Liszt - Au bord d'une Source

[nicko124]

I am probably going to start learning this soon, can anyone provide advice for learning this piece?
Other than it's obvious technical difficulties what pitfalls do I need to watch out for?

Is peddaling an issue in this piece?

[nicko124]

anyone learnt this?

[g_s_223]

I sort-of looked at it. Lots of crushed-note dissonances which need to be integrated in. Needs a very delicate and careful touch I think, definitely no thumping. A good grand piano with a light action is desirable. I didn't think pedalling was a particularly big issue as most of the music uses the upper register. I found it pretty hard though, or let's say it needs proper study, not just a run-through.

A lovely piece, a good choice, do let us know how you get on.

 

[nicko124]

I sort-of looked at it. Lots of crushed-note dissonances which need to be integrated in. Needs a very delicate and careful touch I think, definitely no thumping. A good grand piano with a light action is desirable. I didn't think pedalling was a particularly big issue as most of the music uses the upper register. I found it pretty hard though, or let's say it needs proper study, not just a run-through.

A lovely piece, a good choice, do let us know how you get on.

 

I started it today (I've spent about an hour on it) and i've gotten off to an ok start on it. The key thing (about the first page at least) is to keep both hands on a calm equal parting with each other. However the left hand crossovers need to stick out as indicated in the score.

The right hand obviously has a lot of work to do with the constant semi-quaver arpeggios, i haven't encountered any difficulty with reaching them though: they seem to fall under the hands well.

g_s_223: Are you planning to take up this piece again anytime soon?

[g_s_223]

Hi, sadly no, I have a whole lot of other things going on at present.

Again, regarding the dissonances, part of the art is to weight each of the notes correctly, voicing the upper and lower notes differently maybe. I also have a sneaking suspicion that some pianists do a minute and subtle spread of those chords, so they are arpeggiated - this reduces the perceived dissonance.

P.S. This work sets you up for a whole load of other "water pieces" too, surely. My favourite of these is Liszt's Jeux d'Eau a la Villa d'Este from the Troisième Année de Pelerinage.

[nicko124]

Hi, sadly no, I have a whole lot of other things going on at present.

Again, regarding the dissonances, part of the art is to weight each of the notes correctly, voicing the upper and lower notes differently maybe. I also have a sneaking suspicion that some pianists do a minute and subtle spread of those chords, so they are arpeggiated - this reduces the perceived dissonance.

With the dissonances chords are you reffering to the the two note chords that start each semi-quaver arpeggio? (First Page)

I haven't yet discovered enough time to arpeggiate them but rather hold the top note while playing the other notes.

[g_s_223]

Yes, I was writing from memory, not having access to the score at present. I've found a rather inelegantly formatted version of it for those interested: https://www.mindspring.com/~lesextra/ST/Au%20bord%20d'une%20source.pdf .

This delightfully delicate piece is just the sort of thing of aspiring Liszt pianists should be studying, not just trying to massacre Mazappa and the Hungarian Rhapsodies!

[nicko124]

Yes, I was writing from memory, not having access to the score at present. I've found a rather inelegantly formatted version of it for those interested: https://www.mindspring.com/~lesextra/ST/Au%20bord%20d'une%20source.pdf .

This delightfully delicate piece is just the sort of thing of aspiring Liszt pianists should be studying, not just trying to massacre Mazappa and the Hungarian Rhapsodies!

Sorry but I really don't get the link you are reffering to. That isn't the same as my copy of the piece.

See link: https://www.everynote.com/piano.show/1302.note

If you have a look at the notes in the left hand of the 1st page, they are not even the same. They stay in the bass clef without the need to cross-over and they are also different notes altogether.

For the first half of my version see this link: - https://www.gamingforce.com/forums/attachment.php?attachmentid=7919

It is a great piece to study, i'm enjoying it.

[g_s_223]

Ah yes, I appear to have posted a link to a paraphrase or suchlike of the original: my mistake.

Glad to hear you are making progress! I look forward to hearing it in the Audition Room

[nicko124]

Ah yes, I appear to have posted a link to a paraphrase or suchlike of the original: my mistake.

Glad to hear you are making progress! I look forward to hearing it in the Audition Room

Thanks. I suppose i'm making ok progress but not great, I can just about play half of the first page hands together. The delicate touch factor isn't as difficult as i thought it would be because it feels quite natural with the left hand.
The right hand arpeggios are more difficult to play loud than soft with the position your hands are under.

There are a lot of notes to play/learn but mixing the left hand crossovers with the arpeggios isn't too bad: the clashes are distinct and easy to read.