![]() Pianists love to ignore this fact and the greatest pianists in the world are no exception. The last time I checked the dictionary, Allegretto was significantly slower than Presto. This is like trying to argue that 1 + 1 = 3. ![]() Some pianists will put forth erroneous arguments advocating that La Campanella should be as fast as possible. The problem is that most pianists are in denial that they think this way (even if they are not aware that they think this way) and their first mode of defense is to create “straw man” arguments if anyone should bring up the issue of La Campanella being marked only Allegretto. ![]() Pianists should be embarrassed that they actually believe this sytem of logic. The above system of logic is flawed on so many levels. Therefore, this proves that La Campanella should be played as fast as possible. The “mob mentality” system of logic runs like this:Īll famous and influential pianists play La Campanella as fast as possible.Īll famous and influential pianists are great and smarter than the “average” non-famous pianist.Īll famous and influential pianists are authorities who cannot be questioned. Most pianists inadvertantly fall into the “mob mentality” category of musicianship. Learn La Campanella from a Master - Get 20% Off Your WRP Membership (offer good through July 31, 2022) and gain access to a full 13-video tutorial series on “La Campanella”: Coupon code ABPUWAA72S Introduction This article gets to the nitty-gritty of an inconvenient truth concerning tempo in La Campanella. Indeed, the general consensus among pianists is to ignore Liszt’s Allegretto indication, and instead, to play it Presto or Prestissimo. One would expect such an ultimate litmus test type piece to be Presto or at least Allegro at the slowest however, for some strange reason the general consensus among pianists is that La Campanella should be played as fast as possible. It has become the ultimate “litmus test” for pianists to show off their technique and bravura playing, which is strange piece to select for this category since it is only marked Allegretto. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the first thirtieth and thirty-second measures.(Abstract) Franz Liszt’s (1811-1886) arrangement of Nicolo Paganini’s (1782-1840) La Campanella is arguably the most popular classical piano piece on YouTube. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with little (depending on the arrangement) no rest. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand and muscles within the forearm and wrist. The étude is played at a gentle, brisk allegretto tempo and features constant octave hand jumps between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. Incipit for "La campanella" by Franz Liszt ( Grandes études de Paganini S.
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