1. Étude No. 1, Il lamento

2. Étude No. 2, La leggierezza
    Alternate endings 

3. Étude No. 3, Un sospiro
    Recordings   Use in film and television  

4. References

5. External links

As the title indicates, they are intended not only for the acquisition of a better technique, but also for concert performance. Liszt was himself a virtuoso pianist and was able to easily play many complex patterns generally considered difficult. The Italian subtitles now associated with the études—Il lamento ("The Lament"), La leggierezza ("Lightness"), and Un sospiro ("A sigh")—were not in early editions.^[2]

Étude No. 1, Il lamento

Étude No. 2, La leggierezza

La leggierezza (meaning "lightness") is the second étude. It is a monothematic piece in F minor with a very simple melodic line for each hand under an unusual Quasi allegretto tempo marking, usually ignored in favour of something slightly more frenetic.^[3] It starts with a fast but delicate sixteen chromatic-note arpeggio divided in thirds and sixths under an irregular rhythmic subdivision and cadenza so as to underline the atmosphere implied in its title.^[3] The technical difficulties involved in playing the piece include rapid leggiero chromatic runs, often with irregular rhythmic groupings, and passages in sixths and thirds. An ossia for the right hand involving brilliant runs in minor thirds is almost universally preferred by performers.

Alternate endings

Étude No. 3, Un sospiro

The third of the Three Concert Études is in D-flat major, and is usually known as Un sospiro (Italian for "A sigh"). However, it is likely that the title did not originate with Liszt. Although there is no evidence that he actively attempted to remove the subtitle, none of the editions or subsequent printings of the Three Concert Études published by Kistner during Liszt's lifetime used them; he simply ignored such subtitles in later years, always referring to the piece by key.

The étude is a study in crossing hands, playing a simple melody with alternating hands, and arpeggios. It is also a study in the way hands should affect the melody with its many accentuations, or phrasing with alternating hands. The melody is quite dramatic, almost Impressionistic, radically changing in dynamics at times, and has inspired many listeners. The étude has been considered by many pianists as one of the most beautiful piano pieces ever composed according to most pianists.^[7]{{not in source|date=May 2018}} Liszt kept the étude in his repertoire until his final years.

Un sospiro consists of a flowing background superimposed by a simple melody written in the third staff. This third staff—an additional treble staff—is written with the direction to the performer that notes with the stem up are for the right hand and notes with the stem down are for the left hand. The background alternates between the left and right hands in such a way that for most of the piece, while the left hand is playing the harmony, the right hand is playing the melody, and vice versa, with the left hand crossing over the right as it continues the melody for a short while before regressing again. There are also small cadenza sections requiring delicate fingerwork throughout the middle section of the piece.

Towards the end, after the main climax of the piece, both hands are needed to cross in an even more complex pattern. Since there are so many notes to be played rapidly and they are too far away from other clusters of notes that must be played as well, the hands are required to cross multiple times to reach dramatic notes near the end of the piece on the last page.

This étude, along with the other Three concert études, was written in dedication to Liszt's uncle, Eduard Liszt (1817–1879), the youngest son of Liszt's grandfather and the stepbrother of his own father. Eduard handled Liszt's business affairs for more than thirty years until his death in 1879.

Recordings

Un Sospiro has been recorded by many well known pianists including Van Cliburn, Claudio Arrau, Marc-André Hamelin, Daniil Trifonov and Jan Lisiecki.

Use in film and television

The piece has appeared in a number of films and television series, including:

• The André de Toth film The Other Love (1947), in which it is played by Barbara Stanwyck's character^[8]
• The Paul Gordon film Concert Magic (1948)
• As the recurring musical theme in the Max Ophüls film Letter from an Unknown Woman (1948)
• As the main theme in the Liszt biopic Song Without End (1960)
• The Scott Hicks film Shine (1996), based on the life of David Helfgott
• The Jun Ichikawa film Zawa-zawa Shimo-Kitazawa (2000)
• The 2009 TV show Kings (in the pilot episode, twice)
• The 2011 film The Green Hornet, when the character Kato is playing the piano with Lenore on their first date
• The 2016 TV show "Easy" (in Season One, Episode 5, "Art and Life")

References

External links

• {{IMSLP2|work=Trois_Etudes_de_Concert%2C_S.144_%28Liszt%2C_Franz%29|cname=Three Concert Etudes}}
• [https://web.archive.org/web/20060831220648/http://www.jmc.co.il/music/10-25.mp3 Recording of Concert Etude No. 2] by Boris Giltburg in MP3 format (archived on the Wayback Machine)
• [https://www.youtube.com/watch?v=wckk5j1dXoU Recording of Un sospiro by Peter Roper-Curzon]
• Recording of Un sospiro by Serg van Gennip
• [https://www.imdb.com/name/nm0006172/filmoyear Filmography by year of Franz Liszt]

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