Liszt called his etudes transcendental (supernatural) as no one but him was able to play them. They seemed to be beyond the limits of human abilities. As time went by, pianistic technique took a great step forward, but few pianists dared play the entire cycle of etudes during the subsequent 20th century.

Lazar Berman, a great interpreter of Liszt’s music among Soviet pianists, was one of them. Born in Leningrad to a musical family, he drew attention as early as when he was four years old. He graduated with honours from the Central Music School and Moscow Conservatory where he studied with Alexander Goldenweiser, won the piano competition at the Festival of Youth and Students in Berlin, and received prizes at the Queen Elisabeth Music Competition in Brussels and the Franz Liszt Piano Competition in Weimar. Overseas performances brought Berman sensational success. “A real titan”, “keyboard wizard” said some of the reviews by European and American critics when they wrote about the young pianist’s phenomenal technique and brilliant virtuosity. His numerous concerts in Moscow, Leningrad and other cities of the USSR were no less successful.

Lazar Berman’s performing art was imprinted on numerous recordings which haven’t faded for connoisseurs of pianistic culture.