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:I'm not sure I understand the Grove sentence. Does that mean they were intended for concert use or for private study? It seems telling to me that they were published under the name "Exercises," but were only much later revised and published as "Etudes d'execution transcendante." Yes, these 12 were the origin of the later version, but, it's still unclear to me that these can be considered the beginning of the trend. Most sources I read seem to indicate that it was only after hearing Chopin and Paganini in the 30's that Liszt started to show a fascination with public displays of virtuosity. It's a small point, but I'm eager to get to the bottom of this. [[User:JDWpianist|JDWpianist]] 18:29, 27 March 2009 (EDT)
:I'm not sure I understand the Grove sentence. Does that mean they were intended for concert use or for private study? It seems telling to me that they were published under the name "Exercises," but were only much later revised and published as "Etudes d'execution transcendante." Yes, these 12 were the origin of the later version, but, it's still unclear to me that these can be considered the beginning of the trend. Most sources I read seem to indicate that it was only after hearing Chopin and Paganini in the 30's that Liszt started to show a fascination with public displays of virtuosity. It's a small point, but I'm eager to get to the bottom of this. [[User:JDWpianist|JDWpianist]] 18:29, 27 March 2009 (EDT)
::Sorry, that's me reading and writing whilst trying be part of a family...I will try again. Grove says they were: "intended ''as much for public performance'' as for private instruction" (My italics...and this time I have checked what I wrote.) The Oxford Companion to Music says: "The 'Etudes d'execution transcendante' of Liszt are''concert etudes'' of immense difficulty and high romantic quality" (Once again, my italics.)[[User:AlanE|AlanE]] 18:58, 27 March 2009 (EDT)