I have become captivated by this amazing work - to listen to, as yet not to play! So far my favourite recording is Bernard d'ascoli, even above Pollini, John Ogden and Alfred Brendel whose i have heard. His (d'ascoli) rich tone, rythmnic placement, gradation, grasp of structure and dramatic power seem sublime to me Any comments at all from performers/listeners are welcome thx
IT IS SOMETHING I HAD NO ANSWER TO UNTILL RECENTY BUT WHICH IS THE GREATER WORK IN YOUR EYES - LIZST SONATA IN B MINOR OR CHOPINS SONATA IN BMINOR OP58
i BELEIVE CHOPINS SLIGHTLY EDGES IT, BOTH MIGHT NOT BE WRITTEN IN TYPICAL SONATA FORM BUT THEY ARE MASTER PEICES, THE ALLEGRO MAESTRO OF THE 1ST MOVEMENT IS RICH AND POWERFUL AND ALSO CAPTURES A NOCTURE WITHIN THE MOVEMENT,A CRACKING SHERZO.A LONG BUT BEAUTIFUL LARGO AND THE FINALE - ONE OF THE GREATEST MOVEMENT IN ANY SONATA PRESTO MA NON TANTO THE HEAVY RUSH OF THEM F SHARP CHORDS GIVE A TASTE OF WHATS TO COME WHAT AN INCREDABILE MOVEMENT - THE INTERPRETATION OF EVKENY KISSIN IS FANTASTIC.
I COULD DISECT THE LIZST SONATA BUT IM SURE U ALL HAVE YOUR OWN FEWS.
I BELEIVE THAT CHIOPINS 3RD SONATA IN BMINOR OP58 PERHAPS STAKED A CLAIM TO A BEETHOVENIAN MANTLE THAT EVEN HIS MOST DISTINGUISHED SALON PIECES HAD BBEN POWERLESS TO EARN HIM. WHAT AN INCREDABILE COMPOSER!!
DO YOU AGREE ?
THANKS ALL Matt ( from manchester england- im newish to the forum )
This poll is really pretty childish overall and has no factual answer, but a few people have been arguing about this recently (myself included) and I was curious what the majority thought. Initially, I was going to do "which is the best piece", but that is even more subjective (if that's possible). Which world would be more unimaginable... a world without Beethoven's 111 or a world without the liszt sonata?
Iwas just wandering what is your opinion regarding the endless speculations about an extramusical content in the Liszt's B Minor Sonata. I have the feeling that in most of Europe the idea of Goete's Faust is still dominating. I have also read several other theories about parallels with the Bible, Milton's "Paradise Lost" and what not. Some also view it as Liszt's self-portrait. Do you believe in any of those theries or you view the sonata as purely abstract piece of music?
I read here: http://en.wikipedia.org/wiki/Piano_Sonata_(Liszt) that the liszt sonata had an alternate ending, although written, never really acknowledged or played - is there a recording with this ending? Does anyone else know of teh ending? Perhaps sheet music? THanks, Tom
Hello people. Reading a bit about the Liszt Sonata, of course you find that almost everyone puts it in the framework of Faust-Gretchen-Mephistopheles. Arrau said, "That was taken for granted amongst Liszt's pupils." But you can still find varying interpretations of how those characters come alive in the music. For instance Arrau said the first allegro energico on the first page, is "definitely" Mephistopheles, while for Brendel that was the expression of Faust, clever, questioning, aggresive, always seeking new experiences and the "key" to life. What do you think? How do these characters play into the sonata for you, or, do you imagine a totally different story line to the piece? I am curious to hear everything!
Well just had the real pleasure of sight reading through this sonata,and it seems fairly pozzible apart from a few bits. If you have any first hand knowledge please do step forward and make yourself be known to the rest of uz.
Just heard this, and it's completely floored me and risen straight to the top of my list of best performances. The power, passion and subtlety of this interpretation are stunning, I don't know if it's just me, but after listening to this, it's like listening to the piece for the first time again. It's made me totally re-evaluate how I'll approach the piece. Just had to say something, sorry if it's a bit inane.
How difficult, technically, is the sonata? According to the amateur Van Cliburn blog, two of these were played in the same day on the finals (45 minute programs).
When I watched it, they seemed very showy and rather difficult, not to mention my opinion on its musical value. Where do the difficulties arrive? Are they technical, or, as Duchable feels (http://youtube.com/watch?v=NhrlOyFhrOA) are they easily handled after developing one's "technique base." Then, it would be musically extremely difficult.
Well, I am not requesting it, as it is in the gold member's section: but let's discuss it!
I have been told that he changed the kind of paper he wrote upon as time went on. Also, I am aware of the grandiose ending he chose, and near the end of the piece where another motive could have very easily been kept, but was taken out. K. B. Hamilton said he was tempted to add it back in himself...
Thanks for the edit, admins, and for the link to the sonata.
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