This meant he was in direct contact with prolific composers such as Haydn, Beethoven and Hummel. Liszt was an incredibly innovative, well-respected and frankly a legend in his lifetime. The set was published in and are a key example of programme music due to their reference to various poems about love and death. The expressive nature of this movement is reminiscent of the opening refrain which returns throughout the poem. The promise of love is hopeful at the start, however, it soon dissipates after the death of a loved one. The work begins in Ab major, with large arpeggiated phrases in the right hand, and through this large movement it represents the poets anguish.
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I saw Heaven In her eyes. This is what Liszt is doing in his second song of love. The first and last songs are in Ab major, but this second one is in the key of E. The distance from Ab to E is an augmented 5th, and has a really tense, discordant sound.
And despite the incompatibility, it still somehow all works out. He makes it sound very fresh and natural. O love, as long as love you can, O love, as long as love you may, The time will come, the time will come When you will stand at the grave and mourn! The bulk of a song is this dream of love — of being reunited with a lost love in dreams — only to be brought back to reality, where that love exists no longer.
I find it really invigorating and inspiring, while also quite melancholic. Libestraume by Liszt: An analysis of the third Notturno Analysis time!
Firstly, I want to bring your attention to the key signature — four flats, and the first bar outlines an Ab major chord — so this song is in Ab major, just like the first Liebestraum. Why is this important? Well, it serves as a link to the first song, as well as a dramatic contrast to the second one. Next, I want to you notice what looks like a mess of notes. Where is the tune, the melody? It is extremely simple, and very pretty. This tune will occur 5 more times in the song 6 total , so we can refer to it as a refrain — a recurring part.
Listen for that simple melody buried in the middle of all the filler notes. There are two cadenzas, which are kind of like musical fills, that divide the three different sections.
So you can see the pattern there — a couple A sections, followed by a B, which is followed by a cadenza except for the last section, which ends with a coda. Now take a look at the notes. Again, I think this clashing is intentional, and representative of love and death. See if you can hear that same tune as from the beginning.
This section changes keys constantly — from C major to Ab major to E major and back to Ab — and it really just sounds like turmoil. This cadenza is all that intense energy dissipating, like rain clouds in the sunlight. This part of the song is very sweet dolce but also very melancholic — it feels different from the peace you feel at the beginning of the song. It leaves you with a smile, not a frown.
I hope you enjoyed this video as much as I enjoyed making it!
Liebestraum No. 3 F. Liszt
Am Oktober wurde der gemeinsame Sohn Franz geboren. Zudem nahm er unbezahlten Urlaub. Mai mit Frau und Sohn nach Wien. April gab er im kleinen Redoutensaal jenes Konzert, an dessen Ende er nach der Legende einen Weihekuss Beethovens erhalten haben soll. Es kann aber heute als sicher gelten, dass Beethoven in dem Konzert nicht anwesend war.
Franz Liszt ‘Liebestraum No.3’: The Purest Kind of Love