Liszt noted on the sonata's manuscript that it was completed on February 2, 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 (published 1839) to Liszt. A copy of the sonata arrived at Schumann's house in May 1854, after he had entered Endenich sanatorium. His wife Clara Schumann did not perform the sonata; according to scholar Alan Walker she found it "merely a blind noise".
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed...
published: 25 Dec 2013
Insane Piano Piece - Liszt Sonata in B minor
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
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published: 09 Jul 2020
Seong-jin Cho - Liszt : Piano Sonata in B Minor, S.178
Seong-jin Cho - Liszt : piano Sonata in B Minor (Finland Recital, 11.Oct.2019)
Musikhuset och Tempelplatsens kyrka.
published: 11 Oct 2019
Yuja Wang Liszt Sonata B minor
published: 29 Apr 2013
Martha Argerich plays Franz Liszt - The Piano Sonata in B-Minor S.178
Complete performance with gapless playback. Section markings are noted in annotations.
Sheet music: http://bit.ly/151ayA2
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
published: 29 Jul 2018
Liszt Sonata B Minor Valentina Lisitsa
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is prob...
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below).
Broadly speaking, 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 has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.
Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below).
Broadly speaking, 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 has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.
Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto...
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
Subscribe and follow on social media. I would love to meet you!!
🔔Click the bell icon, so you are notified of the next video🔔
🎧🎶 iTunes: https://apple.co/2HIGOX1
🎧🎶 Spotify: https://spoti.fi/2EaZQE4
I hope you all enjoy this channel! Please leave a comment if you have any pieces that you want to listen to.
Instagram https://www.instagram.com/traumpiano
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Thank you in advance for your generous contribution and I encourage you to participate in spreading happiness through beautiful classical music with Traum.
Donation
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Buy me a coffee https://www.buymeacoffee.com/Truam
Patreon https://www.patreon.com/traumpiano
#Insane #Piano_Piece #Liszt_Sonata_in_Bminor #Pianist #Traum #Music #Romantic #Difficult #Classical
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
Subscribe and follow on social media. I would love to meet you!!
🔔Click the bell icon, so you are notified of the next video🔔
🎧🎶 iTunes: https://apple.co/2HIGOX1
🎧🎶 Spotify: https://spoti.fi/2EaZQE4
I hope you all enjoy this channel! Please leave a comment if you have any pieces that you want to listen to.
Instagram https://www.instagram.com/traumpiano
Facebook https://www.facebook.com/traumpianist
Tiktok https://www.tiktok.com/@traumian
https://www.youtube.com/c/Traumian
Thank you in advance for your generous contribution and I encourage you to participate in spreading happiness through beautiful classical music with Traum.
Donation
Paypal https://www.paypal.com/paypalme/TraumPiano
Buy me a coffee https://www.buymeacoffee.com/Truam
Patreon https://www.patreon.com/traumpiano
#Insane #Piano_Piece #Liszt_Sonata_in_Bminor #Pianist #Traum #Music #Romantic #Difficult #Classical
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; ...
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below).
Broadly speaking, 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 has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.
Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
Subscribe and follow on social media. I would love to meet you!!
🔔Click the bell icon, so you are notified of the next video🔔
🎧🎶 iTunes: https://apple.co/2HIGOX1
🎧🎶 Spotify: https://spoti.fi/2EaZQE4
I hope you all enjoy this channel! Please leave a comment if you have any pieces that you want to listen to.
Instagram https://www.instagram.com/traumpiano
Facebook https://www.facebook.com/traumpianist
Tiktok https://www.tiktok.com/@traumian
https://www.youtube.com/c/Traumian
Thank you in advance for your generous contribution and I encourage you to participate in spreading happiness through beautiful classical music with Traum.
Donation
Paypal https://www.paypal.com/paypalme/TraumPiano
Buy me a coffee https://www.buymeacoffee.com/Truam
Patreon https://www.patreon.com/traumpiano
#Insane #Piano_Piece #Liszt_Sonata_in_Bminor #Pianist #Traum #Music #Romantic #Difficult #Classical
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
Liszt noted on the sonata's manuscript that it was completed on February 2, 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 (published 1839) to Liszt. A copy of the sonata arrived at Schumann's house in May 1854, after he had entered Endenich sanatorium. His wife Clara Schumann did not perform the sonata; according to scholar Alan Walker she found it "merely a blind noise".