Sonata for piano in so minor of Liszt

The Sonate for piano in so minor is a work for piano alone, in the sonata form, of the type-setter Franz Liszt. The part is dedicated to Robert Schumann.

Genesis

This great sonata, the only one of the type-setter, was written between 1852 and 1853, whereas Liszt shared its happiness with Carolyne de Sayn-Wittgenstein in Altenburd of Weimar. Its first publication goes up with 1854. The famous pianist, type-setter and leader Hans von Bülow (1830-1894) publicly created work at the time of the baptism of a large grand piano Bechstein , the January 22nd 1857 with Berlin.

Style

With the Twelve Studies of transcendent execution and cycles it Années of pilgrimage, it belongs to the major pieces for piano alone of the type-setter and renewed the kind.

Contrary to more coloured and accessible works, such its Hungarian Rhapsodies or other small parts, such Dream of love , this imposing sonata - it lasts approximately half an hour - is at the same time dark and of a great difficulty of interpretation.

The number of the topics, even Leitmotive , from the sonata vary according to the analysts from three to six:

the topic H is the range gypsy and Phrygian downward (ground fa# semi re# C if la# ground) and haunts all the piece;
the topic has, full with force and of ardor, is the topic of Faust for the partisan of a faust-symphony (ground ground la# if D do# if semi sol#);
the topic B, or topic of Méphistophélès in the case of a Faust-Symphony, immediately answers this last in a sarcastic way (ground ground ground ground fa# semi C if);
the topic G of the Grandioso could be an alternative of the topic B or an original reason. Holding of a Faust-symphony would in any case see there the topic of the victory of the man on the malefic powers (it if);
the topic C, of the Cantando expressivo , is according to any probability a softened alternative of the topic B, turned into night (fa# fa# fa# fa# semi D ground fa# fa# if);
an topic of the Andante sostenuto is original and corresponds to the topic of Gretchen within the framework of a Faust-Symphony (C fa# D C if ground the ground fa# ground D C C).

Description

Work is of only one holding but can be subdivided in three principal parts of which the respective durations are of 12 min 43 S, 8 min 21 S and 11 min 18 S in interpretation that Arrau gave some:

Lento assai - Allegro energico - Grandioso

The sonata starts with the ground, deepest of the keyboard, from where the long stating of the topic H follows, initially in Phrygian mode, then as a gypsy mode. This Lento Assai of 12 measurements constitutes a kind of curtain raiser (Guy Sacre).

This opening (measurements 12 to 32) succeeds the exposure, simple, even austere, of the topics has and b: without accompaniment, nor ornaments, the left hand follows the line in the topic only has and states in the topic B. Thus are fixed the two principal elements, one, carried and abrupt, extending on four octaves, the other, “mephistophelic”, expressing the sarcastic remark via the repeated notes.

The end of the exposure sees to bring a fight to the death, which will last until the Grandioso between the two topics. Initially a rise haletante which bursts in a confused and tempestuous fray where those entrechoquent (has taking a hopelessly tragic tonality); then, after having reached its culminating point, the rise goes down again to form a kind of magma sound composed of fragments of has and of B. a new climbing follows towards the acute one which sees the victory of the topic has (measurement 82). This one stating themselves and modulating in a gun which is accelerating. Once reached its acme, the topic has crumbles in arpeggio and fall on repeated in eighth note in an insistent way, while one perceives at the bottom of the keyboard the echoes of the topic H. All this is only the prelude to the appearance on stage of a new topic, the grandioso (G), radiating majesty and of force, and whose short stating makes it possible to clarify an obscure atmosphere.

After a point of organ (measurement 119), a new development starts, in the style of night. The topic has goes then Dolce idiot grazia on languorous arpeggios. After a small moment of rebellion (measurement 153), B follows to form what of aucuns regard as a topic with share (C) and which goes gently on triplets frétillants.

This brief moment of calm precedes a new development that some hold for the beginning of the second part of the sonata. Primitive antagonism between the topics has and B is expressed with violence. In spite of a calmer episode, all in arpeggios and flights of has, the disorder persists and brings a new intervention of G, which must yield the step to the topic B, this last falling asleep gradually under the impulse of has, before reaching a point of organ PPP .

Andante sostenuto

The agitation of the preceding part leads to the intervention of the topic An (measurement 331), of which the atmosphere is connected with those of works like Bénédition of God in loneliness or Spozalosio . This topic is stated with a crystalline purity which points out Marguerite for holding of a Faust-Sonata. Its statement is rather short and occupies only the shutters external of the part: the topic C, dolcissimo idiot intimo sentimento (measurement 349) and the topic D, more powerful and tormented that never, fit between these two expressions. To note before the réexposition of this last, a range quasi “by your” who states himself with a extrème simplicity and pleasure. All this short episode concluded by threatening and repeated fa#, PPP .

Allegro energico

The third part starts with a “machiavelic” running away (measurement 460) which does not forecast anything good. It is based at the same time on has and B, even if it seems that B dominates. All the aggressiveness of this last is expressed through sarcastic chromatisms in the low register, sotto voce . The exposure to three votes accentuates the mockery of topic A. crescendo a is formed then which brings back to a réexposition.

The réexposition summarizes a little all the preceding way and takes again all the topics: With and B in their tempestuous fight of the beginning, H under repeated notes (measurement 555), has and B mixed again, G fuller and more imposing than ever (measurement 600) and C, the supposed alternative of B, in its night form (measurement 616). After a B in the form of Strette, one leads to a H fortissimo which is spread in octavée range, then with has player, not less extremely, and, to conclude, one G surpuissant.

Liszt hesitated much over the end to give to its piece. It had originally retained one of them on the model of Mazeppa (“It falls and is raised king”). However the serious one of a piece of the scale of the Sonate in if lent itself to it badly. Also Liszt it finally chose an end full with decency and meditation: réexposition of a An topic, up to that point under-utilized, then return of a B defused by in all quietude and conclusion on agreements seraphic and if located in the depths of the piano.

Interpretations

For the partisans of a pianistic Faust-Symphony , each of the three above-named parts would result respectively in Faust , Gretchen then Méphistophélès . Other analysts refer to the myth of the lost Paradise seeing in the place of Faust , Marguerite and Méphistophélès , Adam , Eve and the Serpent ; while the topic of the Grandioso would represent the Croix rédemptrice .

Criticisms

Clara Schumann, pianist and wife of the dedicatee, found it sinister and felt “completely unhappy” when she listened to it, played by Johannes Brahms. It foot-note in its diary: That of noise without reason. More no healthy thought, all is muddled; one does not manage even any more to find a harmonic sequence there clearly.

In a letter with the type-setter dated from the April 5th 1855, Wagner about it does not dry up praises: Very dear Franz! You were there now close to me - the sonata is indescriptiblement beautiful, large, pleasant, deep and noble - sublimates, like you. It touched me with deepest of myself and of only one blow, all the misery of London is forgotten. the objectivity of this comment is obviously prone to guarantee because of the deep friendship which linked the two type-setters.

Richard Strauss, being addressed to the large pianist Wilhelm Kempff in 1948, paid homage to him: If Liszt had written only this sonata in so minor, gigantic work resulting from only one cell, that would have is enough to show the force of its spirit.

Discography

Among great interpretations, let us quote inter alia those of Krystian Zimmermann (in 1990) and of Martha Argerich (in 1971) for Deutsche Grammophon . Work, one the most played of of the Hungarian type-setter, was recorded a multitude of time in studio and concert by artists as varied as Alfred Cortot (1929) Sviatoslav Richter, Emil Gilels or Vladimir Horowitz (1932 & 1976), Claudio Arrau (1970, 1971,1985), Alfred Brendel (1963, 1981,1991) or Maurizio Pollini (1989).

Bibliographical orientation

Claude Rostand, Liszt Editions of Threshold coll " Solfèges" , 1960
Alan Walker, Franz Liszt Editions Beech
Rémy Striker, Franz Liszt, darkness of glory . Editions Gallimard

Bonds

Discographie supplements

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