Uploaded November 2016 | Updated September 2026, 3 hours ago
"The piece is only 54 bars long and lasts for about a minute and a half. The theme is based on Haydn's own name as a five-note motif. The letter H represents B natural, A and D representing their respective pitches, Y as D natural and N as G natural. In the score, the use of this motif is marked using their letters including several inverted and retrograde versions." - Wikipedia
Sheet music: imslp.org/wiki/Menuet_sur_le_nom_d'Haydn_(Ravel,_Maurice)
Performance by Luis Kaludin.
"The piece is only 54 bars long and lasts for about a minute and a half. The theme is based on Haydn's own name as a five-note motif. The letter H represents B natural, A and D representing their respective pitches, Y as D natural and N as G natural. In the score, the use of this motif is marked using their letters including several inverted and retrograde versions." - Wikipedia
Sheet music: imslp.org/wiki/Menuet_sur_le_nom_d'Haydn_(Ravel,_Maurice)
Performance by Luis Kaludin.









![Étude en douze exercices #1, S.136 (Liszt)
Had to make my own midi this time.
The composition of the Transcendental Études S.139 began in 1826, when 15-year-old Liszt wrote a set of youthful and far less technically demanding exercises called the Étude en douze exercices (Study in twelve exercises) S.136. Liszt then elaborated on these pieces considerably, and the far more technically difficult exercises called the Douze Grandes Études (Twelve Grand Studies) S.137 were then published in 1837.
The Transcendental Études S.139 are revisions of his Douze Grandes Études. This third and final version was published in 1852 and dedicated to Carl Czerny, Liszts piano teacher, and himself a prolific composer of études. The set included simplifications, for the most part: in addition to many other reductions, Liszt removed all stretches of greater than a tenth, making the pieces more suitable for pianists with smaller hands. However, the fourth étude of the final set, Mazeppa, is actually more demanding than its 1837 version,[citation needed] since it very frequently alters and crosses the hand to create a galloping effect.
When revising the 1837 set of études, Liszt added programmatic titles in French and German to all but the Études Nos. 2 and 10. Editor Ferruccio Busoni later gave the names Fusées (Rockets) to the Étude No. 2, and Appassionata to the Étude No. 10; however, Busonis titles are not commonly used. For example, music publisher G. Henle Verlag refers to these two by their tempo indications, molto vivace and allegro agitato molto, respectively.
- Wikipedia Étude en douze exercices #1, S.136 (Liszt)](https://i.ytimg.com/vi/lD_Rao_2HeM/mqdefault.jpg)
