How Did Liszt Compose? - Composer Insights
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Date: 2022-03-28
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Comments and reviews: 10
Carl
Absolutely fascinating. The first question that comes to mind is : Did Liszt begin writing this piece by mapping out the scales he wished to explore; carefully design and construct the various motifs he wished to use; put to paper the chord sequences he wanted (or needed) to use -- OR did it begin when he happened to -plunk out- the opening statement (whilst he was noodling about on the piano), found himself completely smitten with the sound and structure, and (in a long stream of consciousness) the piece (quite literally) spilled forth from his mind? I tend to believe that it was the latter (rather than the former); but then, I prefer to believe that the best music is created when the composer doesn't deliberately get -in the way- of the creative process.
Wonderful video (as always). Thank you. Gareth, you possess a rare talent for analyzing and explaining musical concepts in such a way that I come away having learned far more about given subject than I thought possible. When I was much younger, I was confident that I knew far more about music than the average musician. As the years have raced on by, I have discovered that (much of the time) I don't even know what I don't know. That realization can be crippling. Between your videos, courses, and the monthly livestream sessions (through the wonderful Music Matters Maestro Program), I am not only beginning to realize what I don't know, but you (and Alex and the rest of your team) are helping me to replace ignorance with solid knowledge. I'll never reach a point where I -know it all-, but I am thoroughly enjoying the journey of learning all that I can. Thanks so much!
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Absolutely fascinating. The first question that comes to mind is : Did Liszt begin writing this piece by mapping out the scales he wished to explore; carefully design and construct the various motifs he wished to use; put to paper the chord sequences he wanted (or needed) to use -- OR did it begin when he happened to -plunk out- the opening statement (whilst he was noodling about on the piano), found himself completely smitten with the sound and structure, and (in a long stream of consciousness) the piece (quite literally) spilled forth from his mind? I tend to believe that it was the latter (rather than the former); but then, I prefer to believe that the best music is created when the composer doesn't deliberately get -in the way- of the creative process.
Wonderful video (as always). Thank you. Gareth, you possess a rare talent for analyzing and explaining musical concepts in such a way that I come away having learned far more about given subject than I thought possible. When I was much younger, I was confident that I knew far more about music than the average musician. As the years have raced on by, I have discovered that (much of the time) I don't even know what I don't know. That realization can be crippling. Between your videos, courses, and the monthly livestream sessions (through the wonderful Music Matters Maestro Program), I am not only beginning to realize what I don't know, but you (and Alex and the rest of your team) are helping me to replace ignorance with solid knowledge. I'll never reach a point where I -know it all-, but I am thoroughly enjoying the journey of learning all that I can. Thanks so much!
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Jeffrey
Good analysis, but a key point is that Liszt composed this right after his Faust Symphony, so alot of the faust influence was in him. I think the 3 motifs mean 3 different things. Maybe the first and third represent Mephisto and the second represents Faust? It starting at a -G minor- might also show the developement of character because this sonata goes through many changes like from G minor to B minor, to D major, etc. So I think the beginning is the introduction to these -Characters- and the rest of the sonata shows what these characters are going through, for example alot of the times the second motif at Allegro Energico is often paired with the first and third motifs just like how Faust was stuck with Mephisto for most of Faust, but this is just what I think, thanks for this video.
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Good analysis, but a key point is that Liszt composed this right after his Faust Symphony, so alot of the faust influence was in him. I think the 3 motifs mean 3 different things. Maybe the first and third represent Mephisto and the second represents Faust? It starting at a -G minor- might also show the developement of character because this sonata goes through many changes like from G minor to B minor, to D major, etc. So I think the beginning is the introduction to these -Characters- and the rest of the sonata shows what these characters are going through, for example alot of the times the second motif at Allegro Energico is often paired with the first and third motifs just like how Faust was stuck with Mephisto for most of Faust, but this is just what I think, thanks for this video.
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Zeno
I enjoyed this so far as it went, but it's really more a description of -what happens- on the first page of the sonata. To use the title -How Liszt composed- using the B minor sonata as an example and then not to make mention of thematic transformation or thematic derivation from motifs is, to me, inexplicable. I don't know if Liszt started writing down the music with the first page, but if he did, you can bet he damn well knew what was coming AFTER the first page and how everything on the 1st page relates to what happens in the rest of the sonata. I hope you will consider a follow-up explaining the links between the first page and the other themes and motifs in the sonata.
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I enjoyed this so far as it went, but it's really more a description of -what happens- on the first page of the sonata. To use the title -How Liszt composed- using the B minor sonata as an example and then not to make mention of thematic transformation or thematic derivation from motifs is, to me, inexplicable. I don't know if Liszt started writing down the music with the first page, but if he did, you can bet he damn well knew what was coming AFTER the first page and how everything on the 1st page relates to what happens in the rest of the sonata. I hope you will consider a follow-up explaining the links between the first page and the other themes and motifs in the sonata.
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Martin
Liszt is always concerned with tonal ambiguity. I think he was the first composer to be instinctively atonal (or without a tonal centre). Clara Schumann could not understand what Liszt was doing and disliked it, few did understand Liszt in his time, though the ambiguity is a recurrent feature from many of his earlier compositions too.
Liszt is certainly one of the most fascinating composers, but such a pity his music is usually so hard to play. For someone with a reputation of something of a showman it is extraordinary how cerebral his music can be and how few concessions he is prepared to make for performers and listeners.
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Liszt is always concerned with tonal ambiguity. I think he was the first composer to be instinctively atonal (or without a tonal centre). Clara Schumann could not understand what Liszt was doing and disliked it, few did understand Liszt in his time, though the ambiguity is a recurrent feature from many of his earlier compositions too.
Liszt is certainly one of the most fascinating composers, but such a pity his music is usually so hard to play. For someone with a reputation of something of a showman it is extraordinary how cerebral his music can be and how few concessions he is prepared to make for performers and listeners.
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Mynelka
All those - analysts - always ignore one thing that they probably can-t understand ... they always look for some logical explanation ... real, authentic, true music comes from inspiration, the higher source and doesn-t really care about rules. Mediocre composers need to - know - what to do ... geniuses just hear it and do it ... the inspiration comes through them and beauty comes out of it. So you can analyze all you want and you will never get it unless you are one of them.
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All those - analysts - always ignore one thing that they probably can-t understand ... they always look for some logical explanation ... real, authentic, true music comes from inspiration, the higher source and doesn-t really care about rules. Mediocre composers need to - know - what to do ... geniuses just hear it and do it ... the inspiration comes through them and beauty comes out of it. So you can analyze all you want and you will never get it unless you are one of them.
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Tony
This is a fascinating video. I'm not a musician, but I still learned a lot. I've got in to Liszt's piano sonata over a period of many years, probably decades, by a process of osmosis on hearing it on BBC Radio 3 - I don't know, maybe 10 times. Just having it on in the background. Then, one time, I just -got it-. I bought a CD of Stephen Hough's recording of it and became obsessed with it. Now, I ration the amount of times I play it. Great stuff. Thanks again.
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This is a fascinating video. I'm not a musician, but I still learned a lot. I've got in to Liszt's piano sonata over a period of many years, probably decades, by a process of osmosis on hearing it on BBC Radio 3 - I don't know, maybe 10 times. Just having it on in the background. Then, one time, I just -got it-. I bought a CD of Stephen Hough's recording of it and became obsessed with it. Now, I ration the amount of times I play it. Great stuff. Thanks again.
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Sosmar
Really liking the video so far. Looks like I've finally found the kind of content about composing/music theory that I would enjoy. you're not just blasting out some theory, but you're actually providing a way for me to learn it in relation to something I like. Also I like the calm presentation which doesn't lack some healthy humor. thanks for making these kind of video's. I think I'll definitely check out some more of them!
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Really liking the video so far. Looks like I've finally found the kind of content about composing/music theory that I would enjoy. you're not just blasting out some theory, but you're actually providing a way for me to learn it in relation to something I like. Also I like the calm presentation which doesn't lack some healthy humor. thanks for making these kind of video's. I think I'll definitely check out some more of them!
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David
Thanks for this, interesting you mentioned the connection to film music which also often uses tonal materials in colouristic ways. More generally its great to have your videos available like this, if someone wanted to teach themselves how music works they would be an invaluable resource. Keep on giving people the undiluted information, its sadly lacking from a lot of music courses these days.
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Thanks for this, interesting you mentioned the connection to film music which also often uses tonal materials in colouristic ways. More generally its great to have your videos available like this, if someone wanted to teach themselves how music works they would be an invaluable resource. Keep on giving people the undiluted information, its sadly lacking from a lot of music courses these days.
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George
the G melodic minor is also Bflat major and according to beethovens mind (opus 106) B flat major is the farthest key from b minor. when the fugue in the fourth movement goes into b minor the whole atmosphere changes for Beethoven also. perhaps Liszt had this in mind in his opening. he was the first to perform the opus 106 not long from the composition of his own Sonata.
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the G melodic minor is also Bflat major and according to beethovens mind (opus 106) B flat major is the farthest key from b minor. when the fugue in the fourth movement goes into b minor the whole atmosphere changes for Beethoven also. perhaps Liszt had this in mind in his opening. he was the first to perform the opus 106 not long from the composition of his own Sonata.
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Elie
Hello i am from lebanon, It seems that Liszt used the Arabic scales, which is strange to Western music. The first 3 bars he used what we call -cord of G- and in the next bars he used the -hijaz of D- we use these two scales in almost all of our songs that don't use the quarter tone :)
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Hello i am from lebanon, It seems that Liszt used the Arabic scales, which is strange to Western music. The first 3 bars he used what we call -cord of G- and in the next bars he used the -hijaz of D- we use these two scales in almost all of our songs that don't use the quarter tone :)
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