Frédéric Chopin, ‘Nocturne’ No.20 in C# minor Nevertheless, ‘Liebestraum’ runs a close parallel from the outset.Ĥ. The colorful textures Liszt weaves throughout this beautiful piano piece have a virtuosity that is only apparent in the outer movements of the Moonlight Sonata. There is anguish at the outset of the ‘Liebestraum’ that also reminds me of the Beethoven Sonata as well as a sense of having been abandoned by love. Here A flat arpeggios that effortlessly span the piano accompany a tender melody that Liszt teases out into a passionate outpouring of emotions.
It is most likely to be teamed up with the ‘Moonlight Sonata’ at the opening of the piece. The composition, like the poem on which it is based, has love and the loss of love as its themes. Perhaps one of the most performed and admired piano compositions by Franz Liszt the ‘Liebestraum’ takes its inspiration from the German poet Ferdinand Freliligrath. Even though the Schumann has a different time signature to Beethoven the ‘triplet’ feel is undeniable as is the simplicity of the melody and richness of the harmony.ģ. Again, like the Heller Étude, the Schumann has a meditative quality to it and has a similar accompany figure. Durchweg liese zu halten), that we hear a distinct parallel with The Moonlight Sonata. It is in the final movement (Langsam getragen. As you might expect with any significant work by Schumann the emotional content and diversity are immense flowing from moments of delicate lyricism through to episodes of tempestuous passion. The composition falls into three generous movements that total nearly thirty minutes when played completely. Schumann dedicated the ‘Fantasie’ to Franz Liszt and there is certainly a section of the piece that demands complete technical fluency. Heralded by many Schuman scholars as to the greatest piano piece that Schumann ever composed certainly places it in the same league as the Beethoven Sonata.
Robert Schumann, ‘Fantasie in C’ Op.17 (1836) (Final Movement) The tone is equally lyrical with Heller’s melody sounding only in the left-hand of the piano part.Ģ. What perhaps helps this comparison is the accompanying triplet figure that Beethoven also uses in his opening movement. The Étude above, even though written in E minor (as opposed to Beethoven’s C# minor), is remarkably similar. To my ears, they owe as much to Czerny as they do Beethoven. The Op.47 is a relatively early work that is a set of delightful studies. He even composed 21 Études (Op.154) specifically designed to help pianists cope with the technical demands of Chopin’s works. Heller composed sonatas, Études, Barcarolles, and much more besides. Heller was not only a great performer but a celebrated composer especially for piano. These major composers had considerable respect for Heller who gained a formidable reputation as a concert pianist and gifted teacher. Born in Hungary in 1815 he was a contemporary of Bizet, Schumann, Liszt, and Chopin. The name of Heller might not be familiar to you if you have not studied the piano, but to many pianists, he is an important figure. If you are an admirer or performer of this magical ‘fantasia’ of a piano sonata then this article is for you as I am aiming to help you discover pieces of a similar nature for your enjoyment. Whether you experience the same or similar images does not matter, but the name stuck. Beethoven’s Op.27 No.2 Piano Sonata was given the nickname ‘Moonlight’ after a comment made by poet Ludwig Rellstab who felt that the opening movement conjured the image of a boat floating on a moonlit lake.
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