Bénédiction de Dieu dans la solitude
sketched 1845, revised 1847-1842
slow movement is recalled at the conclusion, as in the Sonata
Ballade no. 2 in B minor
1853 same key as the Sonata
some passage work (bars 82-85) is similar to that in the Sonata (bars 40-85)
Après une lecture du Dante, Fantasia quasi Sonata
sketched 1839, revised 1840, 1849
single movement sonata form
Funerailles
1849 dramatised recapitulation (but lacks returning secondary material)
Grosses Konzertsolo
1849 later arranged as the Concerto Pathétique for two pianos, ‘has often been considered
a preliminary sketch for the Sonata in B minor, partly because of its structure and partly
because a member of the first group of themes bears a strong resemblance to a theme in
the Sonata. ‘The concert-solo has always languished in the shadow of the Sonata, and
has received far fewer performances than its quality deserves, despite being championed
by Liszt’s pupils Tausig and von Bülow.’ [Hamilton, pages 20, 21]
Scherzo and March
written in 1851, published in 1854, just after the Sonata
‘makes use of elements of sonata form in a creative and novel manner’
‘Liszt’s final pianistic preparation for the Sonata’ [Hamilton, pages 21, 22]
Piano Concerto no. 1 in E flat major
sketched 1830s, revised 1849, 1853, 1856
four movements
metamorphosis of themes
Piano Concerto no. 2 in A major
Revised 1849, 1857, 1861
Metamorphosis of themes
Liszt Sonata performances
Performances by Liszt
Franz Liszt performed his Sonata on nine occasions for the following pupils and friends:
7 May 1853 Mason, Klindworth, Laub and Cossman