lisztson.mid: [25:09]
   Liszt, Franz [1811-1886, Hungarian]
   Sonata in B Minor [1853]

Notes from Robert Finley, the sequencer:

   LISZT SONATA IN B MINOR

   Liszt composed the B minor Sonata in 1853 and dedicated it to Robert 
   Schumann in acknowledgement of Schumann's C major Fantasy. Unlike the
   sonatas of Beethoven and other earlier composers in which each movement
   is separate from the others, the four movements are joined together. The
   sonata is based on several themes which appear as different variations.
   Schubert did a similar thing to this in his Wanderer Fantasy. Perhaps
   Liszt based his sonata on a similar plan to the Wanderer Fantasy.  

   The sonata is very demanding, technically and musically, to play. It has
   many different moods, from peaceful to stormy, romantic, sad, happy etc. 

   Musicologists believe that the Sonata consists of a number of religious
   symbols described in music. For example, the muted, staccato notes at the
   beginning symbolize the serpent in the Garden of Eden tempting Adam to eat
   the forbidden fruit. The recitative before the slow middle section may
   symbolize the crucifixion scene when Jesus asks God "Why hath thou
   forsaken me?". There are parallels between the motifs in this Sonata and 
   other works of a religious nature by Liszt and other composers that give 
   credence to this theory. 

   Liszt was fascinated by the character Mephistopheles (the devil) and
   wrote four Mephisto Waltzes, and many other pieces with a similar style. 
   The fugue in the Sonata is an example of this mocking, satirical type of
   music.

   I have played this sonata many times in recital, in the UK and in the USA.
   I played it in Boston in 1986 to celebrate the 100th anniversary of the 
   death of Liszt. 

   The sonata plays for about 25 minutes and consists of a midi file with
   over 900 measures, with a file size over 160 KB. I produced this file
   by playing almost all of the notes on a Yamaha Clavinova, and using the 
   editor and mouse to correct wrong notes, adjust the tempo, improve the 
   melodic line and harmony. It should be played on a Yamaha Clavninova or
   similar electronic piano or synthesizer with a fair amount of reverb.

   I would like to dedicate this sequence to the memory of Jorge Bolet who 
   I studied with on several occasions in Edinburgh, Scotland and in 
   Washington DC. He was a such a wonderful teacher and interpreter of Liszt
   and Rachmaninoff, helped me a great deal, and was a real inspiration to 
   everyone. 

   Robert Finley. February 19th 1995.

Please report errors or additional info for this description to
David K. Gasaway, dgasaway@elite.net or mndmld@usa.net