No. 13 in A minor

First, it is essential to understand that composers each write scores with their own unique “habits” or “peculiarities.” These can manifest in various ways, such as contradictory voice leading, unusually detailed tempo markings, or the use of staccato instead of tenuto. Franz Liszt, in this sense, also possessed several distinct habits, one of which was an imprecision in timing. I do not wish to be misunderstood: this does not mean that Liszt wrote rhythmically contradictory scores. In fact, in that regard, he wrote note values more precisely than other composers. The issue lies in the performance practice.

Before explaining this piece, please refer to the beginning of No. 12. The problem lies in measures 3 and 6.

It is likely that no pianist counts and plays these two measures, which are almost entirely rests, precisely. If one counts four beats from measure 1, one is forced to play a considerably long tremolo in measure 2, which feels somewhat unnatural. Then, if one continues to count at the same tempo in measure 3, the silence in measure 3 will feel unusually long. The same applies to measures 4-6. Most pianists do not count measures 3 and 6 precisely, rushing to the next measure, yet it does not sound unnatural at all to the listener.

It is difficult to say what Liszt himself did, and no recordings remain, so I cannot definitively answer. However, for example, the piece “Vallée d'Obermann” is marked “Lento.” Yet, if one takes this literally, the piece becomes truly challenging. To understand such compositional peculiarities, one must play many of the composer's works, learn their musical language, study their habits, and practice so that many apparent contradictions can be performed naturally.

Younger pianists are often required to have a broad repertoire for competitions, necessitating knowledge of styles from Baroque to contemporary periods. However, focusing on a single composer to study and internalize their peculiarities requires a considerable amount of time. From this perspective, I feel it is unrealistic for any pianist to be proficient in all composers. Therefore, a pianist strong in a particular composer has a profound understanding of that composer, which is incomparable in terms of knowledge and linguistic comprehension to a pianist who has only studied that composer briefly.

Returning to the topic, this is an explanation of No. 13. Playing measures 1-99 of this piece strictly to a metronome will be extremely challenging. This is, of course, assuming one understands all beats, off-beats, and timings.

Liszt wrote detailed tempo change indications in measures 1-99. However, even if one were to adhere to them, one will clearly understand how unnatural a performance becomes if one strictly adheres to the note values. I feel that flexible improvisational quality is necessary when performing measures 1-99. And it must be varied according to many conditions to eliminate unnaturalness.

I will reiterate: Of course, one must precisely understand where the first beat is, where the second beat is, and where the off-beats are. However, when actually playing, though it may be a rough idea, I feel that bar lines can almost be disregarded. Such is the importance placed on improvisation.

Now, I am not confident how well I can explain measures 1-99 with my Japanese language ability, but let us examine the opening.

The goal of the opening is the E on the first beat of measure 4. It begins with an E two octaves lower in measure 1 and reaches the E in measure 4. The E in measure 1 starts on the off-beat and has an accent. Below it, “malinconico” is written, meaning full of sadness. Therefore, this E should not be played weakly; including the ornaments, it should be played with a sound that pierces the heart. From there, use rubato improvisationally, observe the “riten” in measure 3, and reach the E in measure 4. Measures 4 and 5 repeat exactly the same material, but please play them so that something is different. In measure 4, the peak is on the first beat of the measure, where it is loudest. After that, it gradually diminishes. The same applies to measure 5. In measure 6, the peak is on the second beat; in measure 7, the peak is on the second beat. I feel that the chord on the first beat of measure 8 is a resolution of measure 7, but it is also acceptable to make the first beat of measure 8 the goal. In measures 9-10, similar to measures 4-5, the first beat of each measure is the peak. However, in measures 9-10, as the music moves towards measure 11, make measure 10 louder than 9, and measure 11 louder than 10.

Upon reaching measure 11, apply a crescendo further towards the second beat of measure 12, followed by a diminuendo in measures 13-15.

Measures 16-24 are like a variation of measures 4-15. Of course, measures 16-24 are larger and have more depth.

Measures 25-36 become “dur” (major). Since it's “poco piu mosso,” add a little movement. However, be careful to play lightly and brilliantly, never heavily or strongly.

From measure 37 onwards, dark and bright aspects intertwine. Many variations are introduced, written with many small notes. This section does not get much louder yet. Always play with “transparency.” There are almost no forte markings; at most, it's mezzo forte (m. 47). Otherwise, “p” and “dolce” are the basic dynamics.

The true crescendo begins much later, from measure 72. This is a very passionate section. Set measure 82 as the goal and gradually increase the tension. Measures 82 and the right-hand cadenza in measure 83 are tricky parts. Since the emotions are very heightened, it is an even more prone-to-collapse section. Practice calmly.

From measure 84, it returns to the world of “p” and “dolce.” It gradually diminishes towards measure 99, as if a story is ending, a scene is fading away, or a curtain is falling on a stage.

From here (measure 100 onwards) it becomes a “friska” (in Gypsy music, the slow part is called “lassan” and the fast part is “friska”). Learners should first listen to Sarasate's Zigeunerweisen. It is precisely that kind of section. The tempo should be freely rubato, never played like a metronome. Although the tempo is fast and in 2/4 time, it can be broken down to the extent that bar lines are almost unnecessary. From measure 165 onwards, it becomes a variation. The four sixteenth notes within one beat should be played precisely so that all four are clearly audible. From here, gradually increase the tempo, but since it must be even faster upon reaching measure 200, start measure 165 relatively slowly (otherwise, it will become increasingly fast later, making it inconsistent). And the tempo should be fast until the final measure, measure 259. Do not slow down or stop midway, or allow the listeners to catch their breath. This is the key to performing Hungarian Rhapsodies. Never release the tension; keep pressing forward. Ultimately, you must present a crucible of excitement that is almost maddening. Do not worry about a few wrong notes; finish in one go, as flamboyantly as possible, to an extent that it cannot be any more spectacular.