Liszt: Piano Sonata in B minor, S.178 [Zimerman]
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- เผยแพร่เมื่อ 25 ก.ค. 2023
- All audio rights belong to Krystian Zimerman and UMG.
The Piano Sonata in B minor, S.178, is a piano sonata by Franz Liszt. It was completed in 1853 and published in 1854 with a dedication to Robert Schumann.
Liszt noted on the sonata's manuscript that it was completed on 2 February 1853, but he had composed an earlier version by 1849. At this point in his life, Liszt's career as a traveling virtuoso had almost entirely subsided, as he had been influenced towards leading the life of a composer rather than a performer by Carolyne zu Sayn-Wittgenstein almost five years earlier. Liszt's life was established in Weimar and he was living a comfortable lifestyle, composing, and occasionally performing, entirely by choice rather than necessity.
The Sonata was dedicated to Robert Schumann, in return for Schumann's dedication of his Fantasie in C major, Op. 17 to Liszt. A copy of the work arrived at Schumann's house in May 1854, after he had entered Endenich sanatorium. Pianist and composer Clara Schumann did not perform the Sonata despite her marriage to Robert Schumann; according to scholar Alan Walker she found it "merely a blind noise".
The Sonata was published by Breitkopf & Härtel in 1854 and first performed on 27 January 1857 in Berlin by Hans von Bülow. It was attacked by Eduard Hanslick who said "anyone who has heard it and finds it beautiful is beyond help". Johannes Brahms reputedly fell asleep when Liszt performed the work in 1853, and it was also criticized by the pianist and composer Anton Rubinstein. However, the Sonata drew enthusiasm from Richard Wagner following a private performance of the piece by Karl Klindworth on April 5, 1855. Otto Gumprecht of the German newspaper Nationalzeitung referred to it as "an invitation to hissing and stomping". It took a long time for the Sonata to become commonplace in concert repertoire, because of its technical difficulty and negative initial reception due to its status as "new" music. However by the early stages of the twentieth century, the piece had become established as a pinnacle of Liszt's repertoire and has been a popularly performed and extensively analyzed piece ever since.
The Sonata unfolds in approximately 30 minutes of unbroken music. While its distinct movements are rolled into one, the entire work is encompassed within an overarching sonata form - exposition, development, and recapitulation. Liszt effectively composed a sonata within a sonata, which is part of the work's uniqueness, and he was economical with his thematic material. The first page contains three motive ideas that provide the basis for nearly all that follows, with the ideas being transformed throughout.
Some analyses suggest that the Sonata has four movements although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections have long been a topic of debate. Others claim a three-movement form, a one-movement structure, and a rotational three-movement work with a double exposition and recapitulation.
The first theme is a descending scale marked sotto voce; full of ominous undertow. It reappears at crucial points in the work's structure. This leads immediately to a jagged, forceful motif in octaves. This is quickly followed by a hammering marcato motif in the left hand. A dialogue ensues, with mounting energy, until reaching the noble Grandioso material in D major. Liszt transforms the "marcato" motif into a lyrical melody later. The slow movement, an Andante sostenuto, is the centerpiece of the Sonata. This fully-fledged movement, in compound ternary form, features, in quick succession, a number of themes heard earlier in the Sonata in a tour de force of thematic economy. The final recapitulatory section is launched by a driving fugato of contrapuntal skill which leads to the compressed return of the opening material. Calling upon every intellectual resource and fully exploiting the pianist's technical arsenal, it is at this point where a performer's concentration might wane. Each of the sections are examples of Classical forms, which means that this piece is one of the first instances of Double-function form, a musical piece which has two classical forms happening at the same time; one containing others. Already in 1851 Liszt experimented with a non-programmatic "four-movements-in-one" form in an extended work for piano solo called Grosses Concert-Solo. This piece, which in 1865 was published as a two-piano version under the title Concerto pathétique, shows a thematic relationship to both the Sonata and the later Faust Symphony.
Source: wikipedia.org
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Brahms falling asleep when Liszt himself was playing it for him it’s still one of the funniest moments in the “lore” of classical music ever
Brahms still learnt the piece later on anyways.
Liszt did the same thing with Debussy, he fell asleep during Debussy's performance
When brahms missed the Pianissimo part😂
there was actually this famous story where Zimmerman, the performer, took around *76 HOURS* to record this, as he was hugely not satisfied with his previous recordings. Eventually he managed to settle on this, which yeah, is a gem.
@@huailiulin76 takes, not hours.
For me, this piece is the definition of Liszt. Everything about it is exactly how I see his music
6:34 the voicing is crazy
W recording W piece
This piece is the realization of the supreme pianist. After compose this you are not a pianist, you are THE PIANIST. Liszt the assolute genius of all time!!🤯
There's literally too much to say about this sonata and the recording. It's a single movement sonata which can be seen as a 4 movement sonata of which the first movement is itself in sonata form. The thematic transformation here intensifies what Beethoven did for his sonatas, and from such a few themes or better to say, simply motifs, Liszt writes a work that could easily stand with the last four of B. and it's a milestone in all western music.
Zimerman is known for the quality of his recordings as he takes them more seriously than any other musician I know. just the fact that he made 76 takes to produce a recording he was satisfied with says a lot about him. It's one of the best recordings of the late 20th century I guess and I can see why many people reckon it as a reference recording.
Let's say that this video has the best effects so far, just the details and even how the final bars have the same colors of the beginning, closing the circle of the piece. Great achievement, even if many have synced this recording, it actually never gets old!
Recording is just legendary, listened a lot of recordings. One of those that have been rightly appreciated! Thank you for comment!
@@BeMusical. Thank you for your hard work!
WOAH!!! the absolute effort given for this video is absolutelly antonishing, I can say that this would probably be the best sync-midi video on the most important work from Liszt himself, these effects and color changes are sooooo well-fitting there!
just soooo absolutelly epic af that I am totally speechless lol
Wow, thanks!
23:05 it starts to sound like an entire orchestra, I feel like I can hear strings for a few seconds.
19:37
Lmao you’re everywhere
@@Dylonely42Yes, I remember you.
fugato: 19:37
Probably my favorite liszt piece as of right now. I love this so much
underrated video
8:35 ❤️
thank you for the hard work, effort and quality. It's really hard to understand how hard making midis are unless you try for yourself 0_0
見ていてすごい楽しいです
ありがとうございます
This is monumental
I was also expecting Scriabin but after seeing this, no offense but scriabin can wait a little bit longer. Thanks for your time and effort. Also changing colors according to moods is something. Really loved it. Keep up the good work.
Thank you! In future videos will use more colors according on moods
@@BeMusical.Probably you are busy with all other stuff but If you allow me, I'd like to request a piece. What do you think about Grieg Piano Sonata. It's a fine and overshadowed piece.
It's not a long piece and it's notations probably easier than the other big sonatas syncing should be a lot easier but it's your decision to make.
And apart from topic the topic I got another question (I know I talked to much). Have you considered doing orchestral pieces?
This play sounds like Zimerman's. The quality of video's piano playing is awesome.👍
It's literally Zimerman's audio, with synced midi
@@BeMusical.😂
3:41
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26:22
Seeing all these comments not appreciate your hard work on this masterpiece brings a tear to my eye. You know what would also bring a tear to my eye? Rachmaninoff Piano concerto 2(Zimerman) or Beethoveen Piano Concerto 5(also zimerman).
25:13
fugato 19:37
Hey @BeMusicalPiano, Thanks for publish it. I love this performance. Can you create a video about Chopin's Piano concerto no2? Please
I would love too! There's so few Synthesia recordings of this concert
Beatiful piece and performance!
Thabk you for doing this! 🎉
Good job on this, i really love the background(i always do in every vid of yours)
5:43
Good job mate on doing this bloody colossal sonata by Liszt but if it doesn't bother you could you do ashkenazy's scriabin sonata n8?
Yes, I'm halfway there. Next video should be Scriabin 8!
Excellent job, i also recommend Yundi's interpretation of this insane sonata.
Please do Glazunov's nocturne! Thank you
HOLY SHIT BANGER NICE WORK
EPIC one of the best interp of his career of one of the most important piano sonatas ever
Based!!!!!
liszt inspires me to read Goethe
same, also Divine Comedy
so many diff channels posted the same interp now
yeah, that's why I left the project for months
Yes, that's a pity because there are so many great recordings to choose from. Zimerman is just one of them.
Indeed
@@BeMusical.Your the best synthesia channel by far
26:02
Could you please do rachmaninoff etude d major op39 no9 lugansky
would Liszt’s First piano concerto be possible, also by zimerman
Como hacen eso?
Nice vid! Please do Master of puppets next! (Scott d Davis)
im confused right now haha, a lot of the covers and things i see of this song they start on a g but on a lot of sheets it starts on an E, can someone explain this because i wanna learn the song but im confused which is correct
edit WAIT NVM! i didnt see there was a bass cleff right after the treble lol that fixes my confusion haha