LISZT, Franz
Harmonies poétiques et religieuses (Poetic and Religious Harmonies) for solo piano S 173
7. Funérailles
Eldar Nebolsin, professor
Balázs István Krápicz, student
Nebolsin asks the student about the funeral marches he knows. In the theme of the march, there is a fear of playing too slowly. This causes the weight necessary to describe the end of life to be lost; we no longer need to go anywhere, and it is not necessary to show the grand scheme. In the ‘lacrimosa’ section, take your time and adopt a character of repose. Equal importance of the left and right hands, balance between both, and more intention in the right. Although the right hand closes the phrase, the energy does not have to wane because we have a crescendo in the left hand. Use of the pedal in different passages in relation to the instruments of the orchestra that sound each time. Pay attention to the chromatic lines, which symbolically signify ‘passus duriusculus’ (4th J descending chromatically), the suffering before the last breath. The fact that Liszt repeats the same structure of ascent and descent has a meaning of resignation; it is not just a crescendo and diminuendo. Color for F-sharp minor, even more painful than F minor. They work on the passage of the left hand in staccato; it is advisable to understand it ‘alla breve’. Harmonic explanation of melodic notes. When there is a motif with several chromatic intervals and then a leap, you have to take time to give more emphasis to that leap. The sharp notes implicitly carry a lot of vibrato; it is a recitative with a single actor on the stage (he compares it with the Dante Fantasy).
Language: English
