Monday, April 3, 2017

Liszt Sonata - analysis

1 x, g minor (Phrygian)
5 x, g harmonic minor (raised 4th)
8 x', motive a - B minor, vii°
14 motive b
18 sequential, cresc. (3x, extension on the 3rd x)
25 motive a, ff
30 motive b, cadential 6/4
32 motive a (RH), motive b (LH)
36 (repeat on iv)
40 ctd7 on e, then ctd7 on b
45 sequence, rising (sim. to 18)
55 motive a, Bb major, in canon
61 '', g minor
67 ", Eb major
73, brilliant octave passage
81 x, V of D
105, Grandioso, motive C (chorale) D major
120 a (p), b minor (but it's going to modulate to....
125 F major, motive a, dolce con grazia (radical transformation of character)
141 motive b, key=?
153 motive b, D major (radical transformation of character) cantando express.
171 motive b reprise, D major
179 motive a, fragment (E min/Bb maj), sequence
191 motive b, fragment and sequence
197 motive a, cad. 6/4, F# major; repeats in Eb major (little cadenza)
205 motive a, C major, big arrival point, ff; repeat in B major
221 motive a in LH, fragmented; big sequence, evaporates into:
239 motive a, scherzando, D major; repeats 8vb
255 incalzando; motive b fragment (V of B minor; sequences)
277 motive x, g minor; scale motive; sequence
297 motive c, 3/2, C# minor
301 Recitativo
302 motive c, F minor; another recitativo
SLOW MOVEMENT - development????
334 motive d, F# major


  1. This comment has been removed by the author.

  2. Liszt first named the sonata as Grande Sonata. Hence, I think in his mind he was aiming to compose a sonata that transcends any of the existing sonata. This can be seen on his completely unprecedented large sonata form across the sonata genre. Adding to that is the use of octatonic and modal scale as well as the extreme range of register. It is possible that Liszt is combining a hidden program to this sonata since himself is a very religious man and it is already not an unusual occasion for him to structure his piece with reference to religion matter.
    (somehow I can't comment on the supposed blog post, so I just comment below this post)


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