Franz Liszt - 5 Piano Pieces S. 192 (audio + sheet music)
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- čas přidán 27. 10. 2015
- Between 1865 and 1879 Liszt wrote Fünf kleine Klavierstücke (S 192) for Baroness Meyendorff, although Leslie Howard indicated there is no evidence they were meant as a cycle. The first four pieces were published in 1928 and the last only in the 1960s.
In 1865 Liszt based the first of these five short piano pieces on an earlier song, Gestorben war ich, set to the text of Ludwig Uhland. Liszt had also arranged the song for piano and published as his first Liebestraum. In Klavierstück No. 1, Liszt adds a new introduction and a contrasting addition to the B section, but much of the melodic material remains the same and in the same key. The introduction is a series of broken diminished chords each followed by a fermata. The piece has a simple, song-like melody restated in octaves. The B section moves the melodic line to the bass, providing a crescendo to the climactic five-note descending phrase that Liszt repeats three more times. The opening theme returns to round out the charming piece in a clear ABA form.
The second piece in A-flat major (1865) has a song-like melody accompanied by syncopated chords. As in the preceding piece, Liszt restates the melodic line in octaves and intensifies the accompaniment. The contrasting section un poco animato with the melodic pattern alternating in the bass and treble is a thematic transformation of the opening ideas. The music builds to a surprising fff climax for such a short piece and ends with another variation of the first theme.
The third and fourth piano pieces are only twenty-five and twenty-one measures respectively and both in F-sharp major. They are so short that they seem to be fragments rather than worked-out compositions. The third Sehr langsam (1873) repeats a four-measure descending phase six times in various guises, all pianissimo and dolcissimo. The fourth Andantino (1876) is another gentle and quiet song based upon a brief two-measure theme. Although it has more contrast beginning in m. 8 with a faster and louder section, it quickly returns to a simple re-harmonization of the opening theme to close on an F-sharp major arpeggiated chord.
Dating from 1879 Sospiri! (Sighs), the last piece of the cycle, is monothematic in its approach. The introduction forecasts the main melody presented at m. 11 dolce amoroso, and Liszt subtlety and imaginatively transforms the temperate theme until the surprising arrival of the sf half-diminished chord in m. 80. The piece ends jarringly with this half-diminished-seventh chord moving directly in pianissimo fully diminished-seventh chord. Sospiri is the highlight of the set.
(The Liszt Companion)
Please take note that the audio AND sheet music ARE NOT mine. Change the quality to 480p if the video is blurry.
Original audio: • Liszt 5 Klavierstücke,...
Original sheet music: imslp.org - Hudba
Franz Liszt - Fünf Kleine Klavierstücke, S.192
1. - 0:00
2. - 3:27
3. - 5:57
4. - 7:47
5: - 8:52
This is the fisrt time I hear number 3 played as Liszt indicated in the score. Thanks. I am learning the piece and it will help me to play it as it should, even if I have several limitations.
What a noble Franciscan simplicity in these 5 Album Blätter. All of them follow sort of dreaming vague journey with sort of undetermined rhythm, rich of syncopations and fine combination of secondary and tertiary accents that mix with the principal ones like R.E.M. waves of a pleasant dream recalled in tranquilliity and soul's peace. If I have to name a dance that characterizes most moments of those pieces, it would be a Loure. Greatness of geniuses can be identified even in their minor compositions, often associated with their real soul, beyond the official production aimed to impress the vaster public.
6/8 tempo isent :)
@Cringey Libtard That's a nice subjective opinion you've got there. Funny how you assume everyone would agree.
@bill Bloggs Well, I don't. Be as ignorant as you want.
@Sparticus Booker What a useless, ignorant opinion. Judging by this, you must either be a clueless fool, or someone completely oblivious to the work of Liszt.
What happened here in this part of the section
Measure 9 of the fourth piece is (enharmonically) identical to the harmony in measure 27 of the second piece. That, plus the associations between A-flat major and E major (so often used by Liszt) suggest to me that these pieces are, in fact, cyclical -despite what Mr. Howard has stated. Liszt seldom repeats himself; never by accident.
Am i wrong or the first piece is a sort of first version of the second liebestreume?
I am actually thinking the same way, too. XD
thenameisgsarci XD
Well, it is take a look of this article by Nicholas Cook. You can just read it online for free in Jstor. Very good read. www.jstor.org/stable/746739?seq=1#page_scan_tab_contents
First version of this material was composed in 1845, found in a sketchbook.
It’s just a simplified version! I’m learning the proper one, but this is still beautiful
3:28 is the only liszt piece i can play
Hmm is it just me or do I hear eroica etude starting at 10:00
3:28
Quelle questa de giorno del affordidi de la montezza alla fortuna!!
I really Love those pieces, but i Wonder why the 5th is Sometimes not mentioned? Because i know this Set under "4 little Piano pieces" and not 5. I Wonder why the 5th isn't Always in it.
i also wonder. it must be because the fifth piece is a very late addition to the set and liszt never got to edit the title. XD
Isn’t the first piece liebestraum No. 2??
A much simpler variation, perhaps
Bruh this is fucking awesome you inspired my last composition
must hear them!!!!!!!
I believe it should be S.192 instead of S.193. Otherwise very good interpretations. I wonder about the inconsistencies in nr 2: bar 31 is different, and the left hand motif in bars 37-38 / 39-40 represents a totally different idea. Any ideas, anyone?
1) Whoops. Took us more than half a year to find that out. Thank you very much, I'll edit it now...
2) Dunno about bar 31, but I might convince myself that mm. 37-38 is a printer error.
There, nailed it. So stupid of me. XD
+thenameisgsarci I actually found a version with those inconsistencies printed, so there seem to be two versions of this piece (No 2) around.
There is nothing wrong with bar #31. What makes you think he plays something different compared the score? It's the exact same thing.
As for those bars #37 and #39, it's just the upper note of the left hand chords that simply follows the right hand melody. It actually makes a lot of sense musically, since it reduces the ambiguity of the harmony in #37 & #39 and therefore connects those bars much better to the next ones, which enhances the climactic effect and improves the dramatic expression of the bars nrs. 37-40.
This is just my personal opinion, but I wouldn't be surprised if this interpretation does more justice to the original manuscript and to the intentions of the composer than the printed score.
Ist goot.
Hate this guys rubato lol
nezkeys79 so inconsistent
Schwer Dunkel randomized musical expression does not equal an objectively good performance - everything has to have a reason behind it.
Schwer Dunkel yes, there is.
Schwer Dunkel good point
I must stand down, as you clearly know what you’re talking about here
@@jonathanDstrand I actually like the rubato and the way it's played here.
Actually liebestraume no 2 or Sehr langsam is very difficult and I believe that was a variation in video:3