Finale of Piano Sonata No.3 in B minor (Op.58), S.479b - Franz Liszt/Frédéric Chopin
Franz Liszt: Variations for bars 207—253 of the fourth movement of Frédéric Chopin’s Piano Sonata No.3 (reportedly written for Olga Janina, a student of Liszt), S.479b. "Frédéric Chopin's Piano Sonata No. 3 in B minor, Op. 58, is the last of the composer's piano sonatas. Completed in 1844 and dedicated to Countess Élise de Perthuis, the work is considered to be one of Chopin's most difficult compositions, both technically and musically. The work has a structure similar to Johann Nepomuk Hummel's Piano Sonata No. 5 in F Sharp Minor, Op. 81. [...] Its turbulent and dramatic introduction – a rising harmonic progression left hanging on a high dominant seventh – aside, the finale, in B minor, is pervaded by a "galloping" rhythm; emphasis in the melodic line on the first and third beats of each half-measure outlines the fifth through eighth degrees of a harmonic minor scale, in this case the F# and B, lending prominence to the augmented second between the sixth and raised seventh scale degrees, the G and A#. The overall melody, chromatic yet rooted in the minor tonic, contributes a dark mood to these primary sections. A more triumphant second theme in B major, repeated twice in the movement's A–B–A–B–A form, appears quite suddenly at the conclusion of the first (likewise when repeated); eventually rising during fleet-fingered runs over a left-hand melody, it tumbles back to a dramatic restatement of the main theme in both of its appearances. The piece concludes in a jubilant B major coda." (Wikipedia) "Liszt wrote the variant very wisely and logically when one looks at the entire Finale. This movement, which is in the form of a rondo, begins in thirds in 6/8 time signature. The reappearance of the theme shows the left hand in quartos (polyrhythm) and subsequently in sixteenths, i.e. again steadily, regularly. On the other hand, the Liszt variant goes further and introduces quintuplets instead of sixteenths, which yield a polyrhythmic pattern, followed by triplet regularity with left hand leaps and naturally enhances the expression and strength of the Finale." (Tomasz Kamieniak) Discord Server: https://discord.gg/DHaN3aTCxr
Franz Liszt: Variations for bars 207—253 of the fourth movement of Frédéric Chopin’s Piano Sonata No.3 (reportedly written for Olga Janina, a student of Liszt), S.479b. "Frédéric Chopin's Piano Sonata No. 3 in B minor, Op. 58, is the last of the composer's piano sonatas. Completed in 1844 and dedicated to Countess Élise de Perthuis, the work is considered to be one of Chopin's most difficult compositions, both technically and musically. The work has a structure similar to Johann Nepomuk Hummel's Piano Sonata No. 5 in F Sharp Minor, Op. 81. [...] Its turbulent and dramatic introduction – a rising harmonic progression left hanging on a high dominant seventh – aside, the finale, in B minor, is pervaded by a "galloping" rhythm; emphasis in the melodic line on the first and third beats of each half-measure outlines the fifth through eighth degrees of a harmonic minor scale, in this case the F# and B, lending prominence to the augmented second between the sixth and raised seventh scale degrees, the G and A#. The overall melody, chromatic yet rooted in the minor tonic, contributes a dark mood to these primary sections. A more triumphant second theme in B major, repeated twice in the movement's A–B–A–B–A form, appears quite suddenly at the conclusion of the first (likewise when repeated); eventually rising during fleet-fingered runs over a left-hand melody, it tumbles back to a dramatic restatement of the main theme in both of its appearances. The piece concludes in a jubilant B major coda." (Wikipedia) "Liszt wrote the variant very wisely and logically when one looks at the entire Finale. This movement, which is in the form of a rondo, begins in thirds in 6/8 time signature. The reappearance of the theme shows the left hand in quartos (polyrhythm) and subsequently in sixteenths, i.e. again steadily, regularly. On the other hand, the Liszt variant goes further and introduces quintuplets instead of sixteenths, which yield a polyrhythmic pattern, followed by triplet regularity with left hand leaps and naturally enhances the expression and strength of the Finale." (Tomasz Kamieniak) Discord Server: https://discord.gg/DHaN3aTCxr