Consolation No. 3, S. 172

History

The printed third Consolation took the place of a different early No. 3. That earlier piece later anticipated material associated with Liszt's first Hungarian Rhapsody. The history makes No. 3 a particularly clear example of Liszt reconsidering a cycle, rather than simply publishing its first form unchanged.

Sources

• henle.de

What to listen for

1. 1

   Lower motion prepares the singing entry

   Two upper-rest bars establish flowing lower motion before the song enters. Hear that accompaniment as preparation, not missing melody.

2. 2

   Octaves give the returning song more weight

   The opening contour returns in octaves with fuller quick-note responses. Recognise its familiar line through the thicker sound.

3. 3

   A fuller arrival makes room for release

   The fuller arrival is followed by release. Hear this turn in energy within the phrase, not only the preceding growth.

4. 4

   A high expansion fades through descent

   Compressed higher figures contract into a descending, fading close. Follow the longer descent as the remaining motion softens.

How to practise it

Melody waits before singing entry; long tied melody amid small notes.

1. Listen through the introduction and prepare the single later melody entrance.
2. Practise the melody outline with its held durations intact, then add the connecting small notes.

How hard is it

About this piece

Licence

Creative Commons Attribution 3.0

Source

mutopiaproject.org

Credit

“Consolation, S.172 No.3” by F. Liszt (1811 to 1886). Mutopia edition maintained by Ryan Prince. Source: https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1647. Licensed under CC BY 3.0: https://creativecommons.org/licenses/by/3.0/. Changes to the supplied file: none; any later conversion or edit must be disclosed separately.

More by Franz Liszt

1. 1Consolation No. 1, S. 172Level 4, estimatedWith Maestro
2. 2Liebesträume No. 3, S. 541Level 9, estimatedWith Maestro
3. 3Hungarian Rhapsody No. 2Level 10, estimatedWith Maestro