What poems, stories do you associate with pieces?

[xvimbi]

The performance of many pieces requires and benefits from a clear picture of an underlying story. I am interested to hear what pictures/stories you have in mind when you study and perform certain pieces.

For those pieces that are in fact set to stories or poems (e.g. Liszt's Liebesträume No. 3), or describe certain life events of the composer, do you go through the "trouble" or "pleasure" (depending on your dedication) to search out the background information? If so, do you then adhere to the story, or do you come up with your own story (the above example has a pretty bleak poem as its background, so it would be understandable if one choses a different story)?

[donjuan]

Well, many works are written surrounded by an initial story. For example, Berlioz's Symphony Fantastique follows a story of the composer and his love for Harriet.  Have a listen, it is about as haunting as music gets.

Every Opera has a story to follow, as well.
I love going to find the written passages music is associated with.  I buy many Dover editions of Liszt, which include the poems and stories associated with the music.  For example, the 2 legendes include 2 pages of bible passages to explain Liszt's intentions.
donjuan
 

[xvimbi]

Well, many works are written surrounded by an initial story. For example, Berlioz's Symphony Fantastique follows a story of the composer and his love for Harriet.  Have a listen, it is about as haunting as music gets.

Every Opera has a story to follow, as well.
I love going to find the written passages music is associated with.  I buy many Dover editions of Liszt, which include the poems and stories associated with the music.  For example, the 2 legendes include 2 pages of bible passages to explain Liszt's intentions.
donjuan
 

Yes, of course operas have stories attached. I wasn't referring to operas and symphonies, but to solo-piano pieces, such as Chopin nocturnes, Schumann Impromptus or, to cite a specific example, Liszt's Un sospiro. I am interested what you think of when you prepare, interpret and perform solo-piano pieces, particularly what stories you design when you tackle pieces that do not have a story attached to them.

[donjuan]

Well, a good performer is a sincere performer.  Or at least someone who can fake sincerity (which really isnt all that sincere ).  The music will be much more passionate if you tell a story to the audience in a language everyone can understand- music.  i didnt know Un Sospiro had a story behind it.  can you explain?  When I performed Sonetto 104 del Petrarca, i most certainly had in mind the sonnet.  My teacher translated the sonnet for me, actually writing down the words, so I know what the music should communicate to an audience.  As to your query about sticking to a story, I think that is absolutely neccesary.  Liszt would turn over in his grave if he heard me turn his Sonetto into a showoff virtuoso piece.  we must honour the composers, and how clear the story is to an audience will be a clear indication of how great a performer really is.
donjuan

[xvimbi]

Well, a good performer is a sincere performer.  Or at least someone who can fake sincerity (which really isnt all that sincere ).  i didnt know Un Sospiro had a story behind it.  can you explain?

That's the point! As far as I know, Un sospiro does not have a story behind it, but it is fun to make one up. As you say, it will sound much more passionate, so I am interested what stories, if any, people create when they prepare pieces that do not have a specific story associated with them, so that it does sound more passionate.

 As to your query about sticking to a story, I think that is absolutely neccesary.  Liszt would turn over in his grave if he heard me turn his Sonetto into a showoff virtuoso piece.  we must honour the composers, and how clear the story is to an audience will be a clear indication of how great a performer really is.

I couldn't agree more. However, I doubt many people play Liszt's Liebesträume No. 3 in the way it is intended to. Everybody has played it, but how many know the underlying poem and stick to it?

[Tash]

my artworks at school last year were actually based on this sort of thing, and i got about 16 people to listen to me play and tell me what story or image they imagined when hearing each piece. this had quite a big effect on my playing afterwards, as i thought of these images- it made my Chopin Waltz in F minor much more emotional, except i only really realised this near the end of the year when i forgot about the story i had for it and couldn't understand why i couldn't play it as well as i used to.

also an interesting story that went with khachaturian's sonatine 3rd movement was (and about 6 people all individually thought of this) seeing a movie from the 1920's with just the music, no talking, and two guys bashing each other up in some comical way. so afterwards i just thought of that and laughed at it and it was my best piece! so i agree that stories definately help playing pieces, especially if it already has one the composer was trying to convey as it (obviously) makes it more meaningful. so yeah i go try to find out what the composer was thinking about when composing a piece, makes it more interesting too.