LISZT
Liszt’s Hungarian Rhapsody No.9 & No. 13, Tannhauser to Overture(Wagner), Rigoletto Paraphrase (Verdi)
Liszt wrote a set of nineteen piano pieces based on Hungarian folk themes in three different time periods: 1846-1853, 1882, and 1885. These pieces later are arranged in versions of orchestra, piano duet, and piano trio. The idea of these rhapsodies comes from the danced called verbunkos which is a Hungarian dance during the 18th century. This type of dance has several parts, and each is in a different tempo. It is also important to note that the structure of Liszt’s Hungarian rhapsodies is credited to Gypsides and contains two important elements: the lassan (slow)and the friska (fast).
Hungarian Rhapsody No. 3.
In comparison to his Liszt’s Hungarian Rhapsody, No. 2, this rhapsody is much shorter and only lasts about four minutes long. Moreover, it is less technical. Therefore, this piece is often overlooked. The form is in ABA form. The A section opens up with a dark theme played in the bass. The right hand plays chords in the low register. The B section features shimmering sonorities.
Hungarian Rhapsody No. 9
The texture of this rhapsody is thin, and its harmonic rhythm is slow. The syncopation in the allegretto section is constant. The mood is much lighter than the Rhapsody No. 3.
Overture to Wagner’s “Tannnhauser”
Liszt loved to transcribe several works from other composer. In fact, he transcribed several opera works by Wagner and Verdi for the piano. This transcription Tannhauser to Overture is not as virtuosic in comparison to his own compositions.
Concert Paraphrase of Rigoletto, by Verdi
The tonal colors in this piece sound mostly brilliant throughout. The mood is generally fun and has its dramatics as opposed to profound, deep music.
Années de pèlerinage (Years of Pilgrimage)
This is a set of three suites. These works ranges from virtuosic to slow-moving emotional highlights. One can observe his musical maturity evolving through these three volumes. The third volume is distinguished as an example of his late style.
Années de pèlerinage, Deuxième année: Italy (Book II)
This is the second set of his Years of Pilgrimage. There is a total of seven pieces in this set. The first piece Sposalizio (Wedding Ceremony) was inspired by the painting, The Marriage of the Virgin, by Raphael. There is a pentatonic melody used at the beginning. The piece just sounds ‘full’ to me. The second one is named ‘The Thinker’ inspired by Michelangelo’s statue. In my opinion, the title completely matches the impression of the piece. The melodic lines move forward and stop at times, on and off, leaving an notion of what a thinker is doing. The third piece, Canzoneeta del Salvator Rosa obviously was inspired by a poem credited to Salvator Rosa who was a painter in the 17th century. The mood of this piece is light and somewhat gives a sense of carefree indifference.
Following this, there are three Petrach Sonnets, Sonnetto 47 del Petrarca, Sonetto 104 Petrarca, and Sonetto 123 del Petrarca. These works were transcribed from songs he wrote for tenor voice. The first one sounds lovely in a slow tempo. The beginning of the second one immediately tries to create some sort of tension with its peculiar harmony, and the middle section has a passionate, singable melodic lines. The third one resembles the first one. The overall mood of the third sounds lovely and gentle.
The last piece in this set is called Apres une lecture du Dante, sometimes is known as the Dante Sonata. The title is inspired by one of the poems written by Victor Hugo. The repetitive tritones in the introduction produce a demonic sound effect. Later, the piece therefore develops much more intensity and drama. Interestingly, the darkness of the mood is maintained throughout the whole piece.
Les Jeux d’eau a la Villa d’Este
This is the fourth piece from the third volume of his Years of Pilgrimage. This piece sounds impressionistic and Debussy-like. The arpeggios built on ninth chords at the beginning suggest the movement of water. It has some sort of crystalline-like sound evoking droplets of water in particular from the tremolos.
Aux cyprès de la Villa d'Este No. 1
This is the second piece from the third volume of his Years of Pilgrimage. This is Liszt’s reaction towards the cypresses surrounding the Villa d’Este. Apparently, he viewed them in the character of threnodies and gloominess. The opening begins with a heavy ringing of bass octaves against repeated chords with the aim of setting up a distressful mood. The whole entire piece gives a sense of uncertainty, yet, with frustration and anguish.
Mephisto Polka
This is a folk-dance piece of program music based on the legend of Faust by Nikolaus Lenau. The story behind this piece is about how Mephistopheles tried to make Faust waltz with a girl by playing the fiddle at a wedding feast. By looking at the score, the work is not technically challenging. The piece sounds pretty much chromatic as opposed to functional harmony. Also, there doesn’t seem to be an ending, the piece simply just dies out on the key of F.
Nuage Gris
The beginning gives me the creeps. Unlike his earlier works, it sounds very gloomy and dark and may reflect his depression regarding the late period of his life. This piece is only three minutes long. The nature of this work is not virtuosic and is technically simple. The harmony is what draws my attention the most because it is based on augmented triads.
Sonata in B minor
This piece is dedicated to Robert Schumann. What is interesting about this sonata is that it is written in one movement; moreover, it is technically a fantasia-like improvisation. There is a total of five motivic ideas that form the whole piece. The first theme sounds excitingly threatening while the second theme sings its beautiful melody. There is a chorale section in the middle. The form of this sonata is widely debated. Some say this sonata contains a four-movement structure of a sonata, and some say it is a single movement in sonata-allegro form. Whatever it is, this piece remains one of his greatest compositions for solo piano.
Ballade No. 2
The piece is inspired by a ballad poem called Lenore by Gottfried Burger:http://www.artofeurope.com/burger/burg1.htmThis ballade is more popular compared to the first one. Again, Liszt uses the lower register for the main theme to demonstrate his typical style of that menacing dark sound that represents evil. There is basically a scenario of struggles between good versus evil. The second subject is played in the high register as opposed to the first subject played in the low register. Ironically, the piece ends softly.
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