Deniz KIRAN

409151007

LIZST READING RESPONSE

Liszt’s sonata in B minor has been considered to be among the most important sonatas after the
Beethoven era. The piece is based on two main structural pillars one of which is thematic
transformation and the other is sonata form with modifications. The form has actually been subject
to discussion by different analysts, some say that it is a three movement piece and others claim that
it is a four movement one. In this paper I will try to sum three articles by Hamilton, Moortele and
Tanner.

In Hamilton reading, we observe a comparative perspective. Views of three writers, Newman,

Longyear and Winklhofer, are presented. Here we observe that Newman and Longyear maintain the
idea suggesting that the piece could be considered both as a single movement sonata form and multi
movement piece including fast and slow movements. Winklhofer on the other hand rejects the idea
of double function form and says that the piece is a single movement sonata form with thematic and
tonal subsections, accepting that it has a slow movement within the sonata form.

Actually what Winklhofer suggests is remarkable. The idea that there are both thematic and tonal
presentations is useful for explaining pieces that would otherwise be explained with double form
theory or such different approaches. Hamilton says that themes are connected with pivotal connection
between the last note of the previous theme and the first note of the next one. This is important for
connecting otherwise irrelevant themes with each other. Continuity of the piece is thus provided at
least at thematic level. Again themes are usually associated with characters like Mephistopheles and
Faust. Hamilton says that the introduction of themes is like words announcing the commencement of
a play. Therefore I believe Winklhofer’s thematic presentation is the best one that fits to this
explanation, as if the associated characters are themes and the context, the stage or this so called
theatre instance wholly refers to the tonal structure. However, it is also noted that tonal traits of the
piece is more difficult to trace. Maybe one remarkable point about the opening is the use of diminished
seventh chords. This creates a tonal ambiguity and restless quality of diminished seventh chords
demanding a resolution at the end of opening phrases sounds like introduction to the piece.

Such uses are obtrusive in measures 10, 11, 12 and 13. The dotted half note and triplet figure seems
to enunciate that ‘something is going to happen’ or ‘gather around’. We can obviously see that the
note ends dominant seventh chord triplet figure in measure 13 begins the devil laugh theme as a way
of thematic elision at surface level. What I can surely say that ‘lento assai’ serves as a slow
introduction, therefore I would rather not include it in thematic presentation part of the exposition as
Winklhofer does. However considering that the descending scales that I mark as slow introduction
are used later in the piece might confuse this view. Still it could be said that this piece makes use of
thematic transformation as its principal structural building block and slow introduction material could
also be used for reasons of economy and structural coherency. Thinking the scales and the second
theme orchestrated I rather hear something operatic and imagined sonic quality of the opening
reminds me of curtains being opened after a heavy moment finale of the previous scene.

Allegro energico in measure 8 is the beginning of the allegro material. What I believe is that here we
have a 24 (and a half taking the PAC in measure 32 into account) measure long sentential main theme
comprising theme 1 and theme 2 between the measures 8 and 17 until agitato section played

piano. Then we encounter fragmented units from measure 18 to 24. In measure 25 we find restatement
of theme 2 beginning in the upbeat of measure 24 with accelerated arpeggiations of diminished
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seventh figure, elided with theme 3 in measure 30 and then the first PAC in measure 32. Although
fast arpeggios follow the PAC in an elision fashion, cadence feeling is strengthened by abridged
theme 3. Also it is remarkable that the phrases consists of approximately 8 measures, In measure 32
transition begins and continues with fragmented units. In measure 55 we hear a statement of theme 2
which is abridged and then in measure 61 we hear it again which is replaced by staccato eight note
figure again. The same process develops in measure 67 and thus we arrive at the standing on the
dominant point in measure 81, which ends the transition.

Soon after we hear the mechanical and insisting As, something curious happens. Introductory material
from the beginning arrives and we hear descending scales again, played beneath the As. Such a
restatement of theme 1 might mean that subsections of the piece opens with this theme. In other words
theme 1 introduces us to beginnings of structural units. Therefore we have another point that would
provide us with the opportunity of standing up for the introductory character of theme 1. Reuse of the
introductory material comes with ‘by means of’ rather than ‘despite of’ in this context. Transition
ends in measure 104 which is followed by ‘Grandioso’ section.

Now we are in the subordinate theme area. What makes me think that is the key, which is the relative
major of the main tonic. D major follows transition ending with standing on the dominant. Another
contributing factor to my assumption in asserting that the Grandioso section is sub-theme area is that
the piece introduces another theme. This is curious because we do not see a new theme until this
point, not in the transition, not in the introductory parts but here. Therefore I come to think that
because Liszt needs another theme here, the concept of thematic activity has a priority in this part. In
other words what the composer, right at this point, cares about and tries to get listeners’ attention to
is theme. Theme in sub-key. Obviously subordinate theme. Subordinate theme continues from
measure 105 to 153 where we encounter second subordinate theme using theme 3 with
transformation. Each statement of so called devil laughter is connected with chromatic lead-in figures
in the beginning and then different figures are used for formal connection. The first and the second
subordinate themes make use of previous themes usually with transformation. The most prevalent
themes are the second and the third one. The section including the second subordinate theme
continues until measure 204 where we observe a very fast unit ascending and descending through the
manual just before the Allegro energico part.

Another remarkable feature of the music is that tempo changes usually denote formal unit changes,
as well. For instance, Allegro energico now takes us to development section if we adopt the one
movement sonata form perspective. Again, in the beginning Lento Assai we hear slow introduction
and then a shift to Allegro energico denotes shift from slow introduction to allegro section of the
sonata. Trill which is at the end of the subordinate theme is another factor that makes me think the
section ends here. The transition from the end of the sub theme and the beginning of the development
is made possible by an elision. In measure 205 development begins. However, taking the length of
the piece into account and the point where development begins one might raise a question. We have
heard one fourth of the piece and we are in development. What will three fourth of the piece do? A
possible answer might be the length of the development is more than the previous sections with two
cores, fragmentations and restatements of previous themes for instance theme 3 in

measure 255, 256, 263 and so on. We can observe a sequential character here. Therefore restated
themes are not signals for false or genuine recapitulation. Development continues, including two
Recitativo sections. Towards the end of this section we hear thematic fragmentations and at the end
we hear juxtaposition of theme 2 and 3 which is likened to an agreement between Faust and Mephisto.
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Next thing we hear after long ppp chords is slow movement. This might be interpreted as an
interpolation within the one movement sonata but double form explanation is much more capable of
making this section conprehensible. Till now the analysis of the piece is as follows.

Slow Introduction Main Theme Transition Subordinate Theme Development

Measures 1 - 7 Mm 8 - 32 Mm. 32 - 104 Mm. 105 - 204 Mm. 205 -

in G in B minor Ends on A Mainly in D Major Various

Scales Theme 2 and 3 Transformations Transformations and Various

Theme 4

Development seems to come to a silence point with the second part of the theme 3 in measures 449
to 452. In measure 453 we hear the opening figure of the piece again. This is such a strong inclination
to tag the forthcoming section as recapitulation but the pitch is not G as in the beginning but in F
sharp. From this point we could assert that this is a false recapitulation but what comes after this is
scales. Then we hear themes juxtaposed in a fugue structure. There is obviously a thematic emphasis.
Therefore what Winklhofer asserts as thematic recapitulation is useful for giving a name to this
section. In double form approach they tend to analyse here as a Scherzo but what I hear is just
continuation of development due to sequential character of measures 493 to 500. In measure 533 B
tonality is established with the same cadence as the one in measure 32. This will probably lead us to
tonal and usual recapitulation. In measure 557 we hear descending scales the principle change agent
in the left hand in Eb. We can hear scales in measures 571-2, 575-6, 580-1. After a few
fragmentations we hear the first sub theme in B major. What happens here might be called a hybrid
recapitulation using thematic recapitulation in the first part, and tonal recapitulation beginning with
subordinate theme in the parallel major of the initial minor tonality. Second subordinate theme comes
in measure 616 in B major again. After that we hear especially theme 3, transformed, phrases
connected to each other by chromatic lead in figures and then fragmentations played very fast then in
measure 700 we hear all the themes again in reverse order. A coda like section making use of
reminiscent of all themes, a technique that reminds one of the finale of Beethoven’s Ninth Symphony.

The piece concludes with final B. For me the best formal explanation is one movement sonata form
but I like the idea of explaining odd sections with either Winklhofer’s terms or double form notion
instead of calling them interpolations.

As for the issue of whether the fugue part is a Scherzo or not, I would like to include that part in
development ( or final fast movement of double form) and hear the piece in three movements from
double form perspective.
Deniz KIRAN
409151007