Tibor Szasz

This study began on the day when I realized that the crucifixion music of Liszt's "Via crucis" is almost identical with a section of his Sonata in B Minor. I refer to the only place in the Sonata where dissonant chords alternate with recitatives. Finding prominent music from the Sonata in a profoundly religious work, I was compelled to search for an explanation. The presence in Franz Liszt's Sonata in B minor of the incipit of a Lied melody composed by the Grand Duchess Maria Pavlovna of Russia (1786–1859) is mentioned on page XIII in the foreword written by Mária Eckhardt to the 2015 Henle facsimile edition of the Sonata. The foreword is available for download http://www.henle.de/media/foreword/3227.pdf
Szász, a noted pianist and scholar, is Piano Professor at the University of Music, Freiburg, Germany since 1993. Doctorate: 1984, University of Michigan. Former professor at Duke University, University of Dayton, Bowling Green State University. Publications: USA, England, Germany, France, Holland, Romania and Hungary. Expertise: Mozart, Beethoven, Liszt, Bartók, Enescu. His identification of the Maria Pavlovna melody in the Liszt Sonata, and its divine and diabolical symbols, are noted in the 2015 Henle facsimile edition, see http://www.henle.de/media/foreword/3227.pdf His basso continuo research on Beethoven's five piano concertos was the centerpiece article in a Beethoven monograph, published by Cambridge University Press, and incorporated in three Urtext publications of Beethoven's piano concertos: Henle (Hans-Werner Küthen, ed.), Eulenburg No. 706 (Paul-Badura Skoda, ed.), and Bärenreiter (2015, Jonathan Del Mar, ed.).

Abstract
Szász, Tibor. Traditional and Oriental models in the bell-inspired piano music of George Enescu.
This article is indispensible for the correct performance of Enesco's exotic Carillon nocturne op. 18. Analysts have suggested that Enesco‘s Carillon nocturne (from his untitled and unfinished Pièces impromptues, op. 18) is a spin-off of the modernistic trends au courant in Europe at the time of its creation (1916). Based on this timely coincidence, they have mistakenly labeled the music of Carillon post-debussysm, me-tatonalism, politonalism, atonalism, and even spectralism. In reality, Georges Enes-co‘s Carillon nocturne op. 18 is a spin-off of sui generis psycho-acoustic phenomena known in campanology as the single ―strike note‖ and the upper and lower ―partials‖ of bells tuned according to the methods of the greatest carillon bell founders in the history of the Low Countries, namely, the brothers Pieter and François Hemony (who, in collaboration with Jacob van Eyck, have created the first tuned carillon in 1644). Figuratively speaking, it is the bells themselves who become the composer— a scenario reminiscent of Enesco‘s words ―You must learn to dance in chains‖ (―Tre-buie să ştii să dansezi în lanţuri‖). Since the invention of the tuning methods of the Hemony brothers, bells produce non-variant octaves and a prominent minor third (or, by inversion, major sixth) interval. When a diatonic major scale is played on a real carillon, it generates a hybrid minor/major tonality made of loudly perceived ―strike notes‖ and softly perceived ―partials‖ which, in conjunction with a melodic major third matrix, form in the mind of the listener a psycho-acoustic phenomenon known in music history as the ―cross relation‖ or ―false relation of the Renaissance‖. Enes-co's Carillon nocturne is a tripartite work (E-flat Major– F-sharp minor –E-flat Ma-jor) rooted in Enesco‘s onomatopoeic quasi campana / pseudo campana ―mottos‖ that open his unpublished piano Sonate in F-sharp minor (1912, Paris). Around the time when he drafted that Sonate, dated ~ Paris, le 18 Juillet 1912 ~, Enesco made certain statements about Romanian folk music which offended his compatriots [ref.: George Enescu: Interviuri din presa românească (1898 – 1946), Laura Manolache, ed., Bucureşti, 2005; Ion Borgovan, Luceafărul, Sibiu, nr. 6, April 8, 1912]. Enesco stated that the best-suited model for dealing with Romanian folk music in learned composi-tions is the rhapsodic idiom of Franz Liszt, and that Romanian folk music is still in statu nascendi, ―an amalgamation of Arab, Slav and Magyar music.‖ Yet Enesco knew Romanian folk music better than his critics. Béla Bartók‘s discovery in 1912 of the Hora lungă type folksong among the Romanians living in Hungary, and his 1913 discovery of the same type of folksong among the Arabs living in Biskra (Algeria) showed the correctness of Enesco‘s 1912 statements concerning the partly Arab ori-gin of Romanian folk music.

While not directly traceable to the composer, the nickname “Emperor” usually ascribed to Beethoven’s last completed Piano Concerto in E-flat major, op. 73 (originally published in England as op. 64) does have musical and historical connotations which can be identified. The musical evidence will, for convenience, be presented first and will be followed by the historical evidence.

Pianist and musicologist Bertrand OTT has requested that I make his work available on my ResearchGate portal. Bertrand Ott is pianist, pedagogue and musicologist, author of many articles on Chopin and Liszt, including Lisztian Keyboard Energy [The Ed. Mellen Press, Lewiston, NY, 1992] and Liszt and the Pedagogy of the Piano [Editions C.P.E./ Vanves, Paris, 2004].

BERTRAND OTT LA SONATE EN SI MINEUR: UN SPHINX LISZTIEN
Journal: Ouaderni 15 dell' Istituto Liszt
©2015 Volonte &
Co. s.r.l. - Milano Tutti i diritti riservati.
www.volonte-co.com

ABSTRACT of "The Sonata in B minor: A Lisztian sphinx"
For a long time Liszt's Sonata in B minor has kept its secret about its formal structure and possible program. It was like a sphinx riddle in the Lisztian repertoire. The structure of the Sonata - in the classical meaning of the word - was the main purpose of our research. However, as a result of strict comparisons between the first and the third parts of this sonata, we discovered the presence of two Sonatas with supporting evidence, and not the form of only one. This hidden evidence now gives rise to a question: why is the title of the score in the singular? Moreover, how does this new clarity about the Sonata's structure allow better inferences on the presence of an underlying and symbolic program? All this is analysed and resolved in this study. Concerning the precise literary program, the professor and pianist Tibor Szász has drawn an irrefutable conclusion about the Sonata as a symbolic score on divine and satanic concepts; to illustrate these concepts a literary reference used by Liszt is disclosed: Paradise Lost, the biblical epic by John Milton. Our work takes the enlightening conclusions of Szász rigorously into consideration. In the Sonata in B minor, expressive persuasion is indeed taken to its extreme to the point that the composer most likely felt that a programmatic explanation was useless. At the same time the discovery of an underlying program paradoxically offers a rare opportunity to explore more closely the treasures of a complex and sophisticated music.

BERTRAND OTT
Né à Paris en 1933. Il entre au Conservatoire National Supérieur de Musique de Paris et obtient un Premier Prix de Piano et d'Esthétique Musicale et un Diplôme de Pédagogie. Il travaille ensuite en Suisse avec Louis Hiltbrand, disciple de Dinu Lipati. Il est professeur au Conservatoire National de Région d'Angers pendant trente années. Il donne de nombreux récitals en France et en Europe où la critique compare son jeu à celui d'Alfred Cortot et de Walter Gieseking. Auteur de l'ouvrage Liszt et la Pédagogie du Piano (Editions CPEA (Paris), traduit et publié aux Etats-Unis (Lisztian Keybord Energy, Mellen Press, Lewiston NY), Bertrand donne des concerts-conférences en France et à l'étranger en lien avec ses travaux. S'intéressant aussi à la voix, il a rédigé avec sa femme cantatrice Jacqueline Ott, le livre sur les techniques du chant classique La Pédagogie de la voix et les techniques européennes du chant (L'Harmattan, Paris).

Die Erfordernisse des Krieges haben es dem Verfasser der vorliegenden
Arbeit nicht mehr gestattet, seine Dissertation, die im Jahre 1942 abgeschlossen und der Philosophischen Fakultät der Deutschen Karls-Universität in Prag vorgelegt.worden war, zu redigieren und in Druck gehen zu lassen.

Als einer von denen, die in der Heimat geblieben sind, glaube ich, meinem Freunde und Studienkollegen eìhe Ehrenpflicht zu erfüllen, wenn ich ihm diese geringe Arbeit .abnehme und damit einer wissenschaftlichen Arbeit an die Öffentlichkeit verhelfe, die, obgleich noch in ihren Anfängen, einen verheißungsvollen Grundstein einer neuen Mozartschau darstellt.

Unser gemeinsamer Lehrer, Prof. Dr. Gustav B e c k i n g in Prag, hat
uns in jahrelangen Übungen, Vorlesungen und Gesprächen ein neues
gültiges Bild der Persönlichkeit Mozarts entwickelt. Er hat dem Verfasser, der sich selbst eingehend zunächst mit den Sonaten und Phantasien beschäftigt hatte, im Jahre 1939 die Anregung gegeben, Mozarts entscheidende Wandlung der ersten Wiener Jahre zum Thema seiner Doktordissertation zu machen. Eine intensive Beschäftigung mit den Einwirkungen der norddeutschen Altmeister,-besonders Phil. Em. Bachs, auf die Klassiker brachte ihn wänrend zweijähriger unausgesetzter Arbeit die Bedeutung der deutschen
musikalischen Tradition für Mozarts Wandlung zum klassischen
Komponisten grundsätzlich nahe und lehrte sie ihn im einzelnen abschätzen und verstehen.

FULL TEXT OF THIS ARTICLE HERE AVAILABLE on Academia.edu
Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues. Tibor Szász (with Gerard Carter and Martin Adler) “New wine into old wineskins”—such is the reception history of Franz Liszt’s Sonata in B minor. Ever since its publication in 1854 the score has suffered from textual misinterpretations which are reproduced as a matter of longstanding tradition in current editions and performances. What has led to these widespread misinterpretations of the Sonata? The answer must be the music itself—a continuum in statu nascendi (in the state of being born)—for which analysts have yet to develop adequate means of analysis and synthesis. Liszt was not a good proofreader of his own compositions, and this circumstance, together with his failure to transfer his piecemeal revisions to all similarly affected structures has led to his Sonata being misunderstood by generations of musicians. Liszt’s Sonata has in the past been viewed through the spectacles of distorted tradition. Accustomed to look for a featured “tune” in the soprano, analysts have failed to detect the completely novel structure of the opening Lento assai which comprises two interacting polyphonic elements, of which the “melodic” voice is found not in the traditional soprano but in the bass. Unable to find the expected structures, interpreters have forced out of the printed notes of the score fictional “tunes” fitted into a bed of habitual “soprano melodies.” They have been labeled with two unrelated names, “Phrygian” and “Gypsy” and incorrectly referred to as “descending scales.” Typically, the opening Lento assai was misinterpreted as unisons (staccati on G, mm. 1, 4, 7) broken up in mm. 2–3 and 5–6 by a descending scale starting on high G and a drone starting on the same high G. The Sonata in B minor was published in 1854 with flaws which continue to be restated uncritically in current Urtext editions. These flaws manifest, not as wrong notes, but as details of notation which obscure the two-voiced polyphony in octaves of the Sonata’s Urmotiv (or thème générateur). Liszt’s failure to transfer his autograph revisions of the Urmotiv to all similarly affected structures resulted in a first edition that contained seven flaws in the opening three measures which reappear in mm. 4–7. The present authors have re-examined all the extant and relevant sources: the autograph manuscript (the so-called “Lehman Manuscript”), the two Henle facsimiles thereof, the only extant sonata sketch (GSA 60/N 2), an undated “Sonate” fragment in E minor (old catalogue S701t / new catalogue S692f), the Urtext and critical editions published in the last two centuries, as well as other scholarly contributions to the literature on the Liszt Sonata. Their re-examination has yielded the following conclusions: Urtext policies perpetuate many of the flaws of the first edition and ignore Liszt’s autograph revisions; no edition of the Sonata reflects Liszt’s intended graphic layout of the score; many current performances and analyses of the Sonata are flawed; a correct edition that constitutes his Fassung letzter Hand (final authorized text) is urgently needed. The likelihood of misinterpreting the confusing graphic layout of the first edition of the Sonata was recognized by a number of pupils close to Liszt. In particular, Arthur Friedheim, José Vianna da Motta, and Alexander Siloti produced rectified graphic layouts intended to prevent misinterpretations of the Sonata’s opening measures. However, these solutions remain mostly unknown today. The aim of this article is to provide an impulse for the publication of a more correct Urtext edition of the Liszt Sonata which is free of the numerous flaws contained, not only in the first edition of 1854, but in all published Urtext and non-Urtext editions since then. Indeed, the time is ripe to excuse Liszt’s deficient proofreading, to remedy the resulting textual misinterpretations by performers, scholars, and editors, and to rehabilitate the text of the Sonata in a reliable Urtext edition based on Liszt’s previously ignored revisions. Implementation of this project will not be difficult, time-consuming, or expensive. It largely consists of amendments to the fourteen crucial measures 1–7 (Lento assai) and 453–59 (Quasi adagio). Besides making suggestions for a correct Urtext edition, the present authors have strived to point out the far-reaching consequences for performance of the rehabilitated Sonata text.

XXII
Franz Liszt’s arrangement of Maria Pavlovna’s Lied “Es hat geflammt” and large-scale structures in Liszt’s Sonata in B minor and Faust-Symphonie
by Tibor Szász
© 2018, Hermann, www.editions-hermann.fr
ABSTRACT
The Grand Duchess Maria Pavlovna Romanova (1786–1859) was not only Franz Liszt’s patron, but also received musical instruction from him. In previously published research, Tibor Szász has shown that Liszt used the melody of one Lied by Maria Pavlovna in his fourth Consolation
and in the Sonata in B minor.1 A study by Martin Adler, Tibor Szász and Gerard Carter has subsequently demonstrated that the same Pavlovna melody was also featured as opening theme in Liszt’s final revision of his Petrarch Sonnet no. 47 (“Benedetto sia „l giorno”) published in 1883.2 A
comprehensive study on the Liszt Sonata was published in the Journal of the American Liszt Society.3
Liszt’s arrangement of a different Pavlovna Lied titled “Es hat geflammt” was probably rendered during Pavlovna’s study with Liszt in 1848–49. Although the original Lied of Pavlovna has not survived, Szász identified its lyrics as those of the poem Die Brautnacht by Wilhelm Müller (1794–
1827), the same poet who inspired Franz Schubert’s Lieder cycles Die schöne Müllerin and Winterreise.
In the present article, Szász unveils evidence which suggests that Liszt’s arrangement was definitely intended for a publication which unfortunately never came to fruition. The three autograph manuscript pages by Liszt are reproduced in facsimile and complemented with a first edition by Tibor Szász.
Liszt’s arrangement of the Pavlovna Lied “Es hat geflammt” is an important document as it appears to summarize the essence of Liszt’s instruction to Maria Pavlovna. Although Pavlovna’s autograph manuscript is not available for comparison, internal evidence suggests that the Lied’s melody, harmonies and rhythms were authored by Pavlovna, while the pianistic idiom of the Lied proper, and its prelude and postlude, were composed by Liszt.
Liszt’s original prelude and postlude provide a “key” to unlocking the large-scale structures of his B minor Sonata and Faust-Symphonie. The use of scale degrees 6, 5, 1 heard as opening bass pitch pattern in Liszt’s Lied arrangement constitute, in a nutshell, the basic tonal pillars of the opening themes of the Liszt Sonata and Faust Symphony. Szász also argues that the thirteen-note theme (!) of the Faust-Symphonie may have been inspired by Schubert’s “Szene aus Goethes Faust”, D. 126b, and by
the Symbol of the Macrocosm mentioned in the opening monologue of Goethe’s Faust.
Tibor Szász, an internationally acclaimed pianist and scholar, has done extensive studies on Liszt, Mozart, Beethoven, Bartók and Enescu. He was born in Transylvania (Romania) to Hungarian parents, and studied with Eliza Ciolan, a pupil of Alfred Cortot, before going to the USA. He holds a Doctor of Musical Arts degree from the University of Michigan. Szász has been professor at Duke University, Bowling Green State University, University of Dayton and, since 1993, Professor of Piano at the Hochschule für Musik, Freiburg, Germany.
1 “Liszt’s Symbols for the Divine and Diabolical: Their Revelation of a Program in the B minor Sonata,” Journal of the
American Liszt Society 15 (June 1984), 35–95.
2 See Martin Adler (with Tibor Szász and Gerard Carter), “Franz Liszt and Maria Pavlovna Romanova: An Homage
to the Grand Duchess in Liszt’s Petrarch Sonnet No. 47,” Journal of the American Liszt Society 66 (2015), 23–33.
3 Tibor Szász (with Gerard Carter and Martin Adler), “Towards a New Edition of Liszt’s Sonata in B Minor: Sources,
Editorial History, Symbolic Issues”, Journal of the American Liszt Society 68 (2017), 57–108.

Pianist and musicologist Bertrand OTT has requested that I make his work available on my Academia.edu portal. Complete title of the article: LEARN FROM LISZT THE TEACHER: LISZT'S LEGACY in A NUTSHELL or How to make the piano sing, by Bertrand Ott. This article was published in the Piano Journal No. 74, 2004. About the author: Bertrand Ott, pianist, pedagogue and musicologist, is author of Lisztian Keyboard Energy [The Ed. Mellen Press, Lewiston, NY, 1992] and Liszt and the Pedagogy of the Piano [Editions C.P.E./ Vanves, Paris, 2004].

Die Melodie des Schwans von Camille Saint-Saëns (aus der Suite « Le Carnaval des Animaux », 1886) wird von Kennern zu Recht als eine der schönsten Melodien angesehen, die jemals komponiert wurden. Was könnte die Inspiration für die anmutige Form dieser schönen Melodie gewesen sein? Als ich ein kleines Kind war, verwendeten unsere Lehrer Bilder aus der Tierwelt, um uns die Formen von Zahlen beizubringen. Ich erinnere mich lebhaft an eine Folge von Bildern, die mit dem Bild eines schönen Schwans begann und mit der abstrakten Form der Ziffer 2 endete.

The Swan by Saint-Saens and the number 2 (French and English).

La gracieuse mélodie du Cygne de Camille Saint-Saëns
(Le Carnaval des animaux, XIII.)

The graceful melody of Le Cygne by Camille Saint-Saëns
(Le Carnaval des animaux, XIII.)

Quand j'étais petit, nos professeurs utilisaient des images tirées du monde animal pour nous apprendre les formes des nombres. Je me souviens avoir regardé de façon vivante une séquence d’images qui a commencé comme celle d’un beau cygne et s’est terminée par la forme abstraite du chiffre 2.

When I was a little child, our teachers used imagery taken from the world of animals in order to teach us the shapes of numbers. I remember vividly looking at a sequence of images which started out with the image of a beautiful swan and ended up with the abstract shape of the numeral 2.

La gracieuse mélodie du Cygne de Camille Saint-Saëns
(Le Carnaval des animaux, XIII.)

The graceful melody of Le Cygne by Camille Saint-Saëns (Le Carnaval des animaux, XIII.)

Quand j'étais petit, nos professeurs utilisaient des images tirées du monde animal pour nous apprendre les formes des nombres. Je me souviens avoir regardé de façon vivante une séquence d’images qui a commencé comme celle d’un beau cygne et s’est terminée par la forme abstraite du chiffre 2.

When I was a little child, our teachers used imagery taken from the world of animals in order to teach us the shapes of numbers. I remember vividly looking at a sequence of images which started out with the image of a beautiful swan and ended up with the abstract shape of the numeral 2.

Fordította: Dr. med. Csordás Zoltán (2003) Revideálta: Szász Tibor (2011) " …a zene egyszersmind isteni és ördögi művészet. " Liszt Ferenc Bevezetés Ez a tanulmány akkor született, amikor fölismertem, hogy Liszt Via crucisának keresztre feszítési zenéje csaknem azonos egy részlettel a h-moll szonátában. Arra a helyre gondolok, ahol a disszonáns akkordok recitativókkal váltakoznak. Az, hogy a h-moll szonátából ilyen jelentős zenét egy ilyen mélyen vallásos műben megtaláltam, arra sarkallt, hogy magyarázatot keressek. A h-moll szonáta disszonáns akkordütéseit egy lassú, " appassionato " jelzésű recitativo töri meg. Egy drámai szünet után az akkordütések visszatérnek, majd ismét egy recitativo szakítja meg őket (297-310. ütemek). Nekem, mint koncertzongoristának, ez a részlet problémát jelentett, minthogy a zenei folyamat megszakadásának nincs kézenfekvő oka. Huszonhat évvel azután, hogy Liszt megírta a h-moll szonátát, ezen ütemek [Ex.1.1.] zenéjét a Via crucisban [Ex.1.2.] keresztre feszítés megjelenítésére használta. (A hivatkozott zenei jegyzetek a cikk végén összegyűjtve találhatók. A megfelelő jegyzetek megtalálását két szám segíti. Az első a jegyzetsort jelöli (az összetartozó kottajegyzeteket tartalmazó oldalt), míg a második a jegyzetsor megfelelő jegyzetére vonatkozik. Például az [Ex.5.] az ötödik jegyzetsor egészére, valamennyi jegyzetére vonatkozik, az [Ex.5.6.] jelölés pedig az 5. sor 6. jegyzetére vonatkozik. A jegyzetsorok számsorrendben követik egymást.) Zenei szempontból a két részlet aligha lehetne hasonlóbb. Akkordjaik megegyeznek hangnemükben, harmóniavilágukban, fekvésükben, domináns orgonapontjukban, dinamikájukban és hirtelenségükben. Dallamuk és ritmusuk hasonló, ráadásul az akkordokat hasonló módon kezdődő recitativók követik. Liszt a h-moll szonáta akkordmenetét és a recitativót még kifejezettebben szétválasztotta a Via crucisban, ahol a zene folyama a programból adódóan szakad meg: Krisztus szenvedéstörténetének megjelenítése céljából. A Via crucisban az akkordütések Jézus keresztre szögezését jelképezik, a recitativo pedig Krisztus keresztről hangzó szavait szólaltatja meg: " Én Istenem, én Istenem! miért hagyál el engemet? ". A h-moll szonáta akkordjai és recitativói tehát a Keresztút két külön állomásának megjelenítésére szolgálnak. Ez a megkülönböztetés a passió zeneirodalmában hagyományos, ahol is a feldühödött tömeg és a Megváltó szavai (turba és vox Christi) zenei ellenpontot képeznek. A kérdés tehát megkerülhetetlenné vált: Liszt vajon passió-zenét szándékozott komponálni, amikor a h-moll szonáta kalapácsütésszerű akkordjait és a recitativo appassionatót leírta? A válaszhoz a fellelhető forrásanyagok kiterjedt tanulmányozása vezetett: amikor Liszt a Via crucist írta, a h-moll szonátából vette át az akkordokat és a recitativót, mivel azok már a szenvedéstörténetet jelentették számára. A keresztre feszítést mindkét műben Liszt kereszt-szimbóluma fejezi ki zeneileg. Ez a zenei szimbólum szembeötlő a Via crucisban, és mint azt legalább hat zenetudós már korábban leírta, kimutatható a h-moll szonátában is. A következtetés azon a közvetlen bizonyítékon alapszik, melyet Liszt zenéje és levelezése nyújt számunkra. Noha az anyagok nagy része, melyből a bizonyítás ered, már régen közkézen forog, és bár különféle tanulmányok megkísérelték Liszt zenéjének programszerű utalásait feltárni, mindezidáig nem készült zenei szimbolikájáról átfogó elemzés és összefoglalás. A jelen tanulmány megmutatja, hogy számos korábbi elképzelés Liszt absztrakt-és programzenéjét illetően megalapozatlan. A szimbolizmus annyira meghatározó része Liszt kompozíciós technikájának, hogy elérkezett az ideje feldolgozni a teljes életművet és annak viszonyát a romantikához, ténylegesen viszonyát a zenetörténetben betöltött szerepéhez. Ezen cikk célja mindazonáltal az, hogy megmutassa: a h-moll szonátának van programja, amely Liszt azon hátrahagyott jelei nyomán derül ki, melyek zenei szimbolikájához vezetnek. Ezen nyomok értékelése a következő nyolc megállapítást eredményezte – figyelembe véve szimbolizmusát általában és h-moll szonátáját közelebbről.

Tema quasi Adagio и Lied Марии Павловны Романовой
Тибор Сас (Tibor Szász)
Иллюстрация 1: Шестиконечная звезда из листовского Утешения № 4, первое издание.
Возможно, ни одно другое сочинение Ференца Листа (1811-1886) не
вызывало так много споров среди пианистов, критиков, теоретиков и музыковедов, как его грандиозный опус для фортепиано соло - Соната h moll, законченная в 1853 году. Информация, которая содержится в письме жившего в Лондоне шопеноведа Артура Хедли (1905-1969), вместе с моим
исследованием, позволила мне доказать, что Andante sostenuto / quasi Adagio тема Сонаты h-moll связана с замечательной песней (Lied), сочинённой в 1849 году Марией Романовой.
Мария Павловна Романова (1786-1859) являлась потомком династии Романовых-Гольштейнов-Готторпов, третьей дочерью Русского царя Павла I и Софии Доротеи Вюртембергской; благодаря браку с Чарльзом Фредериком она стала Великой Герцогиней Саксонии-Веймара-Эйзенаха.
Она была покровительницей наук и искусств, набожной христианкой, посвятившей свою жизнь помощи женщинам и бедным, и одарённой сочинительницей песен (Lieder). Её огромная любовь к музыке сподвигла её на обучение пению, игре на фортепиано, клавесине и арфе. Она занималась композицией с Джузеппе Сарти (1729-1802), Иоганном Готлибом Топфером (Johann Gottlieb Töpfer, (1791-1870) и непосредственно с Листом самим. Именно Романова назначила Иоганна Непомука
Гуммеля (1778-1837), а позже и Листа на пост Капельмейстера
Веймарского Двора.
Согласно Эдуарду Францу Генасту (Genast,1797-1866), она не только брала уроки фортепиано у Гуммеля, но также могла читать и транспонировать полные оркестровые партитуры ”как Капельмейстер”.

VII. Carillon nocturne op. 18 (E-flat major / F-sharp minor / E-flat major) was composed by Georges Enesco in 1916 at Sinaia. The autograph manuscript got lost during World War I, and Enesco died believing that the unpublished piece was forever lost. Nevertheless he included it in a handwritten catalog in which the seven finished pieces of the lost autograph became titled Pièces impromptues opus 18. An eights piece, « VIII. Défilé dans l’ombre », was never completed (60 measures are extant). The lost autograph manuscript was rediscovered in 1957.
In a lecture-recital delivered in 2011 at a university in Germany, Tibor Szász demonstrated that Carillon is a spin-off of Enesco’s bell imitations included in his 1912 ―precursor Sonata in F-sharp minor‖ (revised and published in its final form in 1924 under op. 24 No. 1). Signed « Georges Enesco ~ Paris, le 18 Juillet 1912 ~ » , the first movement of the precursor Sonata features Enesco’s ―quasi campana‖ cluster (meaning ―make it sound like large church bells‖) which is based on genuine psycho-acoustic phenomena (minor third / major sixth overtones enclosed within an octave -- the typically perceived sound of single Western European bells and carillons). [Note: it was the Hemony brothers—Pierre and François Hemony of Belgium who, with the likely help of Jacob Van Eyck, were the first European bell founders to effectively tune the lower five partials in bells. Before them, an instrument of well-tuned bells was a dream that many strived for but couldn’t quite attain. The Hemony brothers proved that bells could be precisely tuned to play harmonious music. After their deaths, they were known as the Stradivarii of the carillon].1 The first composer to use the ―quasi campana‖ cluster was Franz Liszt « Funérailles 1849 ». Tibor Szász discovered that Enesco’s 1912 ―quasi campana‖ cluster was complemented in his 1916 Carillon with the ―pseudo campana‖ cluster (synchronous minor sixth ―undertones‖ of church and carillon bells) and the ―hybrid campana‖ cluster (a precursor of this cluster type was used by Camille Saint-Saëns in his ―Egyptian‖ Piano Concerto No. 5 of 1896 near the end of the second movement). The ―hybrid campana‖ type sonority in the one-measure cadenza of Saint-Saëns’ Concerto op. 103, second movement, probably inspired the virtuosic one-measure cadenza of Enesco’s Carillon nocturne of 1916 featured at the mid-point of the piece (the Saint-Saëns Concerto was performed by the composer in 1896 while Enesco resided in Paris).

Consult the FULL TEXT of the article "Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues" by Tibor Szász (with Gerard Carter and Martin Adler), Journal of the American Liszt Society, Volume 68, 2017, pp. 57 - 108.
Sharon Winklhofer stated in her doctoral dissertation [Sharon Winklhofer, Liszt's Sonata in B Minor; A Study of Autograph Sources and Documents (Ann Arbor, Michigan: UMI Research Press, 1980], that Arthur Hedley still possessed in 1967 a notebook page on which Liszt wrote down in 1849 the adagio theme of the Sonata. The facsimile of Hedley’s letter to William S. Newman reproduced in this PDF file corroborates Winklhofer's statement. Tibor Szász discovered in 1982 that the entire melodic material of the Sonata’s Andante sostenuto theme (triple piano, mm. 331–338, subsequently Quasi Adagio, double and triple forte, mm. 394–401) was based on an original Lied by the Grand Duchess Maria Pavlovna of Russia (1786–1859). Liszt’s use of this melody in his Consolation IV, together with a reference to its composer, Maria Pavlovna, was acknowledged by an acronymic footnote added by Liszt to a manuscript copy of the 1849 version of Consolation IV. The Maria Pavlovna Lied melody seems to have had a religious meaning for Liszt because for both compositions, the Consolation and the Sonata, the religious character is not only perceptible, but also explicitly mentioned in Lina Ramann’s Liszt-Pädagogium. Liszt’s deletion in the Lehman manuscript of the original bombastic ending and its substitution with the Maria Pavlovna Lied melody (mm. 711ff) imparted to the concluding pages of the Sonata its celebrated spiritual aura. Liszt incorporated the opening pitches of the Pavlovna melody in his published "Star Consolation" (marked Quasi Adagio, cantabile con divozione), in his Sonata in B minor, and in his final homage to Maria Pavlovna by substituting the melody of his own Petrarch Sonnet No. 47 with the head-motif of the “Pavlovna Lied”.  Szász discovered in 2011 the identity of the poet whose words served as lyrics for a very different Pavlovna Lied—“Es hat geflammt” (S.685 = LW N47 = R644b)—preserved in the Klassik Stiftung Weimar, Goethe- und Schiller-Archiv under GSA 60/D 69. “Es hat geflammt” quotes words from the poem “Die Brautnacht” by the same Wilhelm Müller who inspired Schubert’s celebrated Lieder. Since the “Pavlovna Lied” has not come down to us, Szász determined that the only poem by Müller to fit the melody of Liszt’s Consolation IV of 1849 is Seefahrers Abschied (Sailor’s Farewell)—a poem set also by Fanny Mendelssohn in 1823 in an astonishingly similar manner. The poem is about a sailor ready to undertake a dangerous voyage on sea from which he may never return to see his beloved. The sailor asks a swallow for the gift of a feather to write a letter to his beloved. Müller’s poem reveals the missing link between Pavlovna’s setting of Seefahrers Abschied and the radiant Star printed above the 1850 German edition of Liszt’s Star Consolation. To this day, Müller’s poem is invoked in maritime organizations in line with the old Gregorian tradition of Stella maris—“Our Lady, Star of the Sea”—a title given to the Virgin Mary, guardian of human beings sailing on the stormy sea of earthly life. Concurrently, the star refers to her namesake Maria Pavlovna whom Liszt identified with his autograph acronym « D’après un L.D.S.A.I.M.P…» [= “D’après un Lied de Son Altesse Impériale Maria Paulowna”] Consult the article "Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues" by Tibor Szász (with Gerard Carter and Martin Adler), Journal of the American Liszt Society, Volume 68, 2017, pp. 57 - 108.

Ich möchte mit Ihnen heute einen ungewöhnlichen Weg der Betrachtung eines herausragenden Werkes der Solo-Klavierliteratur beschreiten:
Enescus Carillon nocturne (Nr. 7 aus Pièces Impromptues op.18).
Insbesondere will ich dabei mit Ihnen einige Beobachtungen teilen, die sich aufdrängen, wenn man dieses Werk in seinem Zusammenhang betrachtet und dabei berücksichtigt welche Art von Verwobenheit zwischen Komponisten und Kompositionen bei der Entwicklung von neuem Klavierrepertoire besteht.
Sie wissen selbstverständlich, dass im Verlauf der Musikgeschichte verschiedene Komponisten sich bei ihren Bemühungen neue Kunstwerke zu erschaffen immer wieder gegenseitig beeinflusst haben. Musikalische Ideen eines Komponisten können also einen anderen inspirieren, eine neue eigene Komposition zu schaffen. Diese neue Komposition kann - auch wenn sie auf zuvor verwendetem musikalischem Material gegründet ist - als in hohem Grade originelles und eigenständiges Kunstwerk angesehen werden.
Das Klavierstück, das ich hier besprechen will, stellt in diesem Sinne ein ursprüngliches Meisterwerk dar, während es zugleich tief in der musikalischen Tradition der Vergangenheit verwurzelt ist.
Kommen wir zu Enescus Carillon nocturne.

Pianist and musicologist Bertrand OTT has requested that I make his work available on my Academia.edu portal. The two articles included in this PDF file were previously unpublished. ABSTRACT (French original by Bertrand Ott) Les ballades de Chopin sont des partitions à la fois énigmatiques et bien connues des pianistes et des mélomanes. L’idée que l’on puisse appliquer à cette oeuvre la notion de « musique à programme » est généralement dénié par la musicologie qui met en avant un Chopin plus intéressé par l’approche musicale pure que par les références littéraires. Pourtant, une anecdote rapporte que Robert Schumann tiendrait de Chopin lui-même que la première et la seconde ballade sont inspirées de poèmes du polonais Mickiewicz, sans d’ailleurs préciser lesquelles. Mais encore une fois, cette référence sera perçue comme une vision romantique et séduisante mais sans fondement avant d’être écartée de la plupart des analyses musicologiques. L’article « Les ballades de Chopin et leur secret polonais » se propose de remettre en question cette opinion communément admise et de démontrer une réelle analogie entre les quatre ballades de Chopin et les poèmes de Mickiewicz préférant une analyse sémantique rigoureuse et détaillée à l’analyse structurale. Dans un deuxième article, « Le romantisme selon Chopin » explorera plus largement les raisons du mystère qui entoure les ballades du compositeur. ABSTRACT (Free English translation by Tibor Szász, edited by Gerard Carter). Chopin’s Ballades are as enigmatic as they are well-known to pianists and music lovers. The idea that they could be regarded as « program music » has been usually rejected by musicologists who have tended to emphasize their purely musical aspects rather than their literary context. Robert Schumann, however, maintained that Chopin himself had stated that the first and the second Ballade were inspired by poems by the Polish poet Mickiewicz, without naming their titles. Yet the majority of musicologists saw this romantic vision of the Ballades as unfounded. Titled « Les ballades de Chopin et leur secret polonais » [Chopin’s Ballades and their Polish secret], the present article endeavors to demonstrate a substantial analogy between the four Ballades of Chopin and the four poems of Mickiewicz analyzed from a semantic rather than an exclusively structural point of view. A second article titled « Le romantisme selon Chopin » will explore the broader context of the mystery surrounding the Polish composer’s Ballades. ABSTRACT (French original by Bertrand Ott). Le romantisme de Chopin ne correspond pas à la vision habituelle du romantisme. Chopin est né en Pologne et s’est exilé en France, aussi le romantisme de Chopin est marqué par une douloureuse solitude. Malgré son accueil chaleureux, la haute société française n’offre pas un cadre épanouissant pour cet homme discret et triste qui préfère fréquenter le cercle restreint de ses amis exilés comme lui et les quelques élèves pianistes qui lui assurent son gagne-pain. C’est dans le Berry, auprès de Georges Sand que Chopin va enfin trouver la paix. Et, c’est au milieu de ces paysages reposants que va éclore la violence des quatre ballades. Souvent regardées comme une énigme d’un point de vue musicologique, ces compositions contrastent avec l’image habituelle d’un Chopin pâle et introverti, dont les valses, mazurkas et polonaises entrainent le public des salons parisiens dans des rêves mélancoliques emplis de nostalgie. Ce jeu si intériorisé semble en telle contradiction avec le jeu passionné et intense que demandent les Ballades qu’il ne les joua pas en public sauf la Troisième. Comme l’exprime si bien Robert Schuman, les oeuvres de Frédéric Chopin sont « des canons enfouis sous des fleurs. " Il faut garder cette ambiguïté à l’esprit lorsque l’on interprète sa musique. Au-delà du mystère et de la discrétion d’un Chopin qui semblait jouer presque pour lui-même, derrière la séduction d’une musique à la fois virtuose, sensuelle et mélancolique, se cache à chaque instant l’intensité et la profondeur d’un homme plein de souffrance, de violence et de passion. ABSTRACT (Free English translation by Tibor Szász, edited by Gerard Carter). Chopin’s romanticism did not fit well with the generally accepted concepts of 19th century romanticism. Chopin was born in Poland and went into exile in France, hence his romanticism was marked by a painful loneliness. Although warmly welcomed by upper class French society, their milieu did not offer the fertile ground for the artistic unfolding of this discreet and sad human being who preferred the small company of his exiled Polish compatriots and that of his own piano students. It is in le Berry in the company of Georges Sand that Chopin found the sought after creative environment. Regarded often as an enigma from a musicological point of view, these compositions stand in sharp contrast to the commonly accepted image of a pale and introverted Chopin whose waltzes, mazurkas and polonaises induced in the Parisian salons melancholic reveries full of nostalgia. This introverted playing seemed to be in such contradiction with the passionate and intense tone demanded by most of the Ballades that Chopin performed only the third one in public. The Ballades of Frédéric Chopin are true « cannons buried under flowers » as aptly characterized by Robert Schumann. Beyond the mystery and discretion of a Chopin whose playing produced a pianissimo barely audible to the audience is hidden the intensity and the spiritual depth of a suffering, forceful and passionate human being.

The purpose of this document is to disseminate the commercially unavailable transcriptions for piano solo by pianist Vladimir Leyetchkiss. One of the last pupils of the great Heinrich Neuhaus, Leyetchkiss was born August 8, 1934, and died October 11, 2016.  Leyetchkiss created, among others, the only transcription of the "Rite of Spring" approved by Igor Stravinsky. This particular document is Leyetchkiss' transcription for piano solo of Dvořák Slavonic Dance in E minor, Op. 72 No. 2 (autograph manuscript of Leyetchkiss).

The purpose of this document is to disseminate the commercially unavailable transcriptions for piano solo by pianist Vladimir Leyetchkiss. One of the last pupils of the great Heinrich Neuhaus, Leyetchkiss was born August 8, 1934, and died October 11, 2016.  Leyetchkiss created, among others, the only transcription of the "Rite of Spring" approved by Igor Stravinsky. This particular document is Leyetchkiss' transcription for piano solo of Debussy Fêtes (Nocturnes, No. 2), autograph manuscript and printed score. A live performance of this transcription performed by Vladimir Leyetchkiss was uploaded by Tibor Szász unto YouTube under https://youtu.be/hnU3_vjI1wg

FULL TEXT OF THIS ARTICLE NOW AVAILABLE on Academia.edu
Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues
Tibor Szász
(with Gerard Carter and Martin Adler)
“New wine into old wineskins”—such is the reception history of Franz Liszt’s Sonata in B minor. Ever since its publication in 1854 the score has suffered from textual misinterpretations which are reproduced as a matter of longstanding tradition in current editions and performances. What has led to these widespread misinterpretations of the Sonata? The answer must be the music itself—a continuum in statu nascendi (in the state of being born)—for which analysts have yet to develop adequate means of analysis and synthesis. Liszt was not a good proofreader of his own compositions, and this circumstance, together with his failure to transfer his piecemeal revisions to all similarly affected structures has led to his Sonata being misunderstood by generations of musicians.
Liszt’s Sonata has in the past been viewed through the spectacles of distorted tradition. Accustomed to look for a featured “tune” in the soprano, analysts have failed to detect the completely novel structure of the opening Lento assai which comprises two interacting polyphonic elements, of which the “melodic” voice is found not in the traditional soprano but in the bass. Unable to find the expected structures, interpreters have forced out of the printed notes of the score fictional “tunes” fitted into a bed of habitual “soprano melodies.” They have been labeled with two unrelated names, “Phrygian” and “Gypsy” and incorrectly referred to as “descending scales.” Typically, the opening Lento assai was misinterpreted as unisons (staccati on G, mm. 1, 4, 7) broken up in mm. 2–3 and 5–6 by a descending scale starting on high G and a drone starting on the same high G.
The Sonata in B minor was published in 1854 with flaws which continue to be restated uncritically in current Urtext editions. These flaws manifest, not as wrong notes, but as details of notation which obscure the two-voiced polyphony in octaves of the Sonata’s Urmotiv (or thème générateur). Liszt’s failure to transfer his autograph revisions of the Urmotiv to all similarly affected structures resulted in a first edition that contained seven flaws in the opening three measures which reappear in mm. 4–7.
The present authors have re-examined all the extant and relevant sources: the autograph manuscript (the so-called “Lehman Manuscript”), the two Henle facsimiles thereof, the only extant sonata sketch (GSA 60/N 2), an undated “Sonate” fragment in E minor (old catalogue S701t / new catalogue S692f), the Urtext and critical editions published in the last two centuries, as well as other scholarly contributions to the literature on the Liszt Sonata. Their re-examination has yielded the following conclusions:
Urtext policies perpetuate many of the flaws of the first edition and ignore Liszt’s autograph revisions;
no edition of the Sonata reflects Liszt’s intended graphic layout of the score;
many current performances and analyses of the Sonata are flawed;
a correct edition that constitutes his Fassung letzter Hand (final authorized text) is urgently needed.
The likelihood of misinterpreting the confusing graphic layout of the first edition of the Sonata was recognized by a number of pupils close to Liszt. In particular, Arthur Friedheim, José Vianna da Motta, and Alexander Siloti produced rectified graphic layouts intended to prevent misinterpretations of the Sonata’s opening measures. However, these solutions remain mostly unknown today.
The aim of this article is to provide an impulse for the publication of a more correct Urtext edition of the Liszt Sonata which is free of the numerous flaws contained, not only in the first edition of 1854, but in all published Urtext and non-Urtext editions since then. Indeed, the time is ripe to excuse Liszt’s deficient proofreading, to remedy the resulting textual misinterpretations by performers, scholars, and editors, and to rehabilitate the text of the Sonata in a reliable Urtext edition based on Liszt’s previously ignored revisions. Implementation of this project will not be difficult, time-consuming, or expensive. It largely consists of amendments to the fourteen crucial measures 1–7 (Lento assai) and 453–59 (Quasi adagio).
    Besides making suggestions for a correct Urtext edition, the present authors have strived to point out the far-reaching consequences for performance of the rehabilitated Sonata text.

This study began on the day when I realized that the crucifixion music
of Liszt's Via crucis is almost identical with a section of his Sonata in B Minor. I refer to the only place in the Sonata where dissonant chords
alternate with recitatives. Finding prominent music from the Sonata in a
profoundly religious work, I was compelled to search for an explanation.
The Sonata's dissonant chordal blows are interrupted by a slow recitative marked appassionato. After a dramatic pause, the chordal blows return and are interrupted by yet another recitative (mm 297-310).
To me as a concert pianist, this section has been problematic because
the musical flow is disrupted for no apparent reason.

Twenty-six years after Liszt composed the Sonata, he recalled the
music from these measures (Ex.1.1) for use as crucifixion music in Via
crucis. (Ex.1.2.) [Sets of musical examples cited in the text are placed at the end of the article. Reference to specific examples is facilitated by the use of two numbers. The first indicates a "set" (a page containing many related examples), and the second refers to the specific example of the set. For instance, Ex.5 refers to all the examples of set 5. Ex.5.6 refers to the sixth example of set 5. The sets appear in numerical order.]

Musically the two passages could hardly be more alike. Their chords
are identical in tonality, harmony, register, dominant pedal, dynamics, and
attack. Their melody and rhythm are similar, and in both works, the chords are followed by recitatives that begin alike. Liszt disjointed the
Sonata's sequence of chords and recitative even more in Via crucis, where the musical flow is disrupted for a programmatic reason: the Passion of Christ.

In Via crucis, the chordal blows symbolize the nailing of Jesus to the
Cross, and the recitative sets Christ's words from the Cross, "My God, my
God, why hast thou forsaken me?" The Sonata's chords and recitative had become two separate Stations of the Cross. Such separation is traditional in most Passion music in which mob and Savior (turba and vox Christi) are musically contrasted.

The question was inevitable: did Liszt have Passion music in mind
when he composed the Sonata's hammered chords and recitativo appassionato?

Beethoven's painstaking efforts in preparing a detailed col basso continuo notation in what became his last completed piano concerto
(and one of the most frequently performed works today) are clear. The efforts of modern pianists and fortepianists in meeting Beethoven's challenge should be no less painstaking. Once the musical need for continuo in Classical symphonic orchestration is understood, performers will surely develop the musical and technical skills needed to perform the "Emperor" (and every other Haydn, Mozart, and Beethoven concerto) with a stylistically correct and artistically satisfying continuo. Perhaps in the future the continuo will come to be viewed as a standard part of the Classical orchestra, not only for concertos and operas, but for the orchestral repertoire as well.

In his "Emperor" Concerto op. 73, Beethoven presented posterity with the most detailed instructions that can be given within the framework of Generalbass notation: the right hand's continuo activity (figures or all'ottava) or inactivity (tasto solo), and the left hand's idiomatic keyboard adaptation of the string bass line.

The question of the basso continuo function of the soloist resurfaced in this writer's preliminary evaluation of a hitherto unexplored eighteenth-century French keyboard part4 belonging to a complete set of orchestral parts (henceforth, the Pans set) for the same piano concerto. The keyboard part of the Pans set contains, on a loosely inserted page, a unicum a cadenza of unknown origin (henceforth, the Pans cadenza) to the first movement of the Piano Concerto m C major, K 246 The keyboard part was annotated at some point by a musician of French origin (or at least schooled in the French tradition of figured bass) who has not only "improved" the composer's authentic continuo realization, but has also provided fingerings for all three movements, as well as for the two cadenzas written by Mozart for the Salzburg set, later incorporated also into the Pans set.

The mam objectives of the present article are
• to describe the Pans set and argue for its authenticity,
• to determine the Salzburg and the Pans set's implications for the
performance of basso continuo and cadenzas, and
• to provide a transcription of the Pans cadenza as a means of arguing
for its Mozartean origin.

Abstract
Szász, Tibor. Traditional and Oriental models in the bell-inspired piano music of George Enescu.
This article is indispensable for the correct performance of Enesco's exotic Carillon nocturne op. 18. Analysts have suggested that Enesco‘s Carillon nocturne (from his untitled and unfinished Pièces impromptues, op. 18) is a spin-off of the modernistic trends au courant in Europe at the time of its creation (1916). Based on this timely coincidence, they have mistakenly labeled the music of Carillon post-debussysm, me-tatonalism, politonalism, atonalism, and even spectralism. In reality, Georges Enes-co‘s Carillon nocturne op. 18 is a spin-off of sui generis psycho-acoustic phenomena known in campanology as the single ―strike note‖ and the upper and lower ―partials‖ of bells tuned according to the methods of the greatest carillon bell founders in the history of the Low Countries, namely, the brothers Pieter and François Hemony (who, in collaboration with Jacob van Eyck, have created the first tuned carillon in 1644). Figuratively speaking, it is the bells themselves who become the composer— a scenario reminiscent of Enesco‘s words ―You must learn to dance in chains‖ (―Tre-buie să ştii să dansezi în lanţuri‖). Since the invention of the tuning methods of the Hemony brothers, bells produce non-variant octaves and a prominent minor third (or, by inversion, major sixth) interval. When a diatonic major scale is played on a real carillon, it generates a hybrid minor/major tonality made of loudly perceived ―strike notes‖ and softly perceived ―partials‖ which, in conjunction with a melodic major third matrix, form in the mind of the listener a psycho-acoustic phenomenon known in music history as the ―cross relation‖ or ―false relation of the Renaissance‖. Enes-co's Carillon nocturne is a tripartite work (E-flat Major– F-sharp minor –E-flat Ma-jor) rooted in Enesco‘s onomatopoeic quasi campana / pseudo campana ―mottos‖ that open his unpublished piano Sonate in F-sharp minor (1912, Paris). Around the time when he drafted that Sonate, dated ~ Paris, le 18 Juillet 1912 ~, Enesco made certain statements about Romanian folk music which offended his compatriots [ref.: George Enescu: Interviuri din presa românească (1898 – 1946), Laura Manolache, ed., Bucureşti, 2005; Ion Borgovan, Luceafărul, Sibiu, nr. 6, April 8, 1912]. Enesco stated that the best-suited model for dealing with Romanian folk music in learned composi-tions is the rhapsodic idiom of Franz Liszt, and that Romanian folk music is still in statu nascendi, ―an amalgamation of Arab, Slav and Magyar music.‖ Yet Enesco knew Romanian folk music better than his critics. Béla Bartók‘s discovery in 1912 of the Hora lungă type folksong among the Romanians living in Hungary, and his 1913 discovery of the same type of folksong among the Arabs living in Biskra (Algeria) showed the correctness of Enesco‘s 1912 statements concerning the partly Arab ori-gin of Romanian folk music.

Performance practice denotes the study of information relevant to the performance and perception of music in various historical contexts. Such information may be found in manuscript and printed scores, mechanical or electrical recording devices, music and dance treatises, books and letters, media accounts and visual documentation of concert settings, instrument designs and TEMPERAMENTS, and so on.
A temporal art, live music can only manifest itself in ever-varied performances, yet it “remains unchanged behind this relativity” (Rosen). The relationship between the absolute and the relative aspects of music constitutes the basic concern of performance practice. Depending on the resolution of this relationship, two orientations have evolved. The first asserts the inherent value of the past, seen as a repository of the composer’s intentions, and hence the source of presumably immutable
truths about proper musical performance. By contrast, the second orientation affirms the all-important contribution of the present, seen not necessarily as a corrupting factor but rather as a re-creative one without whose impulse music would ossify into a lifeless repetition of the past.
The three major topics of performance practice—notation, perception, and instruments—will be treated from the often conflicting perspectives of the two orientations, and exemplified by findings of contemporary research.

Liszt’s Sonata in B minor and a Woman Composer’s Fingerprint:
The quasi Adagio theme and a Lied by Maria Pavlovna (Romanova)

Perhaps no other work by Ferenc Liszt (1811-1886) has elicited more debate amongst pianists, critics, theorists, and musicologists than his magnum opus for piano solo—the Sonata in B minor, finished in 1853. Information contained in a letter written by the London-based Chopinologist Arthur Hedley (1905-1969), together with my correlated
research have enabled me to prove that the Andante sostenuto / quasi Adagio theme of the Sonata in B minor is traceable to a Lied composed in 1849 (or earlier) by one Maria Pavlovna.

Maria Pavlovna (Marija Pawlowna, 178-1859) was a descendant of the Romanov-Holstein-Gottorp dynasty, the third daughter of Russian Tsar Paul I and Sophie Dorothea of Württemberg; by way of her marriage to Charles Frederick, she became Grand Duchess of Saxe-Weimar-Eisenach. She was a patroness of the arts and sciences, a devout
Christian dedicated to helping women and the poor, and a gifted composer of Lieder. Her great love of music inspired her to learn to sing, to play the piano, the harpsichord and the harp. She studied composition with Giuseppe Sarti (1729-1802), Johann Gottlieb Töpfer (1791-1870) and Liszt himself. It was Pavlovna who appointed Johann Nepomuk Hummel (1778-1837), and later Liszt to the position of Kapellmeister of the Weimar Court.

According to Eduard Franz Genast (1797-1866), she had not only taken piano lessons from Hummel, but could read and transpose from a full orchestral score ― like a Kapellmeister.

See Béla Bartók Sonate für Violine solo Facsimile Edition Figaro-Verlag
TIBOR SZÁSZ INTERVIEWS RUDOLF KOLISCH ABOUT
BÉLA BARTÓK‟S SONATA FOR VIOLIN SOLO
Rudolf Kolisch talks about microintervals in Bartók‟s Sonata for Violin Solo
https://youtu.be/9NWbtLhY824 Published on Jul 7, 2012

THIS INTERVIEW WAS CONDUCTED ON MAY 27, 1977, STARTING AT 2 p.m., IN RUDOLF KOLISCH'S HOME AT 122 BARNARD AVENUE, WATERTOWN, MASSACHUSSETS, TEL.: 617/924-4839. THE DATE AND TIME OF THE INTERVIEW WERE VERIFIED BY TIBOR SZÁSZ WITH THE HELP OF TWO SEPARATE ENTRIES IN TWO SEPARATE DIARIES. THE INTERVIEW WAS RECORDED IN STEREO ON A UHER 4200 REPORT STEREO REEL-TO-REEL TAPE RECORDER AT SPEED 7½, USING THE TWO-TRACK STEREO MODE.

THE FOLLOWING TRANSCRIPT MADE BY TIBOR SZÁSZ IS A VERBATIM TRANSCRIPTION OF THE MASTER TAPE IN THE POSSESSION OF TIBOR SZÁSZ:

RUDOLF KOLISCH: I‟ll tell you this story. Bartók called me one day, you know, and that was in New York already...

TIBOR SZÁSZ: New York, ja?

K: ja, asked me to come to see him... and, when I came there, he handed me… just manuscript of Solo Sonata for violin.
S: Ühüm.
K: I was, of course, very very much impressed, you know...
S: ja...
K: but this has a special aspect, namely, he told me: “Please look at this piece and tell me whether everything is playable” !
S: Ühüm, ühüm.
K: Hm [Laughing]
S: Ja. So what did you do then?
K: Hm [laughing] … well, first of all I was very much aghast because I knew perfectly well that… he knew what was playable [the word “he” refers to Bartók].
S : Ühüm.
K: Ja? But then immediately... I smelled… what it was; he told me then: “Ja, this piece has been commissioned by a violinist...”
S: He didn‟t tell you who the violinist was, who commissioned it? K: I think he told me, ja.
S: He told you that it was Menuhin?
K: Menuhin, ja,
S: Ühüm.
K: He told me probably [it] was [Menuhin]... “and… I want to know whether everything is playable” [Bartók‟s words] .
S: Ühüm.

While not directly traceable to the composer, the nickname “Emperor” usually ascribed to Beethoven’s last completed Piano Concerto in E-flat major, op. 73 (originally published in England as op. 64) does have musical and historical connotations which can be identified. The musical evidence will, for convenience, be presented first and will be followed by the historical evidence.