Work: Sonata for Piano in B minor, S 178
About This Work
There are only three works in Liszt's vast output which are entitled as belonging to any sonata form: the Faust Symphony, the Dante Symphony, and the Sonata in B minor for piano. It will readily be seen that this is the only work he wrote in an
absolute sonata form.
However, he made the sonata form his own in this innovative and unique work in one movement. Wagner described the work as beautiful "beyond all conception" and "sublime." In it, Liszt presents what is considered by most commentators as his finest example of the musical technique of continuous "thematic transformation," which was to have a profound effect on the future of music -- especially as taken up by Wagner and used as the basic musical means by which he constructed all his later operas, especially the great Ring of the Nibelung tetralogy.
This one-movement sonata makes the impression of a free, unbridled fantasia, virtually an improvisation. But in reality the whole work is tightly constructed from the music of the sonata's introduction. From that introduction he develops, first, three striking and powerful themes, then a passage sounding like a religious chorale. The final main section not only demands the utmost in piano technique to deal with its prestissimo tempo, but also employs elements of all the themes which have been spun out of the opening. Ultimately, in an eloquent concluding Andante, Liszt returns to the earliest versions of the main musical material and recedes into silence. Full of Romantic fire and spontaneity as the sonata may be, it also fits, depending on how one listens to it, into either the pattern of a single sonata-allegro-form movement (with exposition, development, recapitulation, and coda), or the four-movement structure of a traditional sonata (opening movement, slow movement, scherzo, and finale. Thus this work remains an enduring masterpiece even in the estimation of those listeners who tend to find Liszt's music overblown. In the Sonata in B minor, Liszt, the great radical, connected himself convincingly with the sonata tradition.
The sonata dates from 1854, shortly after the Princess Carolyn Sayn-Wittgenstein, with whom the composer lived, had convinced Liszt to quit touring as a pianist and concentrate on composition. The pianist and musicologist Alfred Brendel, among others, has claimed for years that the sonata is related to the Faust legend. While such an interpretation may actually fit the structure and emotional spirit of the work, it must be regarded with a measure of skepticism. Some musicologists have also argued that the piece is autobiographical, and point out that such a view would not exclude a Faustian interpretation.
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