4. Sonnet 47 of Petrarch

From a technical standpoint, this piece is relatively easier to play among the three sonnets, but it is musically challenging to understand. The keyword for this piece is "off-beat" (or "upbeat"). Why did Liszt use so many off-beats in this piece? Understanding this is the starting point, and it will be discussed later.

Next, one must fully understand all the indications and terms written in the score. At the beginning, "con moto" is written, and "ritenuto" is indicated where the left hand enters. However, there is no "a tempo" preceding it, and "rall." is written at the end of measure 4. In the middle, "molt cresc" is indicated, and judging from the gradual ascent of the notes, one can imagine that the piece starts slowly, accelerates considerably, and then ends slowly again.

The lyrical section starting from measure 13 is marked "il canto," so its location is clear. After the recitativo, from measure 12, Liszt writes "Sempre mosso." This means to always maintain movement. Indeed, this piece is not a leisurely, slow, flowing one, but rather one that must constantly be in motion. It is here that the meaning of "off-beat" finally becomes clear. Pieces where the melodic line emerges from an off-beat are often "agitato." There is a unique sense of hesitation, or perhaps more tension and agitation, and a lack of repose compared to starting on the downbeat. This "restlessness" must be expressed. The performer must keep this in mind and constantly maintain movement.

The basic shaping of the melodic line, for example, for the theme starting on the second beat of measure 13, the half note in measure 15 becomes the peak. Therefore, the rubato should push forward towards this half note, and once it is reached, pull back. The same applies thereafter. The first section, starting in D-flat major, should consider measure 35 as its peak point. The forte should never be timid.

The next section, starting from measure 36, begins in G major, but from measure 44, drama unfolds, leading through a sequence to a peak at measure 48. The indication until then is "cresce molt." From measures 44-48, the volume should be increased to its maximum. There is immense drama, which is constantly restless and emotional. The peak should be reached with such agitation that it almost drives the listeners to distraction.

Regarding pedaling, I believe it is fine to follow the indications in the score. For example, taking measures 22 to 23, the vocal line is connected from 22 to 23, but if the pedal is changed according to the indication in measure 23, the melodic line is cut precisely at the downbeat by an eighth rest. From here on, this is the author's personal opinion, but I believe it is acceptable for the melodic line to be cut when the pedal is changed in measure 23. When looking at measures 26-27, one can see that the notes are tied. I believe that there is a difference in nuance between a line connected by ties and a line that includes an eighth rest, and there must be some intention from the composer. Of course, some performers connect the melodic line using finger pedaling despite the presence of rests, but this is also a valid approach.