Stephen Watson (poet)

Sonata in B minor, S. 178 - Franz Liszt / Stephen Watson, piano

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• published: 05 Nov 2014
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Sonata in B minor, S. 178 - Franz Liszt Stephen Watson, piano About the work: Liszt completed his sonata in B minor in 1853. Four years later, it was premiered by Liszt’s famous pupil, Hans von Bulow. It was published a year later, and was dedicated to Schumann, who had earlier dedicated his C major Fantasie to Liszt. This sonata is a titanic structure and demonstrates the culmination of Liszt’s attempts to abandon the Classical model of sonata form. Like Schubert’s epic Wanderer Fantasy and Liszt’s own earlier attempts (such as his Second Piano Concerto), he writes a sonata consisting of a single, extended movement. Through his ingenious use of motivic development and thematic connections, Liszt still manages to create a unified whole. The initial reception of this sonata was rocky at best. The immensely powerful Viennese critic Eduard Hanslick described it memorably as “painful and irritating to the nerves”, saying that “anyone who has heard it and finds it beautiful is beyond help”, and Brahms reputedly fell asleep while listening to composer playing it. Others – such as Wagner – were enthusiastic, although a German newspaper called it “an invitation to hissing and stomping”. Nevertheless, this work quickly became appreciated, and now stands as one of towering pinnacles of piano literature – and has enjoyed much popularity with performers ever since. Many musicians feel that Liszt is likely to have relied on some kind of a programme or story when creating this monumental work – as many of Liszt’s works do. Some have suggested Faust, Mephistopheles, Milton’s Paradise Lost, the Creation, or the Passion of Christ as potential inspirations for Liszt. But if there is “hidden” story behind, it will remain unknown, leaving musicians to continue to speculate. But all the suggestions have this in common: a titanic struggle between light and darkness; good and evil. From the tritone-littered opening (“the devil in music”) to the all-encompassing sunlit grandeur and nobility of the chorale, the battling forces are evident. The sonata opens with an ominous theme in the low register. Several other themes – all of which have their distinct characters – are presented in quick succession. From the five or so motives that open, Liszt creates an architectural form of tremendous depth and intelligence. Throughout the piece these themes are recycled and transformed in a variety of stunning ways. The depth of feeling contained is extraordinary: from exquisite lyrical passages to the dark opening motif, or the glorious triple fortissimo Grandioso chorale to the brilliant prestissimo octave passage, Liszt creates a fascinating world full of colour, verve, and nervous excitement. Liszt originally composed a powerful ending for this work, but changed it later to the pianississimo ending played today. This quiet ending is a masterstroke; the otherworldly, slow-burning harmonies that conclude radiate an angelic light. Recorded live at the University of Canterbury, New Zealand