It certainly stirs the blood — it is intense and it is complex. Winklhofer, 1980 Liszt was generally silent about this work and offered no words of any kind on the question of its program — or lack of it. I'll need to try some of them. What a tremendously dramatic work it is! The most notable feature of the Sonata is probably the culmination of the technique of thematic transformation. The fourth and fifth motives appear later in the piece at measures 105-108 and 327-338 respectively. Here is his playing beginning from the same D major theme where we left off in the previous example, all the way to a tumultuous section that some analysts call the development section of the Sonata.
The motivic units undergo thematic transformation throughout the work to suit the musical context of the moment. Liszt's powerful masterpiece is difficult to understand, and even more devilishly difficult to play. This fugato has a very ironic and diabolic character. According to a letter from Saint-Saëns to Jacques Durand, dated 23 August 1914, the two-piano arrangement was something that Liszt had announced but never realized. The surviving manuscript of the Sonata reveals that Liszt originally composed a mighty, almost pretentious finish to it.
Buechner and Searle, 2013 Liszt builds the music to one last titanic climax until finally a dramatic silence ushers in the twilit epilogue: the andante sostenuto melody reappears to serene and touching effect and the curtain comes down on this compositional tour de force. I guess I am just waiting for a special moment. I see it as one of the greatest pieces of piano music ever written. What follows is like a drama enacted in the nether-world. At one point the fugato subject is turned upside down and presented in counterpoint against itself. It is brilliantly captivating, and Liszt the conqueror, Liszt the magnificent, is stamped on every octave.
David Stybr, Personal Assistant and Der Webmeister to Denise Swanson, New York Times Best-Selling Author ~ Devereaux's Dime Store Mysteries ~ Book 2: Nickeled-and-Dimed to Death, March 2013 ~ Scumble River Mysteries ~ Book 15: Murder of the Cat's Meow, October 2012 Penguin ~ Obsidian ~ Signet, New York, New York Lance wrote:I would be curious to know what other Liszt B Minor Sonatas you have in your collection, Chalkster. His is a very different performance compared to Argerich or Richter. I have already decided to upload the Esquisses Opus 63 by Alkan when I have uploaded all his préludes. Spock-like discipline and concentration to contain a great reserve of pent-up energy. After the fugal entries the fugato modulates enharmonically and moves from a polyphonic to a more homophone texture where the recapitulation is started. But this final section has only just begun, and a pianist needs to have reserved fuel in his tank if he is to turn in a successful performance of the sonata. Within that same bar, as the climactic F major chord still reverberating in the air, gradually rising from left hand is an ascending scale that leads to the repeat of theme D, but now sweet and lush with the augmentation by left hand flowing up and down the scale.
This is the most spectacular MuseScore work I have ever seen. He was in his 60's when he recorded the version I like from the Liszt: Piano Works boxset on Decca , which gives his interpretation a very mature feeling. Recitativo The first passage is the Recitativo from Bar 297. More information about this can be found. This kind of formal plan held a strong attraction for Liszt, and many of the works of his Weimar period follow this model, besides the Piano Sonata in B Minor also the first piano concerto is another example.
Power there is — sardonic power, as in the opening phrase of the E flat concerto which is mocking, cynical, but tremendous. In the central chapters, built around an analysis of the B minor Sonata, Kenneth Hamilton discusses various interpretative approaches, arguing that the contradictory writings on the subject stem from the deliberate formal ambiguity of the piece itself - one reason for its perennial fascination, perhaps. This performance is the one that leaves me feeling the need not to applaud at the end because applause would ruin the effect that Cziffra has created. V I went through a binge of recordings of this a while ago. By the way this theme is later transformed into the 2nd Subordinate theme.
It looks like many of us share some of the same recordings. It's not a barnstorming, scale the heights type of performance but much more introspective. There is also a transcription of the Sonata for solo cello made by cellist in 2013. Note: James Huneker 1857-1921 was music editor of the Musical Courier and the New York Sun, a frequent contributor to magazines and reviews, and the author of several books about music, art and literature. The sonata is constructed as a single movement of non-stop music lasting half-an-hour, but it is widely believed that Liszt's piece still fits the mold of a traditional four-movement sonata within the mold of one long sonata form. Each of the sections are examples of Classical forms, which means that this piece is one of the first instances of , a musical piece which has two classical forms happening at the same time; one containing others. I will from now on begin to transcribe all the pieces I transcribe in 2.
After reading all the comments on that composition, I now have high hope for that piece. Again the devil tempts this musical St. Henle, München, revised edition 2015. The great Richter never fails to amaze me. Instead, he's kept me poor. But this final section has just begun, and a pianist needs to have reserved fuel in their tank if he is to turn in a successful performance of the Sonata. Liszt's B minor Sonata is now regarded as his finest work for piano, and one of the pinnacles of Romantic piano music.
I agree to what you write, and I may have an answer for your question about the fifth motive: There may happen that the person who wrote the article on Wikipedia wrote measure numbers which do not correspond to the measure numbers in this score. Liszt effectively composed a sonata within a sonata, which is part of the work's uniqueness. Franz Liszt's Precursor Sonata of 1849: a trial run in the Master's inner circle. Page 25 of the manuscript. It was completed in 1853 and published in 1854 with a dedication to Robert Schumann.
He wrote in a very subjective but informative style. Even the Cortot recording has something to offer. Moving to the music of Liszt's final years, Lewis ranges from Nuages gris, much admired by Stravinsky, its language anticipating Debussy, Bartók and even Schoenberg, to Unstern literally, and in Shakespearean terms, 'unstarred' , music of a sinister violence. Richter is always a strong contestant in the repertoire and also one of my personal favorites. The recapitulation of the Sonata starts at bar 533, where subject A is repeated just as bar 32, on the tonic B minor. Clara Schumann could have included the work in her repertory, if she had been so inclined, but she chose not to do so.