Youtor
Sergei Lyapunov Transcendental Étude Op 11 No 10 quotLezghinkaquot Noack
>> YOUR LINK HERE: ___ http://youtube.com/watch?v=Rmqsj18KfO4
Performed by Florian Noack (2021): • 12 Études d'exécution transcendante, ... • Sheet music: https://imslp.org/wiki/12_%C3%89tudes...) • Lesghinka is the 10th etude in the set of Sergei Lyapunov's 12 Transcendental Etudes, a honorary continuation of Franz Liszt's 12 Transcendental Etudes. It was written in the key of B minor. This piece is based on folk dances of the Lezghin people of the southern Caucuses, which bares similarities to Balakirev's Islamey, which was also inspired by folk dances of the southern Caucus region. In fact, Lyapunov, along with Balakirev and Anatoly Lyadov, were all commissioned to gather folksongs from the regions of Vologda, Vyatka (now Kirov) and Kostroma, having collected nearly 300 songs. Lyapunov used authentic folk songs in several of his compositions, most notably including this one. Lyapunov was a very close acquaintance to Balakirev, even having finished his 2nd concerto after his passing in 1910. • Given that this is my favorite of the 12 etudes of this set, this upload comes somewhat late, because I was planning on uploading my own performance of this piece. However, it has been a while and I cannot get a recording that I am satisfied with and deserving of being uploaded. • Informal structure analysis: • 0:00 - Opening • 0:11 - Theme 1, B minor • 0:33 - Theme 2 • 0:43 - Opening reintroduced • 0:55 - Theme 1 reintroduced, but lighter and more melodic • 1:05 - Theme 1 repeats but in A minor • 1:15 - Theme 2 reintroduced. Features a harmonically strange shift from E minor to D minor (1:26) • 1:36 - Bridge leading to B section • 2:02 - B section: Theme 3; D flat major; melody hovering over a chromatically descending bass • 2:29 - Theme 3 opens up • 2:47 - Theme 4: Darker and somber; E flat minor • 3:01 - Theme 4 opens up into E major • 3:14 - B section climax Bridge • 3:28 - Theme 3 reintroduced, climax with octave • 3:45 - Theme 4 reintroduced in A flat major, then shifts to E major • 4:02 - Bridge section back to Theme 1 • 4:10 - Opening reintroduced • 4:21 - Theme 1, B minor: Now including Islamey-esque alternating chords forming a melody • 4:43 - Theme 1 development • 4:57 - Theme 1 climaxes with octaves • 5:19 - Bridge to Theme 3 • 5:23 - Theme 3 repeats, in D major now • 5:41 - Theme 3 develops over a similar descending chromatic bass • 6:03 - Coda; ends in B major • • Wikipedia continuation: • The 12 Etudes d’exécution transcendante[1] (English: 12 Etudes of Transcendental Execution), Op.11, was a series of 12 etudes written from 1897 to 1905 by Sergei Lyapunov, and served as the posthumous continuation of Franz Liszt's uncompleted work Transcendental Études, having only the first 12 finished before his death in 1886. The work is also dedicated to Liszt, with the twelfth etude being named after the composer as well. Inspired by one of his three teachers during his time at Moscow Conservatory Karl Klindworth, a former student of Liszt, along with being heavily influenced and artistically guided by Mily Balakirev, the main ideologue of The Five, these Etudes use the full gamut of Nationalist techniques: From folk-songs and church bells, to Caucasian melodies and sumptuous melodicism.[2]
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