The Grandes études de Paganini, S. 141, are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published as Études d'exécution transcendante d'après Paganini, S. 140, in 1838). It is almost exclusively in the final version that these pieces are played today.

The pieces are all based on some of the Caprices (Nos. 6/5, 17, 1, 9, and 24) and concertos (No. 2/1) by Niccolò Paganini for violin, and are among the most technically demanding pieces in pianistics (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties). The pieces run the gamut of technical hurdles, and frequently require very large stretches by the performerof an eleventh (although all stretches greater than a tenth were removed from the revised versions).

• Revised version (1851), S. 141 – dedicated to Madame Clara Schumann

  • Étude No. 1 in G minor "Tremolo", marked Andante – Non troppo lento, which is after Caprice No. 6 in G minor (with the introduction and coda No. 5).

  • Étude No. 2 in E♭ major, marked Andante capriccioso, which is after Caprice No. 17 in E♭ major.

  • Étude No. 3 in G♯ minor "La Campanella", marked Allegretto, which is after the final movement of Paganini's Violin Concerto No. 2 in B minor.

  • Étude No. 4 in E major "Arpeggio", marked Andante quasi allegretto, which is after Caprice No. 1 in E major. It was written on one line only, omitting the usual separate line for the left hand, this was fixed in the new version. Furthermore, its lowest tone is the G3, the score thus mimicking a score for violin.

  • Étude No. 5 in E major "La Chasse", marked Allegretto, which is after Caprice No. 9 in E major.

  • Étude No. 6 in A minor, marked Quasi presto a capriccio, which is after Caprice No. 24 in A minor.

Read more: https://en.wikipedia.org/wiki/Grandes_études_de_Paganini