first theme of various tonality changes, the intensity is getting stronger and stronger. There seems to be a lot of potential accumulating and erupting. The piano makes a strong and firm fighting sound and reaches the highest tone with the band. After the peak, the timbre suddenly became low, playing a quiet but uneasy third-degree melody. After several slightly treacherous chords, the piano played a brilliant role in Allegro.
The author himself wrote two paragraphs of colorful music. Among them, the cadenza marked "Osiya cadenza" growled the first theme in the form of thick chords, which was relatively difficult, while the other version of cadenza was in the style of Tokata, which was light and full of jumping feeling. When this song premiered at 1909, Laplace himself played the version of the cadenza. Although these two kinds of cadenza have different styles and different lengths, they all return to the harmony mixed with pessimism and disappear into the lonely arpeggios.
The copy department is a very colorful and beautiful memory. The piano gently plays the sub-theme melody, and the combination of pure melody and gorgeous arpeggio is very feminine. Then the soft melody gradually becomes gloomy and the timbre gradually becomes depressed.
At the end, the band played the first theme again, and the first movement ended quietly in the piano and band variations.
The second movement: interlude, adagio (interlude, adagio, A major, 3/4 beat, interlude, Triverse). )
There are many connections between interlude and the first theme of concerto. In the first paragraph, under the hint of the orchestra's emptiness and sadness, the oboe played a sad and soft first theme.
Under the sad background of the band, the piano suddenly joined in the form of a trio of rhapsody, which skillfully became a D-flat major. The piano plays romantic and warm music, which is a bit lonely, and the melody of the first theme fluctuates. Later, the piano changed to F minor, directly bringing the second movement into the middle.
Entering the middle section, the left hand plays a chromatic slide, the right hand plays a powerful chord, and the band accompanies it. The second theme was interpreted as a brilliant hymn, full of pride and wildness. Then the band calmed down, and the theme of calm as night suddenly became urgent.
When the timbre turns back to A major, the piano skillfully plays a star-like melody, and the small fast sounds are like particles. Finally, the piano and orchestra alternate with each other, and the orchestra reproduces the sad and tactfully silent narrative, and the music gradually melts. Suddenly, the piano gave a powerful blow and led the band into the third movement without interruption.
The third movement: finale, allabrew (finale, double speed, 2/2 beat, d minor, sonata form)
The whole action was like seven ghosts possessed, and the flames fluttered around the court. With the most difficult skills from hell, it is also the peak of the whole song.
Under the background of the rapid repetition of the band, the piano played the main theme in D minor, with a festive carnival atmosphere. After a large number of repetitive sounds and fast sound groups, this theme has rapidly developed into a powerful March, and the trampling effect created by the beating of major chords strongly reminds people of Slavic male tap dance.
The connector appears in C major, which is a continuous syncopation composed of major chords and has Cossack style. The theme of the minor part in G major is in obvious contrast with the last part, which is characterized by being broad, stretching and singing.
Followed by the development department caused by the band, the style of scherzo in E flat major appeared, the piano floated with great interest, and the ingenious and humorous third-degree melody was in sharp contrast with the elegant arpeggio. After that, the piano played a profound and broad melody, with humorous paragraphs as the springboard, playing a broad chord with deep affection, and then turning to Adagio to play the theme of the first movement. After the lyricism, I gradually became uneasy, and the theme of the development department reappeared like a storm. After an arpeggio, the turbulent music began to calm down.
The reproduction department started in C minor, and the band marched all over the place. After the theme of the main part is reproduced, the connecting part and the auxiliary part are reproduced in B-flat major and F-flat major respectively. At this time, the theme of the auxiliary part has a fast rhythm and has the nature of dance music The band and piano chords suddenly stopped and then entered the last part.
Under the background of the band's rhythm, the piano played a high-pitched octave allegro in A minor, and its strength was constantly strengthened. The whole song reached its climax in the band's lift, from D minor to D major.
The conclusion is brilliant. After a short cadenza, the piano evokes the whole performance of the orchestra with the theme of four corners. At this time, the theme of the sub-point became a solemn and brilliant ode, and the powerful chords of the piano sounded like bells-the most brilliant moment in all piano concertos. The performance of orchestra and piano is highly lyrical and satisfactory, and it is still the glory of real concerto.
Finally, the speed of the music turned to an emergency board, the crazy triplet poured down from the high-pitched area, and then the fast cadenza with alternating hands jumped up from the low-pitched area again. Finally, the whole song ends with strong chords of the band and piano.
7. Ranked seventh
Dance of death-Liszt
Dance of death S. 126-Listz
Liszt's Dance of Death for Piano and Orchestra was written at 1839 and dedicated to his son-in-law Hans Guido Freiherr von Bü low.
This song was written by Liszt when he traveled to Italy. It is said that his inspiration comes from the mural "Victory of Death" by Okana, the shrine of a temple cemetery in Pisa. This painting depicts a dead old woman who wants to trample on a group of dressed men and women returning from hunting, while the angel transports some of the saved ones to heaven, while the other part is transported by the devil to the volcano and sent into a raging fire.
This song is a variation of the ancient medieval hymn "Doomsday Sutra". The doomsday bible has been used for a long time in the mass of the Roman church. The whole song is extremely difficult, challenging the pianist's endurance and mastering different styles.
***5 kinds of changes:
The first change is the average allegro;
The second variation piano takes on the theme with the left hand and plays six notes with the right hand;
The third variation is a lively scherzo style;
The fourth variation adagio, the piano starts with cannon, followed by cadenza, and then the speed is accelerated to Allegro;
The fifth variation piano begins with fugue, followed by adult cadenza, and then becomes scherzo Allegro, and the piano forms a gorgeous ending in its rapid performance.
8. ranked eighth
Suite Night in gaspard M.55-Ravel
The Ghost Suite of the Night-Ravel
Nightmare was written on 1908. It's three piano pieces written by Ravel based on Bertrand's poems: The Water Demon, The gallows and Phantom. The structure of the whole song is like three movements of a sonata, each of which has different musical characteristics. The water demon is good at melody, and the gallows wins by harmony. They form a whole, with a romantic mystery.
Brief introduction of water demon (the most difficult one)
Legend has it that lady in the water often lures young people to become their spouses. This piece of music shows the water demon pouring out her love and bitterness.
Ravel attaches great importance to the role of melody. He once said to his student Vaughan Williams, a famous British composer, "In all living music, there is an implicit melody outline". The melody of the water demon is extremely moving. It sings freely in the irregular changes of 2/4, 3/4, 4/4 and 5/4 beats, depicting the magical and romantic impressionist artistic conception.
The music begins with an introduction of two bars, and the right hand slowly plays a dense 32-tone augmented chord. It keeps repeating alternately between major triad and his semitone, with gentle intensity, and depicts the charming scene of water waves rippling.
On this phonological background, the left hand plays a lyrical melodious theme melody, which has a long and wonderful feeling: here, Ravel handles the melody very subtly, constantly shifting phrases through subtle semitone changes, and the colors alternate between light and dark, and he is in a trance. Melody and accompaniment are in the same sound zone, the left and right hands are often intertwined, and the music fluctuates on the rippling water.
The theme reappears. At this time, the chord patterns of the right hand are no longer crowded in the narrow range, they span three octaves, and the melody of the left hand is played with an octave arpeggio, which is broad, elegant and full of emotion. Then the texture changed and the accompaniment was given to the left hand. It rises and falls magnificently with 32 notes, accompanied by dense chords. The melody of the right hand has a typical impressionist hazy color. Then the texture of music returned to the beginning, and the left hand played a new melody, and the atmosphere was a bit mysterious: its development mode was still the expansion of range and accompaniment sound type.
The theme appeared again, moving up two degrees for the first time and moving down two degrees for the second time. The sound pattern gradually becomes active and intense. When the right hand plays the octave melody, the music reaches the strength of F for the first time, and it is passionate.
Then the music gradually changed from strong to weak several times, like a tidal wave, and finally set off a passionate climax. Hands in the arpeggios of 32 notes, the waves are rolling and the heart is surging.
Soon, the music quieted down, very weak, but the waves were still rolling vaguely. The theme was sung poetically, picturesque.
In the epilogue, the brilliant hands arpeggios once rose, then became weaker and weaker, and finally the music ended in a calm ripple.
Brief introduction of gallows
The horror atmosphere of this piece of music was influenced by the poet Allan Poe, describing the body on the gallows shaking constantly and stroking the cold light of the sunset.
The gallows are short and slow. The whole song was played on the weak pedal from beginning to end. Full of texture and rich harmony. As Ravel said to the French pianist Pellermutai, "To play my piano works, you must first imagine the sound of the band in your mind." Pianist Kiel Mar Serks also said: It takes at least 27 different fingers to play the gallows in Nightmare.
The music starts with the syncopation of the right hand octave, runs through the whole song, is monotonous and dull, symbolizes the clock of fate, and vividly creates a mysterious and terrible atmosphere. The theme of the left hand playing octave chords in the bell is extremely low: at the same time, the texture of the right hand is bold and the sound is very full. It was stated once, then the bell turned to the left hand, and the right hand played an expressive melody, which seemed to be an answer to the theme: it looked bleak and pale, and the theme seemed to interrupt it. In the position of moving up three degrees, it answered the theme again with two tones. Then the texture of the music thickens and the bass continues. The alto is intertwined with the clock of fate, and the treble is played in parallel for four degrees. The tenor is played with full chords, and the theme is changed: the alto continues to play monotonous bells, and the tenor and bass chords are played in the opposite direction. After that, the texture became thinner and thinner, and finally only chimes and monophonic melodies were left: in the continuous development, alto sometimes played chords, giving colorful decorations to the music, the texture became thicker, and the deformation of the theme reappeared. At this time, it was bounced four degrees lower. Music with hands reversed is also reproduced. Finally, the bell returns to the highest tone, the theme is played with the left hand, and the music ends in the lonely bell.
Brief introduction of phantom
This piece of music is full of warm and romantic interest, vividly showing the strange and humorous ghost image.
First of all, from the introduction, the motivation of the left hand to play three notes softly in a very low range runs through the whole piece of music, which is a very important music material: after a short octave pause, the right hand plays the chord, and the left hand is accompanied by the rapid homophonic repetition of 32 notes, which is light and active. Then state the three notes of motivation in each sound zone and play a fierce vibrato. It quickly became stronger from pp to ff, and then faded back to pp, which was very effective. At this time, the music stopped.
Accompanied by the arpeggio of the left hand, the right hand played a broad singing melody: then there was a repetitive sound pattern that set off the atmosphere and a lively jumping sound. It was developed according to the introducer's motivation, played with jumping sound, and it was very cute. It is the first important musical image in music: it changes constantly in the subsequent development, and finally forms a rapid sound stream, and music enters a small climax.
A melody as wide as a song is sung by passion. Music enters a rhythmic and energetic paragraph, which is the second main musical image in music. At first, it was very weak. I played a light jump with my hands, paused a little, and was cheerful and humorous: this material was unfolded repeatedly, and the strength gradually increased, and the music was enthusiastic and unrestrained.
The first musical image appeared again, and it was fully developed, gradually pushing music to a climax.
Then there is the reappearance of the introduction music, which has also been greatly expanded. Followed by the second musical image, its continuous development led to the emergence of the whole musical climax, reaching fff, stormy enthusiasm reminiscent of Liszt's music.
Music finally regained its tranquility and ended in a gentle chord.
Ghosts of the Night embodies Ravel's exquisite and flexible composition skills. He has been pursuing the perfection of technology all his life, and he has repeatedly scrutinized and carved every work, and will never give up until it is perfect. He once said to his biographer Manuel, "My goal is technical perfection, because I know this goal will never be achieved, so I ask myself to keep getting closer to it."
9. Ranked ninth
12 transcendental etude S 139 the fifth Fuex Follet》——Listz
12 ultra-technical etude No.5 "Ghost Fire"-Liszt
Franz Liszt completed the template of 12 Super Etudes at the age of 15, and gave it to his teacher Cherny. Liszt's 12 Ultra-technical Etude is a formidable and difficult work in the history of piano. From a technical point of view, Liszt's 12 works are too difficult, as if they were ivory minarets in the art of piano performance. Even in the 20th century, when piano master crossed the river like a crucian carp, few musicians dared to challenge them.
Feux Follets is the fifth book, which is monotonous and ironic. It has a difficult dual-tone technique, which requires the player's extremely high performance skills.
The introduction is the ascending tuning group and the slightly hidden skipping. The theme begins with a two-tone melody, and when the theme is repeated for the second time, decorative sounds are added, which sounds a bit like dance music. The middle part is a little variation based on the theme, and then the theme appears in A major. The strange jumping sound rang again, and then the strange melody became more embarrassing and a little stronger, like a quarrel, which finally reached its climax, and then quieted down a little, and the "jack-o'-lantern" burned out.
Jack-o 'lantern was called "the most difficult etude in the world" by Rachmaninov. This etude focuses on the flexibility of the forearm and is usually used as an advanced piece in concerts.
10. Ranked tenth
Hungarian rhapsody S 242 No.9-List Z
Hungarian rhapsody No.9-Liszt
This song is in E flat major, and it was probably written in 1840- 1847. The title is Carnival in Pace City, which is dedicated to the violinist Ernst. It is the most difficult song in 19 hungarian rhapsody.
In the first part, the theme is played forcefully by Andante, and the solemn melody reminds people that devout people are carrying out solemn religious ceremonies; After a fast cadenza music entered Allegro, the melody became lively, dancers began to dance solo, and then became andante, people began to curse and pray, and the piano played a dull chord; Then it became a slightly faster allegro, and people began to party. They are singing and dancing, and the rhythm is getting faster and faster. The finale is a powerful "Wool Card", with allegro alternating with allegro slightly faster, cleverly depicting the scene of people's carnival, and the whole song ends with a fierce allegro.