It is singularly the most technically difficult piece of the whole set. If the last thing you studied with your teacher were Cramer and Czerny exercises, then going from that to Feux Follets, Mazeppa, La Campanella, and many of the Chopin etudes you listed is a very big leap. Sometimes it is just efux. Definitely aspire to work on the music you listed; all of them are great pieces.
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However, the similarities in melody are apparent. Content[ edit ] The piece begins with an introduction containing slow broken octaves in the left hand and chords in the right hand. After a group of arpeggios, the main theme is introduced in the left hand, a beautiful descent followed by a chromatic ascent with harmonies changing with each note. It is accompanied in the right hand by bass notes crossing over and octaves which seem to "sing along" with the left hand.
Eventually, after a buildup with large chords in the right hand and octaves deep in the bass in the left hand, this theme is played again this time with harp like arpeggios in both hands. It begins pianississimo but then grows to an appassionato climax.
After a recitative passage, the music goes somewhere unexpected. The second theme is brought back, this time fortissimo and marked trionfante with chords in both hands. The most technically difficult part of the entire piece consists of multiple pages of chordal jumps and repetition, requiring a large amount of stamina.
The music eventually dies down, and after an arpeggiated variation of the first theme, the music dies out.
S.139 Etude No. 5 (Feux Follets)
Tygokus Rach probably admired that piece a lot. Do follehs really like them musically or do you just want to feel you can do whatever those famous people do? Oh also I am working on right now. This page was last edited on 17 Decemberat This article about a classical composition is a stub.
Liszt: Feux Follets No. 5 in B-flat Major
Transcendental Étude No. 11 (Liszt)