Franz Liszt's Piano Concerto No. 1 in E Flat Major

The final version of Liszt's Piano Concerto No. 1 in E flat major, S. 124 dates 1856, however, the beginning of the composition dates to 1830 when Liszt sketched the main theme in a notebook. Liszt commenced serious work on the composition in the 1840s. It could be said that Liszt spent so long on the composition because he was fairly new at this point to the realm of orchestration. Up to this point, almost everything he wrote was for the keyboard. He even enlisted the help of his pupil Joachim Raff with the task of orchestration. The concerto was completed in 1849, but Liszt revised it several times until he arrived at the form we know and love today. There are at least six complete drafts of the concerto. Many bear the title Concerto symphonique showing Liszt's intention to have the orchestra play just as vital a role as the soloist. Liszt was influenced by Henry Litolff, to whom the work is dedicated, in this idea of equal parts for orchestra and soloist. The concerto consists of three main sections: Allegro maestoso, Quasi adagio-Allegretto vivace-Allegro animato, and Allegro marziale animato. These three sections form one large-scale seamless whole with no pauses in between. The first movement begins with a very powerful and recognizable motif of which Liszt allegedly wrote, "'Das versteht Ihr alle nicht' ('This none of you understands'). Liszt employs blistering octave passages for the piano as he so frequently does. The main theme then reappears in a more tranquil form. The piano introduces the second subject after which the piano is joined by the clarinet in a serene duet. This charming passage is soon overtaken by the main theme again, but this time in an overpowering and almost furious tone. Muted strings introduce the second section with a cantabile melody. The piano soon takes up the theme. As the mood grows more reflective, dramatic bursts from the orchestra ensue with improvisatory passages for the piano interspersed. The tempo quickens with flute, and then oboe and clarinet taking up the theme. A more lighthearted mood follows being introduced by the sounding of a triangle. It is with the use of the triangle that Liszt incurred much unnecessary criticism. Present day listeners may think nothing of the use of the triangle, but at the time of the concerto's premiere it was nothing short of revolutionary. A particulary sneering critic, Eduard Hanslick described the work as Liszt's "Triangle Concerto." The piano soon introduces a cheerful theme in its upper register with other instruments gradually joining in, and all the while, the notorious triangle adds to the effect. The mood soon turns darker with the reappearance of the main theme. The piano introduces the final section with a quicker guise of the cantabile theme. Various themes make reappearances in some form or another until the concerto comes near an end with thunderous phrases and virtuosic octave passages for the piano. The concerto closes in the bravura style which Liszt has become known for. For more on Liszt, see my Dante Symphony posting.

Franz Liszt's Dante Symphony

(Note: While you are reading this, be sure to download the many different versions of this work with eMusic's free trial. You get 50 mp3s for free no matter what with no obligations.) Almost every composer has been inspired to write at least one piece of music based on a work of literature. Dante Alighieri's Divine Comedy has indeed inspired a great number of composers. One of these was Franz Liszt. He first became interested in the work in the early 1830's upon being introduced to it by his mistress of the time, Marie D'Agoult. First Liszt composed his Après une lecture du Dante, fantasia quasi sonata also knows as the "Dante" Sonata for solo piano. However, he always intended to write a large scale orchestral work based on the poetry. He didn't do this until his most productive years during his conducting post in Weimar. The "Dante" Symphony (Eine Symphonie zu Dantes Divina Commedia) was composed during the same period in which Liszt composed his "Faust" Symphony. Liszt intended to write a seperate movement for each section of the Divine Comedy: "Inferno", "Purgatorio" and "Paradiso." However, Liszt's friend and soon to become son-in-law, Richard Wagner convinced Liszt that it wasn't possible for a mere mortal to portray Paradise in music. Thus, much to the detriment of the work, Liszt reconsidered the work and instead inserted a choral version of the Magnificat. It does not fit into the structure and texture of the symphony and many feel this explains its absence from the general symphonic repertory. The first movement is in ternary form and seeks to portray the characters that Dante describes in his version of hell. Liszt illustrates his intent for the poetry and music to become one by frequently including verses from the poem underneath the score of the work almost as if it is set to be sung. Liszt's orchestration paints a vivid picture with the use of low brasses and double basses followed by the high brasses as if echoing the inscription above the gates of hell: "Abandon all hope, ye who enter." The first section of the movement reaches a thundering climax representing the emotional state of Dante as he begins his journey through hell. The middle section of the movement focuses on the tragic tale of the lovers Francesca and Paola, a subject that would later be the inspiration for Tchaikovsky's Francesca da Rimini. Liszt now uses the full sentimental power of the strings, flutes and harp as opposed to his crashing brass as in the first section. Following a cadenza for the harp, the finale proceeds with a crash once again. Here Liszt marks the movement as "blasphemous and sardonic." The first movement finishes with an intense, blaring conclusion. The second movement, Purgatorio, is far more quiet and reflective as Dante passes from the terrifying Inferno into the relatively blissful by comparison Purgatory. Liszt employs a reverent fugue based much on the descending melodic motif used in the first movement. After the women's voices issue the final Magnificat, the movement ends in a state of tranquility. Liszt eventually composed a version that ends with a fortissimo passage, however, it is considered a radical alternative to the first version. Liszt wrote a tremendous amount of programattic music, that is music that is intended to tell a story. In fact, he probably wrote more of this type of music than any other composer. He is considered the father of the now popular form of the Symphonic Poem. Indeed he was a true master at using his music to portray different stories or images. An excellent recording of the Dante Symphony that also features the Dante Sonata is that of Daniel Barenboim with the Berlin Philharmonic.