Uploaded January 2025 | Updated September 2026, 2 hours ago
Franz Liszt - Fantasie und Fuge über das Thema B-A-C-H, S529ii
Performer: Vladimir Sofronitsky
If the Sonata was Liszt’s attempt to address the legacy of Beethoven, then the Fantasie und Fuge über das Thema B-A-C-H was a homage to another great German master, Johann Sebastian Bach. The piece was, appropriately enough, originally written for organ, specifically for the consecration of the new instrument in Merseburg Cathedral in 1856. A revised version for piano—heard in the present recording—was made in 1870. Bach had himself sometimes used the letters of his name as a musical theme. ‘B’ signifies B flat in German notation, and ‘H’ represents B natural, resulting in the short chromatic figure B flat-A-C-B natural. This Liszt develops in a variety of guises, ranging from a plethora of complex chromatic sequences to the contemplative fugal section that begins the second half of the work. Towards the end, the theme rings out as a series of majestic fortissimo chords, which again might have brought the piece to a perhaps too obvious close had not Liszt then unexpectedly produced a new, quietly rapt chromatic harmonization of the theme—offering a glimpse of mystical revelation in the midst of celebratory splendour.
Franz Liszt - Fantasie und Fuge über das Thema B-A-C-H, S529ii
Performer: Vladimir Sofronitsky
If the Sonata was Liszt’s attempt to address the legacy of Beethoven, then the Fantasie und Fuge über das Thema B-A-C-H was a homage to another great German master, Johann Sebastian Bach. The piece was, appropriately enough, originally written for organ, specifically for the consecration of the new instrument in Merseburg Cathedral in 1856. A revised version for piano—heard in the present recording—was made in 1870. Bach had himself sometimes used the letters of his name as a musical theme. ‘B’ signifies B flat in German notation, and ‘H’ represents B natural, resulting in the short chromatic figure B flat-A-C-B natural. This Liszt develops in a variety of guises, ranging from a plethora of complex chromatic sequences to the contemplative fugal section that begins the second half of the work. Towards the end, the theme rings out as a series of majestic fortissimo chords, which again might have brought the piece to a perhaps too obvious close had not Liszt then unexpectedly produced a new, quietly rapt chromatic harmonization of the theme—offering a glimpse of mystical revelation in the midst of celebratory splendour.
![Franz Liszt - Ballade No.2 in b minor, S170a [early version]](https://i.ytimg.com/vi/PNa9OM_pEzE/mqdefault.jpg "Franz Liszt - Ballade No.2 in b minor, S170a [early version]
As a matter of fact, Liszt never expected the original version of Ballade No.2 to be published, but the original version has long been known. In the later version, Liszt change the ending. Beyond all doubt, the beautiful and quiet coda of the later version is fantastic, but it doesnt mean the original ending is not good. As for me,I even very like the original version. It is an interesting job to explore Liszts creation through different version of works.")
