Franz Liszt composed his Romance oubilée in 1880. It was originally written for the viola alto, a larger version of the standard viola invented by Hermann Ritter and designed to improve the instrument’s sound. Eventually, however, the piece was transcribed for violin or cello, as well as for piano solo. Serene, yet tinged with melancholy, the piece opens with a poignant motif stated by the soloist. The principal melody in E minor, taken from this motif, appears over a sparse accompaniment from the piano, but nevertheless increases in intensity as the harmonies become farther removed from the tonic. Changing from a triple to a duple meter, a brief transition creates a growing feeling of optimism and expectation, leading the music into the key of the tonic major. In this new key, the melody takes on an encouraging tone and builds towards a warm forte at its conclusion. However, the music turns introspective again with a cadenza but still retains its optimistic demeanor. The music remains in this thoughtful state through to the end of the piece. With sustained chords in the piano, a hymn-like solemnity is created, delicately embellished by the soloist, and the piece closes with a beautiful ascension through the tonic triad. Joseph DuBose
Classical Music | Piano Music
Franz Liszt
Romance oubliée
PlayRecorded on 04/21/1997, uploaded on 08/24/2011
Musician's or Publisher's Notes
Franz Liszt composed his Romance oubilée in 1880. It was originally written for the viola alto, a larger version of the standard viola invented by Hermann Ritter and designed to improve the instrument’s sound. Eventually, however, the piece was transcribed for violin or cello, as well as for piano solo. Serene, yet tinged with melancholy, the piece opens with a poignant motif stated by the soloist. The principal melody in E minor, taken from this motif, appears over a sparse accompaniment from the piano, but nevertheless increases in intensity as the harmonies become farther removed from the tonic. Changing from a triple to a duple meter, a brief transition creates a growing feeling of optimism and expectation, leading the music into the key of the tonic major. In this new key, the melody takes on an encouraging tone and builds towards a warm forte at its conclusion. However, the music turns introspective again with a cadenza but still retains its optimistic demeanor. The music remains in this thoughtful state through to the end of the piece. With sustained chords in the piano, a hymn-like solemnity is created, delicately embellished by the soloist, and the piece closes with a beautiful ascension through the tonic triad. Joseph DuBose
courtesy of the Liszt-Kodaly Society of Spain.
More music by Franz Liszt
Tarantelle di bravura, S 386
Consolation no. 4, S.172
Orage (Storm) from Book I Années de Pèlerinage: Suisse
Consolation N° 3
Vallée d'Obermann from Book I Années de Pèlerinage: Suisse
Orage (Storm) from Book I Années de Pèlerinage: Suisse
Paraphrase on Quartet from Verdi’s “Rigoletto”
Years of Pilgrimage, First Year: Switzerland
Les cloches de Genève: Nocturne, from from Années de Pélerinage: Suisse
Phantasiestück on themes from Rienzi, S.439
Performances by same musician(s)
Phantasiestück on themes from Rienzi, S.439
El Vito (Canciones clásicas españolas)
El majo tímido (Tonadilla)
Spanish Dances No.1 - Minueto
El Pelele, from Goyescas
Consolation no. 4, S.172
Resignazione, S.187a
Triana from Suite Iberia
Liebesträume No. 3 in A-flat Major (Dreams of Love)
Recueillement, S.204
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