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Creative Commons Attribution Non-commercial 3. Bagatelles ; For piano ; Scores featuring the piano ; For 1 player. Contents 1 Performances 1. Comments 4. Neue Liszt-Ausgabe. Serie 1, Band 14 Budapest: Editio Musica , Plate Z.
Bagatelle sans tonalité, S.216a (Liszt, Franz)
Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again.
In the mid-twentieth century, Liszt 's piano music was unfairly viewed by many as generally flashy and virtuosic, often saccharine in its Romantic demeanor and only rarely of harmonic, rhythmic, or melodic interest. When his neglected and previously unpublished late works finally began appearing, and when musicologists also started to re-evaluate his middle-period output, his artistic worth was not only upgraded, but his influence on succeeding generations of composers was finally recognized. It clearly anticipates Schoenberg and the Second Vienna School, as well as other modernist movements. The piece humorously begins as the music seems to playfully hesitate, almost awkwardly, in mapping out its course, a sense of mischief seeming to hover above the proceedings. The mood remains amusing throughout, subtly so even when the music threatens to turn serious as it builds up with a rising series of chords. In the end, the impression left is one of colorful, playful music clothed in odd-ball writing where notes stumble and caress by turns. For all this charming three-minute work's supposed modernism, first-time listeners unaware of the Bagatelle's title will likely not notice its atonality.
Bagatelle sans tonalité, for piano, S. 216a (LW A338)
The manuscript bears the title "Fourth Mephisto Waltz"  and may have been intended to replace the piece now known as the Fourth Mephisto Waltz when it appeared Liszt would not be able to finish it; the phrase Bagatelle ohne Tonart actually appears as a sub-title on the front-page of the manuscript. The Bagatelle is a waltz in a typical sectioned dance form, with repeated sections given inventive variation. The Bagatelle, like the Mephisto Waltzes, could be considered a typical example of program music, taking for its program an episode from Faust , not by Goethe but by Nikolaus Lenau — The following program note, which Liszt took from Lenau, appears in the printed score of the Mephisto Waltz No.