Hungarian Rhapsody No. 3 in B-flat Major

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It is slow and irregular and builds up gradually, although virtuoso runs begin to appear as soon as in bar The first section of the theme moves to the minor V chord G minor.

LISZT, F.: Hungarian Rhapsodies (Pizarro)

From bar 27, a contrasting part of the lassan theme moves into the major E major, relative major of the home key and opens up a higher register. Soon from bar 35 onwards there is a foreshadowing of what will become the main theme of the friska section. German and German-influenced composers in the middle of the century increasingly saw Beethoven as expanding a national tradition of building and interweaving themes across whole pieces by linking them through motivic play.

From bar 51 onwards, the piece begins to build up and accelerate seriously until it reaches a big piano run aiming for a cadence in the parallel tonic major C major. The build-up is interrupted by a repeat of the slow introduction bar 62 , and the main lassan theme returns, now ornamented.

A study of Franz Liszt’s Hungarian rhapsodies - UBC Library Open Collections

Finally, the introduction is heard one last time in modified form bar All of this is in preparation for the fast and furious friska section, which is now unleashed from bar onwards. Beginning with a change in tempo, it accelerates further from bar Note especially the triple octave pivots around the thumb in bars — This pianistic trick was typical of Liszt in that it pushed the boundaries of what seemed possible in terms of virtuosity here it took advantage of his large hands and prodigious technique.


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Buniatishvili treated it as a virtuosic tour de force, conjuring stormy bass lines for the Commendatore before teasing us in the seductive duet, expansive rubato to the fore before it spirals off into a series of giddy variations. A thunderous transition led to a fizzing apologies!

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As terrifically exciting as this Don Juan was, this recital also revealed a sensitive side to her Liszt playing. There was rippling silk in La Leggierezza , then an impish sparkle in Feux Follets , which skittered across the keys. La Campanella , whose tintinnabulations can induce migraines in the wrong hands, found Buniatishvili breathing a great deal of delicacy into the upper registers before dashing off a virtuosic close. For more virtuosity, she performed the Hungarian Rhapsody no. The first movement lost its shape once or twice, but the characterisations in the second movement were vivid and the Shrovetide Fair teemed with life.

Two encores displayed extreme contrasts: a daringly slow Clair de lune where pale moonlight came shrouded in scudding clouds; followed by Prokofiev in barbaric mood, the Precipitato finale from the Seventh Sonata rightfully met with a storm of applause.

Valentina Lisitsa plays Liszt's Hungarian Rhapsody No. 2

Piano playing rarely comes as exciting as this. Our privacy policy was last updated on Monday 24 June View it here Dismiss.

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Liszt: Hungarian Rhapsodies - Concerto pathétique (1926-1935)

How to add your events to Bachtrack. By Mark Pullinger , 08 March Khatia Buniatishvili. See full listing. Liszt , 3 Concert Etudes: La leggierezza, S no. Liszt , Hungarian Rhapsody no. Stravinsky , Three movements from Petrushka. Debussy , Suite Bergamasque: Clair de lune.

Hungarian Rhapsody No.3 (Andante)

Prokofiev , Piano Sonata no. Khatia Buniatishvili , Piano. It ever there was a "recital of two halves", then this was it, with a leaden Sonata in B flat major countered by blazing Liszt at the Barbican.


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