Ranking No. 1: Rachmaninov’s “Piano Concerto No. 3” Rachmaninov’s “Piano Concerto No. 3” embodies the most persevering Russian spirit and the most powerful vitality , and the composer's personal strength is also fully demonstrated in this work: "Rachmaninoff is made of steel and amaranth, steel is his arms, and gold is his soul." This is the most precious thing about Rachmaninov’s music. When Rachmaninov himself premiered it as a piano soloist in New York, he jokingly called his concerto an "elephant work" to describe its size and weight. A well-known music scholar once described the physical effort required to perform "La San" once as equivalent to "shoveling ten tons of coal", which shows how difficult it is. The Australian musician's biographical film "Shining Style" describes the pianist's mental breakdown due to playing "Pulse Three". From this, we can imagine the emotional shock of "Place Three"! Rachmaninoff said that only Horowitz could perform this piano concerto well.

Ranked No. 2: "English Country-Tunes" by Michael Phinisi British composer Michael Phinisi created the "English Country-Tunes" piano music more than 30 years ago. This piece is said to be the most difficult piano piece in the world to play. Sometimes there are three hundred notes squeezed into one measure on the piano score. When playing, you have to use your fingers and elbows...Russian female pianist Silkland performed this piece for the first time in Japan.

Ranked No. 3: Prokofiev Piano Concerto No. 2 Prokofiev Piano Concerto No. 2, G minor, OP. 16, composed in 1913. Because his classmate Smitthoff committed suicide at that time, this song was dedicated to Smitthoff. Because the original score was lost, Prokofiye reorganized it from memory in 1923. This piece was premiered on August 23, 1913 with Prokofiev as the lead. During the first performance, many people walked out and reviled the performance because of the violent percussion of the rhythm and the continuous dissonance. Most reports said: "This future music, give it to the devil. We are here to have fun, and my cat can also play this music." At that time, Diaghilev invited Proko after listening to this song. Fiev composed dance music for him, and critic Viatcheslav Karatygin (1875-1925) said: "I am sure that 10 years from now, the audience will give this young composer considerable applause for his talent. Yesterday's reckless ridicule atones. "This piece has 4 movements: The first movement: Andante, G minor, sonata-type free form. The presentation is guided by a 2-measure prelude of string pizzicato and clarinet. The left hand of the piano plays scattered chords, and the right hand appears with the melancholy first theme. The theme goes back and forth between the woodwind and piano, and then moves to the fast tone group. The second theme is Allegro. After the piano plays the second theme, it continues to develop gorgeous sound patterns. After moving to flute and oboe, flute and clarinet, and then a little slower, the exposition ends with the orchestra. The development section begins with the gorgeous development of the first theme on the piano on the background of the cello tremolo, and quickly reaches a climax. After a calm period, the recapitulation section ends as soon as the first theme appears on the piano. The second movement: Scherzo, lively, in D minor, in three sections, a fast toccata-type movement. The first section starts with a strong piano theme as the center, with string pizzicato and wind instruments making funny sound patterns sandwiched in the middle. In the middle section, the accompaniment band continues to play dynamic musical ideas, and the piano continues to play toccata patterns. The third movement: Intermezzo, gentle Allegro, three sections. The first section begins with the band's heavy-stepping prelude, and the piano enters into a gorgeous development. In the middle part, the violin plays a clear theme and develops it, the piano repeatedly plays the slide pattern, and the band is entangled with each other, forming a beautiful timbre effect. The third paragraph makes various changes to the elements of the first paragraph. The fourth movement: passionate Allegro, G minor, A-B-C-B-A structure. A begins with the piano and flute presenting a free and unrestrained melody. The piano enters with percussion, which contrasts with the pizzicato of the strings. The B speed slows down, and after the piano hits half of the chord, the clarinet, bassoon, and cello play a simple Russian-style D minor melody. The piano continues the melody and then passes it to the bassoon and oboe, while the French horns proceed in reverse. The C speed turns faster and enters Allegro. The flute and string pizzicato create overlapping sound patterns, and the band's roar and piano chords form a climax. After calming down, after the heavy chords, the piano solo cadenzas, and the elements of the B section reappear. When the Andante becomes calm, it turns into a fast sound group, and the piano solo is meditative. Then the band formed a sharp sound, returned to the passionate Allegro A section, and finally entered the short finale composed of C section elements.

Ranking No. 4: Liszt's "Memories of Don Juan" Liszt's piano piece "Memories of Don Juan" adapted from Mozart's opera "Don Juan" is the quintessence of Liszt's many adaptations and one of the most technical. The difficulty and grandeur of the scenes create an astonishing momentum based on the rich expressions of the original work. Mozart's opera "Don Giovanni" was originally about two and a half hours long, but was adapted by Liszt into a short piano piece. Not a single note from the opera was deleted from the piano music. The entire piece is very difficult in terms of rhythm and technique. "Memories of Don Juan" is known as one of the most difficult piano pieces and is rarely played.

Ranked No. 5: Brahms Piano Concerto No. 2 in B flat major Brahms Piano Concerto No. 2 in B flat major (Concerto for Piano no 2 in B flat major, Op. 83) Painted in 1881. Since the era of Mozart and Beethoven, concertos created by Schumann, Chopin and even modern composers have basically had a three-movement structure. However, Brahms added a scherzo movement to his Second Piano Concerto, thereby expanding the work. It has four movements, and its form and character are close to that of a symphony. The solo instrument also becomes a member of the orchestra. This symphonic concept breaks away from the original "competition" meaning of the concerto. Therefore, this piece of music is sometimes called Later generations called it "a symphony played by the piano". The form of this piano concerto is very special: first of all, the music adopts a four-movement format that is rare in the history of concertos; secondly, the lead piano in this piece does not occupy an absolutely dominant position, and the author deliberately made the piano and orchestra "completely equal". This concerto has neither the smoothness of Mozart nor the majesty of Beethoven. It is an authentic Brahms-style work. Compared with the First Concerto, it seems heavier and darker, and the technique is particularly difficult. Some people say that Brahms' B flat major concerto is "the most difficult concerto that requires the pianist's sweat and sweat. It does not require the pianist's skill, but the most difficult concerto." Make them coolies." This piece of music has Brahms' unique composure and gravity, but also has his bright and gentle side. In the spring of 1878, Brahms traveled to Italy for the first time. The customs and customs of this ancient southern European country left a deep impression on the author, and Brahms began to conceive this piece of music. In March 1881, the author visited Italy again, and this time his inspiration was completely aroused. So after returning home, he immediately started writing and completed the piece in the summer of that year. In fact, the Italian style in this piece is not obvious, but it is undoubtedly the expression of the author's true emotions, and it can be called one of Brahms' representative works. The final draft of this work was completed in 1881. On November 9 of the same year, the author himself acted as the piano soloist and used the draft score for its premiere in Budapest. The whole song is divided into four movements: The first movement: not too fast Allegro, in B flat major, 4/4 time, sonata form. Traditional double presentation. The first presentation is orchestral music. First, the French horn plays the first theme motive consisting of two measures. The piano delays one measure to follow, imitating like a shadow. The woodwind part develops, and the slightly sad second theme is played by the violin. After the presentation, the movement enters the second presentation, where the piano presents and develops a new theme, and the piano presents the second theme with enthusiastic variations.

After the expansion in F minor, the music enters the recapitulation (the second theme is in B flat minor). At the end, the orchestra plays part of the motive of the first theme, the piano accompanies it with gorgeous arpeggios, and ends with a powerful opening motive. This movement is written thickly and powerfully, with a strong Brahms flavor. The theme motif that runs throughout the movement is introduced by the majestic horns and answered by the piano. The piano played by the orchestra is sometimes gentle and graceful, sometimes passionate and magnificent. There are many approaches in this movement that are completely different from classical concertos. The second movement: Passionate Allegro, D minor, 3/4 time, three sections. A typical scherzo, but the sonata structure is very clear and large in scale, giving people a sense of depth. The first theme begins with a fierce forte on the piano, followed closely by the band. The second theme is in A minor, played by strings in unison, and then repeated by the piano. The development section develops the above two themes, and the recapitulation section uses a completely different arrangement of instruments. The melody is warm and humorous, but also magical. The third movement: Andante, B flat major, 6/4 time, three sections. The orchestra plays the main melody, the piano plays decorative patterns, and makes variations on the theme. The first part begins with the cello playing a sweet melody. The middle part is softer, with the clarinet playing the C-sharp major theme, and the dreamy singing melody is as pious as a prayer. Finally, the theme in B flat major is reproduced. This movement is full of romantic atmosphere. It is an elegant movement with a bright Italian color in the "German" heavy style. The fourth movement: Beautiful Allegro, in B flat major, 2/4 time, rondo form. A beautiful finale with a dancey character. The fresh and lively Rondo theme begins with a piano solo, imitated by the band. Afterwards, the insert with a Hungarian folk style is presented in the key of A minor (it is reproduced in the key of D). Many other auxiliary inserts are interspersed between the piano and the band. Sometimes the piano decorates the orchestral theme with sound patterns and passing sentences, and sometimes the band uses colorful harmonies to set off the piano and weave it into a glorious finale. The general structure of this movement is A-B-A-B-ending. The main theme of dance music that starts from the piano is delicate and delicate, but also heavy and gorgeous.

Ranking No. 6: Stravinsky Petruska Igor?6?1 Fedorovich?6?1 Stravinsky, Russian-American composer and conductor An important figure in Western modernist music. His father is a bass singer at the Royal Opera House in St. Petersburg. He studied composition with Rimsky-Korsav. He settled in the United States in 1939 and became a French citizen and an American citizen. There are many works and various styles. "Petrushka" was originally an orchestral piece, but was later adapted into a piano piece and dedicated to Rubinstein.

When Shen Wenyu played the extremely difficult "Petruska" in the UK, the local "Contemporary Concert Hall" magazine praised his "superior skills and rich timbre changes, even surpassing those of Pollini (the famous piano master)" ."

Ranked No. 7: Liszt's 5th Technique Etude. Liszt's "12 Technique Etudes" is a formidable and difficult piece of music in the history of piano. From a technical point of view, these 12 works of Liszt are too difficult, as if they are the ivory tower of the art of piano performance. Even in the 20th century, when piano masters were like crucian carp, few performers dared to challenge them. The super skill etude "Wisp of Fire" has a difficult two-note technique and is the most difficult among the 12 super skills. Lage said that it is the most difficult etude. Not only is the technique tricky, but it must also be played nimble and interesting to be convincing.

Ranking No. 8: Balakiyev Islami Balakiyev is an excellent pianist. He plays the piano from memory and never reads music. He created a set of highly technical piano works, the most famous of which is "Islame". This song "Islame" was first performed by Nicholas Rubinstein in 1869. This is an extremely difficult work to perform. It is the product of Balakirev's 1870 trip to the Caucasus to collect music. The subtitle of this work is "Oriental Fantasia". The main theme is a dance music of the Lesky people in the Dakistan region of the Caucasus, and the second theme (seemingly a middle section) is the melody of a song Balakiyev heard sung by an opera singer in Moscow. This piece is composed of three parts: first the main part expresses the theme; then the middle part plays the emotional Andante; then the ending speeds up and returns to the theme, and the coda is a very frenetic and intense Presto. Because of its extreme difficulty, many pianists take it as a challenge.

Ranked 9th: "Bell", No. 3 of Liszt's Paganini Etude. This piece of music is also translated as "Companella". It is based on the Italian violinist Paganini by Liszt. "Violin Concerto No. 2 in B minor" is a piano solo with a theme change, Liszt's most famous virtuoso work. "The Bell" is written in rondo form. Each time the theme appears, a new performance technique is used, giving full play to the piano playing skills. Liszt's arrangement of "The Bells" is shorter than Paganini's violin concerto "The Bells", and it is very impressive because the theme appears many times. "The Bell" is a piece that pianists often perform in concerts because it can fully demonstrate the superb skills of the performer. The performer needs extremely superb piano skills to master this piece of music well. Of course, our Yundi Li has played this piece of music in a concert.

Ranked 10th: Bellini's "Memories of Norma" Italian opera composer Vincenzo?6?1 Bellini laid out a gorgeous and natural lyrical melody in "Norma", With a strongly contrasting plot tension, it shows the struggle between love, hatred and forgiveness, and predicted the arrival of feminism a century and a half in advance.