Uploaded June 2024 | Updated September 2026, 2 hours ago
Pierre Boulez - Première sonate pour piano (1946)
Performer: Pi-Hsien Chen
00:00 - I. Lent – Beaucoup plus allant
05:00 - II. Assez large – Rapide
In early 1945, Boulez, who had been studying with Olivier Messiaen at the Paris Conservatoire, attended a performance of Arnold Schoenberg's Wind Quintet, conducted by René Leibowitz. Boulez later reflected: "It was a revelation to me. It obeyed no tonal laws and I found in it a harmonic and contrapuntal richness and a consequent ability to develop, extend, and vary ideas that I had not found anywhere else. I wanted, above all, to know how it was written". Boulez and a group of fellow students sought out Leibowitz and began studying privately with him. Thanks to Leibowitz, Boulez became familiar with the music of Anton Webern, who would prove to be a major influence.
Pierre Boulez - Première sonate pour piano (1946)
Performer: Pi-Hsien Chen
00:00 - I. Lent – Beaucoup plus allant
05:00 - II. Assez large – Rapide
In early 1945, Boulez, who had been studying with Olivier Messiaen at the Paris Conservatoire, attended a performance of Arnold Schoenberg's Wind Quintet, conducted by René Leibowitz. Boulez later reflected: "It was a revelation to me. It obeyed no tonal laws and I found in it a harmonic and contrapuntal richness and a consequent ability to develop, extend, and vary ideas that I had not found anywhere else. I wanted, above all, to know how it was written". Boulez and a group of fellow students sought out Leibowitz and began studying privately with him. Thanks to Leibowitz, Boulez became familiar with the music of Anton Webern, who would prove to be a major influence.

![Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253
Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253
Performer: Yi-Chung Huang
The manuscript of the Grand Concert Fantasy upon Spanish Themes is dated ‘Lisbonne, 2 Février, [18]45’, but the work was not published until after Liszt’s death. It appeared in 1887, with a dedication to Liszt’s first biographer, Lina Ramann. We do not know why Liszt kept this piece to himself for so many years, but he must have thought about it quite late in life to apply the dedication. The later Spanish Rhapsody shares one theme with the piece, and an unfinished manuscript in Weimar also contains some material in common. The present enormous piece is based upon three melodies: a fandango, which is heard in an opening flamboyant fantasy, and will be recognized immediately by anyone who recollects the third act of Mozart’s Figaro; the Jota aragonesa, encountered in a number of famous musical homages to Spain and here treated in a slow and rhapsodic manner; and a cachuca, which first appears as a subsidiary melody to the jota, and then returns—after further development of the fandango—as a section in its own right and at the proper tempo, now with fragments of the jota which eventually gains supremacy in the coda. Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253](https://i.ytimg.com/vi/QEoXCri_yok/mqdefault.jpg)








