The Transcendental Etudes after Paganini (S. 140), composed between 1938 and 1939, represent the first major outcome of Liszt's study of Paganini (for details on Liszt's encounter with Paganini, please refer to the entry for Grand Etudes after Paganini (S. 141)).

Yukio Nomoto points out that in this work, Liszt thoroughly researched violin techniques themselves from Paganini's scores. In other words, he attempted to express the advanced techniques Paganini achieved on the violin through new, unique piano idioms and virtuosity. As a result, highly innovative and astonishingly difficult works were created. The difficulty can be inferred from the fact that performing these pieces exactly as written by Liszt has been considered almost impossible for anyone other than the composer himself.

No. 1: 'Tremolo' (G minor)

The first piece, 'Tremolo' (G minor), consists of an introduction and coda based on Paganini's 24 Caprices, No. 5, and a main section based on 24 Caprices, No. 6. For approximately the first third of the main section, the first edition, Transcendental Etudes after Paganini, contains several technically challenging passages compared to the revised edition, Grand Etudes after Paganini, such as the tremolo having to be played "by the left hand only."

No. 2: 'Octave' (E-flat major)

The second piece, 'Octave' (E-flat major), is based on Paganini's 24 Caprices, No. 17. The position shifts in the violin are replaced by the crossing of the left and right arms on the piano, requiring considerably difficult hand movements in the first edition.

No. 3: 'La Campanella' (A-flat minor)

The most famous piece in this collection, the third piece, 'La Campanella' (A-flat minor), shows significant differences between the first and revised editions. While the revised edition is based on the third movement of Paganini's Violin Concerto No. 2 in B minor, the first edition prominently features material from Paganini's Violin Concerto No. 1 in D major. Furthermore, the key signature also differs, with the first edition being in A-flat minor and the revised edition in G-sharp minor. Compared to the revised edition, the first edition generally has a more solemn atmosphere.

No. 4: 'Arpeggio' (E major)

The original source for the fourth piece, 'Arpeggio' (E major), is Paganini's 24 Caprices, No. 1. This piece also differs significantly between the first and revised editions, and furthermore, the first edition has two versions. In the first version of the first edition, the arpeggios are single notes with hands moving in parallel, whereas in the second version of the first edition, they are upgraded to arpeggios of chords and double stops. It is truly a piece of extreme difficulty.

No. 5: 'La Chasse' (The Hunt) (E major)

The fifth piece, 'La Chasse' (The Hunt) (E major), is based on Paganini's 24 Caprices, No. 9. It is characterized by sounds reminiscent of a horn. At the beginning of the score where this figuration appears, the first edition includes instructions: "imitating a flute" for the p sections in the high register, and "imitating a horn" for the f sections in the low register, indicating Liszt's awareness of orchestral timbres.

No. 6: 'Theme and Variations' (A minor)

The sixth piece, 'Theme and Variations' (A minor), is based on the most famous of Paganini's 24 Caprices, No. 24. In addition to Liszt, many other composers, including Brahms, Rachmaninoff, Szymanowski, and Lutosławski, have written variations based on this theme. The original piece consists of 11 variations and a finale, and Liszt also follows this structure, with this sixth piece comprising 11 variations and a coda. Compared to the revised edition, the first edition is technically more difficult and has a generally more solemn sound.

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The explanatory text published on this page from November 30, 2005, to March 2, 2006, was, as pointed out in the comment received from "Viva Liszt" below, intended for the Grand Etudes after Paganini. Therefore, the explanatory text has been moved to the relevant page. We express our gratitude for the correction and apologize for the publication of incorrect information. Administrator of "Piano Music Encyclopedia": Kosuke Sanekata