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Piano Sonata (Liszt)
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The Piano Sonata in B minor , S.178, is a musical composition for solo piano by Franz Liszt.
Sonata was composed in 1852-1853, and first performed on January 27, 1857 in Berlin by Liszt's pupil and son-in-law, Hans von Bülow.

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The Piano Sonata in B minor , S.178, is a musical composition for solo piano by Franz Liszt.
Background
The Sonata was composed in 1852-1853, and first performed on January 27, 1857 in Berlin by Liszt's pupil and son-in-law, Hans von Bülow. It was attacked by conservative critics such as Eduard Hanslick, Brahms (who reputedly fell asleep during Liszt's performance of the work at their first meeting), and the pianist and composer Anton Rubinstein. However, the sonata drew an enthusiastic compliment from Richard Wagner. The German newspaper Nationalzeitung referred to it as "an invitation to hissing and stomping". The sonata was published by Breitkopf & Härtel in 1854. It was dedicated to Robert Schumann, in return for Schumann's dedication of his Fantasia in C, Op.17 (1836) to Liszt.
Yundi Li, a famous classical pianist said about this piece (after he played it in a Liszt competition in the Netherlands, when he was 16): "This is a piece that includes everything of piano playing in it - technique, passion, emotion, and structure. It is a long 30 minutes, and you have to know how to hold it together. I feel I have grown up with this piece, and through it. Already it is different from the recording, because I have had more experiences in my life; I play it with my heart, with how I feel."
Composition
The sonata is notable for being constructed from a small number of motivic elements that are woven into an enormous musical architecture. The motivic units undergo thematic transformation throughout the work to suit the musical context of the moment. The symbolic meaning of the motivic confrontation is subject not only of scholarly discourse. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody. This technique helps to bind the sonata's sprawling structure into a single cohesive unit, although the architectural powers of the musician need to be highly developed to achieve this in performance.
Broadly speaking, the Sonata has four movements although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Most analysts agree that the development begins roughly with the slow section and the recapitulation with the scherzo fugue. In using this structure, Liszt was influenced by Franz Schubert's Wanderer Fantasie, a work he greatly admired, performed often and arranged for piano and orchestra. Schubert used the same limited number of musical elements to create a broad four movement work, and used a fugal 4th movement. Already in 1851 Liszt experimented with a nonprogrammatic "four-movements-in-one" form in an extended work for piano solo called Grosses Concert-Solo. This piece, which in 1865 was published as a two-piano version under the title Concerto pathétique, shows a thematic relationship to both the Sonata and the later Faust Symphony.
The quiet ending of the sonata may have been an afterthought; the original manuscript which is available in the The Morgan Library & Museum in New York City, contains a crossed-out ending section which would have ended the work loudly instead.
Sources
Szasz, Tibor. “Liszt’s Symbols for the Divine and Diabolical: Their Revelation of a Program in the B Minor Sonata.” Journal of the American Liszt Society, 15 (1984): 39-95.
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