Check out my EASY ARRANGEMENT of this piece: sonatasecrets.gumroad.com/l/liszt-consolation 💲 Get 15% off with the discount code: "secretseeker" More SIMPLE SOLUTIONS arrangements: sonatasecrets.gumroad.com/
This piece by Liszt is honestly one of the greatest I've heard, and it's unique, it's unlike any other piece I know. It's very intense without being loud. It's calm but yet exciting. It has minor cords that don't sound sad or even negative. To me, this piece has always been like looking up at the night sky full of stars and being relaxed while watching their beauty and admiring their loftiness, yet at the same time being frightened (in a fascinating, excited way) by the vastness of the sight. I don't quite know how to describe it, but this piece stands out from all the other works of that time.
Regarding the Chopin bit: after a quick peek at S.171a, the No. 3 seems to be the only piece that got swapped for a completely different one, written in another key. The fact that this happened in the year after Chopin's death makes it a clear tribute - and a beautiful one - to me!
Your video is a work of art. You understand, analyze and explain the music beautifully and the videography is exceptional. Thank you for making this video and sharing it with the world. It's a great service to humanity.
8:20 is like magic! I was looking forward to some more tension and Liszt gave me such a relief and it's comforting and unexpected too, it made me feel safe and it's like "even it's bad sometimes but good things still happen subtly in those occasions"
Yet another wonderful analysis of a beloved piece. Mediant or "third" relationships in tonalities or even just chords, are very typical in Liszt. I would venture to say they are one of his signature characteristics.
Sir, your analysis and performance was so lovely! This is one of my favourite pieces. Thank you very much for uploading another Liszt piece! I learned this piece in June of last year. It quickly became one of my favourite pieces from that time. I enjoy playing this piece very much! Regards from India 🇮🇳.
I've been learning this piece for a little while. It's lovely to play. My main trouble is trying to keep the left hand notes quiet and well connected LOL
I like how you walk with the left hand from the low note, and pass over the thumb. Very great. I dont do that. I put my finger on the low note, then go up, starting with my 5th finger, to avoid passing the thumb under, so my hand is disconnected from the keys for a second. I dont know if it is better or worse.
Well, not in my case because I change pedal for the thirds. But it's interesting, I think it's implied enough since the music comes to rest on the D flat before, then the thirds going down are only on scale notes and going between G flat and D flat. But the root is actually not fully sounding in the end (unless you have full pedal from before, but that smudges the sound quite a lot).
@@SonataSecrets Perfect response. I also think that the D Flat is implied, but funny enough, Horowitz (who played this piece amazingly well) adds a Dflat in the bass for the last note of the right hand. I guess he thought it was clearer for the audience
