Franz Liszt's cycle of Transcendental Études, S139 (French: Études d'exécution transcendante), dating from 1851, is one of the most technically demanding compositions in the piano literature. It includes programmatic works with illustrative titles, such as the Étude no.4 'Mazeppa', which draws on the history of the nobleman Ivan Mazepa, no.5 'Feux follets' (Will-o'-the-Wisps) and no.12 'Chasse-neige' (Snow squall), or pieces given a title that corresponds to the genre (Prelude in no.1) or to the tempo marking (Molto vivace in no.2). The present recording is based on the 1852 publication of the Transcendental Études, which constitutes an integral part of today's canon of piano literature. Aware of the extremely high demands placed on the performer of the earlier version, Liszt resolved to reduce the level of difficulty in order to facilitate more performances. In spite of the reduced number of virtuoso features, the Transcendental Études continue to pose a great challenge, particularly on account of their emotional and stylistic diversity. As the pianist Radosław Sobczak noted, each of the études 'is an image of the supernatural world.' The first two versions of Liszt's Études never achieved great popularity, and it is not surprising that they have had few recordings by acclaimed pianists.

Interestingly, the complete set of the Transcendental Études has not been recorded so far by any Polish pianist. Individual pieces from the cycle, unlike Liszt's Grandes Études de Paganini, S141, are also rather rarely performed by Polish musicians. Bearing this in mind, the present recording by Radosław Sobczak constitutes a turning point in the history of Polish music. His interpretation, permeated with a metaphysical and contemplative sense, shines fresh light on this well-known composition. I sincerely encourage you to listen to it with utmost attention that it deserves.