7. Après une lecture de Dante: Fantasia quasi Sonata

When performing this piece, I would like to discuss common misunderstandings and mistakes as points of caution. First, pay attention to the pedaling from measure 35. The pedal, starting from measure 35, is likely instructed to be held down until measure 40. Not only in this piece but in many musical works, one may encounter scores with unusually long pedal markings (also found in Beethoven's and Haydn's sonatas). This can be attributed to the difference between historical and modern pianos. Older pianos did not sustain notes as long as modern pianos. Therefore, such pedaling would have posed no problem. Consequently, if one follows these pedal markings on a modern piano, it will produce an excessive effect, leading to a lack of clarity or extreme muddiness. Performers are advised to adapt flexibly to such pedaling sections, ensuring that at least the sounding notes remain discernible. Next, I will explain a crucial flow, which is the most important aspect when performing this piece. When performing such a long and substantial work, the performer must envision a distant goal. And on the path to that goal, there are various terrains, such as ascents and descents. One must not lose sight of the true goal and must consider emotional fluctuations from a broader perspective. Incidentally, the storm beginning at measure 35 might seem to conclude at measure 115 at first glance. Here are the flow and points of caution leading up to that point.

First, measure 52 presents a challenge. Some performers, having played at an unusually fast tempo up to this point, abruptly drop the tempo upon entering measure 52 due to the abundance of notes. The tempo of measure 51 and measure 52 should remain unchanged. If a performer cannot play measures 52-53 quickly, it is advisable to reduce the 'prest' tempo from measure 35 to ensure consistency upon reaching measure 52. The same applies to measure 77, and the tempo further increases at measure 90. While it might be acceptable to slightly relax the tempo in a 'grandioso' manner from measure 103 onwards, the piece returns to Tempo I at measure 115. It is desirable to maintain tension in the performance until that point. One should create a continuous, overwhelming storm that drives listeners to the brink, allowing no moment of relief.

Regarding measure 115, this cadenza: although the beginning is similar, the marking here remains forte. Leading up to measure 115, there was an immense storm, bursting emotions, and tremendous drama. Some performers allow this to cool down abruptly at measure 115. Human emotions do not change so instantaneously. Measure 115 should be entered with the preceding excitement still unresolved. The cadenza concludes in major at measures 118-119, which represents Liszt's majestic and fateful aspect, not a lyrical one. The 'dim.' appears at measure 122. Here, the mood slightly returns to normal, and while it does become calmer from measure 124 onwards, when I perform, I still maintain a lingering sense of excitement in measures 124-125. It becomes a little calmer in measures 126-127, and even calmer in the 'ppp' section from measure 128 onwards.

These three sequences logically become gradually calmer, softer, and slower. However, to elaborate further, measures 124-135 still retain a slight lingering effect from the preceding storm. This is due to the rhythm in the right hand. Although the note values differ, this rhythm is precisely the sorrowful rhythm of the storm from measure 35. Therefore, I believe that a somewhat 'agitato' emotion is acceptable even in measure 131, and that the truly calm emotional state begins from measure 136 onwards. This is merely one example, but when performing a substantial work (a long piece) like this, it is crucial to 'see the forest for the trees' – to view the whole. When considering the entire piece, there must be continuity throughout. It must form a single story or program. However, if one treats it in fragmented sections, these fragments will lack connection, making it sound as if many different pieces have been combined into one. When many different pieces sound as one, listeners perceive the same duration as much longer. Analyzing the piece from a broad perspective is the key to mastering a large-scale work.