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Added by Regan562 5080d ago

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All six of his Consolations....(more)

Consolation No. 1: This chordal legato piece serves as an introductory meditation and establishes the key of E major as the dominating key of the entire group. It's mainly monothematic and reiterates three contemplative motives: (1) a halting chord sequence (measures 1-4); (2) a similar chord sequence (measures 5-8); and (3) measure contrasting sigh-figure (measures 9-16). These motives are varied and recur throughout.

Consolation No. 2: This lovely "song without words" soars and contains some unexpected and beautiful modulations (measures 14-16, 19-20, 51-53). Liszt uses one of his favorite devices in dividing the melody between the hands (measures 38-42, 46-52).

Consolation No. 3: This nocturne, probably the most frequently performed of the group, and it seems to be inspired bt Chopin's Nocturne, Op. 27, No. 2, also in D-flat major. Liszt features a right-hand cantilena over left-hand, broken-chord, accompanying figuration. A quiet, pensive nostalgic mood permeates the piece. The low D-flat in measures 1-9 should be played very quietly in each measure (even though tied) since the pedal changes make it lose its continuous sound.
Another soloution to the measures (1-9) is to catch the low D-flat in measure 1 with the sostenuto pedal (middle pedal) and release the sostenuto pedal on beat 3 of measure 9. The damper pedal would also be used as indicated throughout these measures.

Consolation No. 4: This piece and no. 1 are the most chordal of the set and are almost prayerlike in mood. The directions "contabile con devozione (in singing style with devotion) support this character. Play the syncopation in measures 3, 4, 8 and 9 with a bit of rubato. The slow and sustained melody must be well projected throughout, even when in the bass at measures 16-20. In measures 25-27 the left hand should project the melody while the right hand plays the series of four half notes. Roll the chord slowly in measure 32. This piece is an excellent study in playing chords quietly.

Consolation No. 5: Continuous vocal style plus the use of parallel thirds and sixths suggest a Mendelssohn "song withought words" with flowing accompaniment. Keep the tempo fairly straightforward and avoid excessive use of rubato. Project the left-hand thematic germ in section A (measures 3-11) in measures 44-45 and 47-50.

Consolation No. 6: This piece, the longest of the group, is an excellent study of pedaling and arm weight. The melody contains numerous arpeggiated accompanimental chords and moves over an extended range of the keyboard. Take time to play measures 19-68 with great expression. Play measures 93-98 (plus the eighth note pickup to measure 93) more quietly that measures 85- 93. This coda (measures 84-100) recalls the gentle and consoling qualties of most of the set and can be played a little slower than the opening section (measures 1-18).