LISZT, Franz
Sonata for solo piano in B minor S 178
Milana Chernyavska, guest professor
Tomás Alegre, student
The professor highlights the student’s balanced interpretation and points out that more importance should be given to the beginning, to what happens in the silences, creating more mystery. Chernyavska comments on the use of the pedal, being strict with the rhythm, the intervals of the octaves, and not using rubato. In the descending triplets, the second note should be more active. The interruptions have to be more sudden (it is the theme of Mephisto). In the crescendos, the pedal should be used to achieve a different color and more volume. The 5th finger should have more contact with the key. The climax has to be maintained, it cannot fade so quickly.
They work on the descending arpeggios, and the professor mentions that the eighth notes in staccato are a leitmotif that appears throughout the sonata. In fast passages, the impulse comes from the left hand. In addition, they work on the use of the pedal in several more passages. Finally, she points out that the agitato character has to be more noticeable, driving it more with the left hand (especially the second note).
Language: English
