Winklhofer, Sharon. We've received widespread press coverage since 2003, Your UKEssays purchase is secure and we're rated 4.4/5 on reviews.co.uk. ”In summarizing the relationship between content and form in the Sonata, the evidence of Liszt’s conscious control is overwhelming. Liszt was one of the most important composers of the Romantic era – the best Liszt works feature 10 masterpieces including ‘Piano Sonata In B Minor’. Andre Laplante (https://www.youtube.com/watch?v=VCHE-UPwBJA) However, Schumann never knew of the B Minor Sonata’s existence since by the time a copy of the newly published work arrived at the Schumann’s home in May, 1854, Schumann was already at the asylum at Endenich. Like!!
Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Michael Heinemann: Liszt Klaviersonate h-Moll. Newman was the first to illustrate this double-function view. The sonata’s development from baroque, classical to romantic period, approached the peak in the beginning of nineteenth century.
Like the first presentation of the chorale, the recapitulation at mm.393ff. Here’s Wang: In case of Lisitsa, even though her playing time is longer than Laplante and Zimerman, the passage comes out rather simplistic and flat; it lacks the gradual dynamic ups and downs to depict the emotional tension and release: Coda Climax (Presto – Prestissimo, m.673). 8 in F Major, Op. Powered by Pure, Scopus & Elsevier Fingerprint Engine™ © 2020 Elsevier B.V. We use cookies to help provide and enhance our service and tailor content. Student thesis: Masters Thesis › Master of Philosophy, Activity: Participating in or organising an event types › Participation in conference, Activity: Talk or presentation types › Invited talk, Research output: Contribution to conference › Paper. Any opinions, findings, conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of UKEssays.com.
As he discovered unusual formal procedures in the symphonic poems, for example, it seems more likely that he decided to experiment similarly in piano compositions. Why did I choose the fugue section (from bar 460) as a beginning of recapitulation?
Liszt’s perceptive of the classical style, and his acknowledge recognition of a linking Beethoven’s treatment of form in the late works, and his own in the fifties, is worth examining. Lots of scholars thought theme C is variation of A3, so it is not a new theme. Evgeny Kissin (https://www.youtube.com/watch?v=VfHgLyuO0hY). A secondary key area in the lowered mediant is presented after the opening tonic statement in F sharp; following two modulatory sections, both the chorale and the secondary material return for reinterpretation in F sharp. From bar 454, motive A1 becomes a bridge which connects development and recapitulation and at bar 460 Liszt used the term G flat instead of F sharp (enharmonic equivalent) for the changes of the key, which is from F sharp major to B flat minor (example 8).
“The Andante maintains the basic sonata characteristics. … It really is too awful.” (Litzmann, Berthold, 1902-08), Unfortunately, Clara’s opinion was not atypical. Change ), You are commenting using your Facebook account. The chord of E fat accompanies theme A1 (bars 555-560) to develop, however, serves to affirm the tonic of B rather than move away from it. 2 in C minor “Resurrection” (1), Beethoven: Symphony No. ( Log Out / After a cataclysmic climax, followed by a long silence, Liszt brings back the soft Andante sostenuto, which seems to cast a benediction over all that has gone before, and the sonata expires with the same descending scale with which it began.
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. This is why I choose the fugue section as a beginning of recapitulation. (Example 4) Theme B comes from Crux fidelis of plain chant. The bass note has landed on B, nut the upper parts presents the diminished seventh chord of motive A2, the harmony that prepared the way for the Andante’s first appearance (bar 328-330). We're here to answer any questions you have about our services. 39– 95. Instantly the third motive (A3) is presented, a striking upbeat contour, starting on B minor but leaving with a diminished seventh on the leading tone to G at m.17. ( Log Out / Just as any performance is infused with much of the performer’s own interpretation and feelings, such exercise of comparing those performances are highly subjective. The sonata first publicly performed by Liszt’s pupil, Hans von Bülow on January 27, 1857 in Berlin. When the work received its première performance, in Berlin, on January 22, 1857, nearly four years after its composition, it provoked a minor scandal among the conservative critics, from which it recovered with difficulty. Really Cool. History From simple essay plans, through to full dissertations, you can guarantee we have a service perfectly matched to your needs. No other work of Liszt has attracted anything like the same amount of scholarly attention as the B-minor Sonata. ( Log Out / Before I begin with the analysis I would like to make clear that my view towards this Sonata is very biased as, having played this piece myself, I am a huge fan of this Sonata (it is one of my favourite pieces ever composed for piano). At bar 141-152 , A3 reappears and serves two purposes: First is to provide closure to the tonal deflection, second is to allow a transitional phrase introducing the last structural division of the exposition.
It is by no means a judgment call on how “good” a performer is, rather only an expression of personal taste on the piece and how (I think) it should be performed. Disclaimer: This work has been submitted by a university student. Change ), Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Tumblr (Opens in new window), Click to share on Pinterest (Opens in new window), Overview and Analysis of the Liszt Piano Sonata in B Minor, S. 178, https://www.analekta.com/en/album/Liszt-Annees-De-Pelerinage-Suisse.591.html, Follow Musica Kaleidoskopea on WordPress.com, The sonata is a musical portrait of the Faust legend , with “Faust,” “Gretchen,” and “Mephistopheles” themes symbolizing the main characters. In particular, how should the results of analysis be conveyed to the listener? After bar 277, motive A1 developed from bar 275-286, and followed by motive A2. The descending scales of theme A came in with a sudden soft crescendo, and also sounded fragmented, which is completely out of character; the final two lines of ascending scales just rushed through without any of the necessary slowdown in tempo, as a result the ending lost that triumphant sense of climax: In Buniatishvili’s playing, I only hear a passage of fast, loud yet emotionally flat line of notes shuffling through my ears; for example, the Andante was by no means any softer than previous bars: In summary, it is almost impossible to single out one performance that can be deemed the “best”, simply because not all movements, not all sections, and not all passages for that matter are played equally well by a performer.
3 vols. The inspirational source was therefore an internal one, within Liszt’s own imagination, and related to his current orchestral projects. That’s exactly how Arrau did it, execution was superb: For Wang, I wish the Grandiose repeat had been a bit clearer with the first sforzando (m.701) standing out a bit more, otherwise it’s equally excellent: Zimerman’s is very good as well, started clear and balanced, until bar 700 where the pace suddenly becomes lagging, the power of that final climactic wave surge turns out not being as strong and convincing: As for Horowitz’s interpretation of this passage, I don’t like it at all. An Analysis Of Liszt Sonata.
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