Sonata in b minor

            It undoubtedly represents the most accomplished work of the pianistic production of Liszt. 

The sonata in b minor is in the line of the Symphonic poems. It of with the width and the orchestral size, as well as a great freedom of form to tally to the maximum with the musical thought of the author. With this work, Liszt reaches the dramatic top of its work for piano.

        The sonata in b minor is appeared as only one and gigantic approximately 30 minutes movement, according to the interpreter.
        However it does not break completely with the past. Beethoven, indeed, had used the principle bi-set of themes of the traditional sonata in the spirit of a dialogue or a dramatic fight. It is this same spirit that will devote Liszt by exploiting it with a total freedom.

        The sonata starts with Lento of seven measurements, very serious, “sotto voce” which immediately plunges us in the mysterious and méditatif climate of work.

Introduction Lento ( hungarian range)

        Without transition, an Allegro energico where the two main themes are immediately and successively exposed. The first, violent, voluntary, revolted, tinted contempt, the topic of Faust ?

        then the second presents himself without transition; he is abrupt, sarcastic, scoffer, mephistophelic? (Alfred Brendel):

        A silence ....... then a thankless struggle begins at once between these two topics. The effect is seizing, and contrasts with the way in which they were presented. During the development the two topics clash without none taking the top on the other.

        However, the topic of Faust is essential little by little and triumphs in one fulgurating passage over octaves staccato passage. Then a kind of coded impressive and dark this beginning finishes while making return the initial reason for the downward Hungarian range, but harmonized here.

        This rather long preamble is followed of an episode “Grandioso”, slow, full, deep and very solemn, built on a new lyric topic, very cordial, and whose harmony is very rich.

Thème 4  "grandioso" mesures 105

        Then topic 1, (Faustien), remade its appearance, melody treaty in way, “dolce idiot grazia”, decorated arpeggios. He is held thus, with much grace, until the return of the second topic, always satanic comes to stop it abruptly. 

        This same sarcastic topic him even will be transformed into a kind of night which accompany by the arpeggios in triplets. It develops rather lengthily until a rate piano where fuse of the trilles.

        Then the combat of the first two topics begins again with strength, Liszt showing all its genius and its major knowledge of the counterpoint. (increases, reductions, inversion, contrary movements etc). 

New passage of high virtuosity, violent one and bright, whom sometimes the falling scale of the beginning crosses. After a new episode of octaves resulting from the first topic, burst with power, in great agreements, the reason for Grandioso, follow-up of a récitatif court resulting from the first topic, again the agreements of Grandioso, new récitatif and to finish the episode, a conclusion built on the sarcastic topic which is essential, incisive, while it is largely flown over by the first topic in agreements. 

        A short melody “Andante sostenuto”, very collected and tenderized is used as introduction to a “Quasi adagio” which sings “dolcissimo idiot intimo sentimento” on a reason resulting from the second topic. 

        After a short rate, the topic “Grandioso” reappears pathetic, followed by a new development, which ends gloomily in the return of the initial falling scale which will die mysteriously on two serious F struck as by a drinking cup.
        Without transition, it is a “Allegro energico” running away on the two main themes, and which, following one another as of the abrupt exposure, sound like an exchange of violent counterparts, aggressive, ironic. 
After a short passage, the first two topics running up with force, clashing, the first in a passage of octaves precipitato, the second in a pressing unison fortissimo. 

        The Grandioso topic returns, more “hymnic” that never. It is again the passage of night with alternatives, which becomes animated little by little until energetic Stretta quasi presto, idiot strepito, built on the second topic.

        The falling scale of the beginning passes in a fulgurating way then crépite a drawing resulting from the first topic which brings back once again the reason for Grandioso. 
A great constant rise of a powerful tremor of the right hand, silence undergoes…

        A short episode “Andante sostenuto” very tenderized followed by a “Allegro moderato” of some measurements makes return the sarcastic topic (Méphisto), “sotto voce”, which seems to come from in addition to tomb and to resound in the distance, flown over once again by the first topic (Faustien) become serene or resigned.

        Work concludes Lento assai on the dark descent from the Hungarian range from the beginning which come to crown of the agreements seraphic in the acute one, while so serious, like a blow of drinking cup deafened, comes to put the final point at this extraordinary really single pianistic epopee in the history of the sounds.

Claude Rostand, Liszt, Ed. du Seuil, 1960