Liszt: Sonata in B minor [Mariam Batsashvili]

Georgian classical pianist Mariam Batsashvili performs Franz Liszt’s Sonata in B minor (German: Klaviersonate h-moll), S.178, a sonata for solo piano. This performance was recorded at the Muziekcentrum Van de Omroep, Hilversum, Netherlands on November 20, 2016.

The Piano Sonata in B Minor by Franz Liszt

Franz Liszt’s Piano Sonata in B minor, S.178, is a landmark in piano literature, renowned for its innovation and expressive depth. Composed during Liszt’s time in Weimar, Germany, in 1853, the sonata marked a turning point in his career as he transitioned from a traveling virtuoso to a composer of profound works. Dedicated to Robert Schumann, the piece was Liszt’s reciprocal gesture for Schumann’s earlier dedication of the Fantasie in C major, Op. 17. Although completed in 1853 and published in 1854, it was first performed publicly in 1857. A typical performance lasts around 30 minutes.

Historical Context

Liszt composed the sonata during a settled period of his life in Weimar, where he focused on composing rather than performing. Encouraged by his companion, Carolyne zu Sayn-Wittgenstein, he embraced a more contemplative lifestyle. This period allowed Liszt to explore complex musical ideas, evident in the sonata’s structure and thematic development. Despite its brilliance, the work received mixed early reactions. Clara Schumann dismissed it as “merely a blind noise,” and Johannes Brahms reportedly fell asleep during Liszt’s performance. Nevertheless, over time, the sonata gained recognition as one of Liszt’s masterpieces.

Structure and Innovation

The Sonata in B minor defies traditional multi-movement boundaries by combining elements of allegro, adagio, scherzo, and finale into a single, cohesive movement. It is often described as a sonata within a sonata, blending Classical forms such as sonata form, fugato, and compound ternary structure into a unified whole.

The piece opens ominously with a descending Lento assai theme, setting a dramatic tone. This theme reappears at crucial points, providing structural cohesion. It transitions into an Allegro energico theme marked by jagged octaves, followed by the “hammer-blow” motif (Hammerschlag), characterized by rapid single-note repetitions. These motifs are transformed throughout the piece, illustrating Liszt’s thematic economy.

The slow Andante sostenuto section, often considered the centerpiece, is a lyrical movement in F-sharp major. It revisits earlier themes in a reflective manner, showcasing Liszt’s ability to weave disparate elements into a seamless narrative. The sonata concludes with a contrapuntal fugato leading to a recapitulation of the opening material, resolving in a quiet, contemplative ending—an afterthought, as the original manuscript indicates Liszt initially intended a more dramatic close.

Reception and Legacy

The sonata faced harsh criticism upon its debut. Music critic Eduard Hanslick dismissed it, claiming those who appreciated it were “beyond help,” and pianist Anton Rubinstein expressed similar disdain. Otto Gumprecht referred to it as “an invitation to hissing and stomping.” Despite this initial resistance, the sonata garnered admiration from Richard Wagner, who praised its depth following a private performance. Over time, its technical demands, innovative form, and emotional depth secured its place as one of the pinnacles of Liszt’s repertoire.

Today, the Piano Sonata in B minor is celebrated for its ingenuity and profound expression. It continues to challenge pianists and captivate audiences, standing as a testament to Liszt’s genius and his enduring contribution to the Romantic repertoire.

Mariam Batsashvili

Born in 1993 in Tbilisi, Georgia, Mariam Batsashvili first studied with Natalia Natsvlishvili at the E. Mikeladze Central Music School in her hometown, before continuing at the Hochschule für Musik Franz Liszt in Weimar with Professor Grigory Gruzman. In 2011 she won First Prize at the International Franz Liszt Competition for Young Pianists in Weimar and received the prestigious Arturo Benedetti Michelangeli Award in 2015. Mariam Batsashvili is a scholarship holder of the Deutsche Stiftung Musikleben.

She first received international recognition at the 10th Franz Liszt Piano Competition in Utrecht in 2014, where she won the First Prize as well as the Junior Jury Award and the Press Prize. “Winner Batsashvili turns every phrase into something special”, headlined Dutch newspaper NRC Handelsblad, and the international Jury called her a “complete artist” with a “tremendous touch” and “sincere emotion”.

Following this success, she gained her first experiences with leading symphony orchestras, including the Dutch Radio Philharmonic Orchestra under the baton of James Gaffigan in the Concertgebouw Amsterdam (Liszt Piano Concerto No. 1), the Rotterdam Philharmonic Orchestra under Rafael Payare (Tchaikovsky Piano Concerto No. 1) and the Brussels Philharmonic Orchestra (Saint-Saëns Piano Concerto No. 2).

Mariam has also given recitals in more than 30 countries – among these China (including the NCPA in Beijing and the Shanghai Concert Hall), South Korea, Indonesia, Brazil, the United States, South Africa, France, Spain, Norway, the Baltic countries, Benelux and Germany. She has been a guest of many international festivals, such as the Beethovenfest Bonn, Pianofortissimo Festival Bologna, and the Delft Chamber Music Festival.

Sources

• Sonata in B minor (Liszt) on Wikipedia
• Mariam Batsashvili’s official website
• “Overview and Analysis of the Liszt Piano Sonata in B Minor, S. 178” on the Musica Kaleidoskopea website
• “The Grand Sonata – Liszt’s Piano Sonata in B Minor” on the Piano Street Magazine website
• “Understanding Liszt’s Sonata in B Minor, S.178, Part 1” on the Classical Music Notes website
• “Understanding Liszt’s Sonata in B Minor, S.178, Part 2” on the Classical Music Notes website
• “Liszt: Sonata in B minor” on the Classics Today website