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Ten Beautiful Harmonies in Liszt's Piano Music

Liszt's late works were completely rediscovered in the middle of the 20th century as demonstrating innovative concepts of harmony predating Debussy, Stravinsky and Schoenberg by decades. However, his experiments with harmony were not limited to his old age. Throughout his whole life, evidence of new and exciting harmonies can be found that completely defined the late Romantic era, and even the early Modern era. Before the main list, which is in no particular order, I would first like to highlight some honourable mentions: Sonate, S178 (Despite the fact that this extremely well-known work includes extremely beautiful harmonies, I took this piece as a donnée in order for perhaps lesser-known works to make the list.) Les sabéennes – Berceuse de l’opéra La reine de Saba de Charles Gounod, S408 (This piece uses stacked fifths to great effect!) Dritter Mephisto-Walzer, S216 (This piece uses stacked fourths to great effect!) Rapsodies hongroises, S244 (Specifically 3, 5 and 13 which all contain the most delightful Hungarian harmonies.) 0:00 - Introduction 0:05 - Les jeux d’eaux à la Villa d’Este, S163/4 (Aimard) This piece uses extended chords commonly found in later French Impressionist music, with Ravel being inspired to write his famous Jeux D'eau. The rippling texture perfectly mirrors the water from the fountains. 0:37 - Apparition No 1, S155/1 (Won Jae-Yon) Composed in 1834, this set of pieces rivals even the most delicate of the contemporary Chopin. (Think perhaps of the Nocturnes, Op 27.) Its hazy harmony is conducive to a dream state, with the ornate bel canto melody drifting in and out. 1:16 - Jésus rencontre sa très sainte mère, S504a/4 (de Leeuw) Although this whole piece uses a new harmonic language for the church, this station uses harmony not dissimilar to early Messiaen, fifty years later! 2:23 - Etude de concert No 3, S144 (Trifonov) Here, Liszt creates a sublime transition by utilising the octatonic scale as a descending bass line with chords moving in thirds above. 2:59 - Unstern – Sinistre – Disastro, S208 (Brendel) Perhaps the last original work Liszt composed, clearly expressing his anguish and depression. The polychord of a C augmented over an F diminished in second inversion might just be the most dissonant music penned before the twentieth century. 3:41 - Am Rhein, im schönen Strome, S531/2 (Dossin) This song by Liszt has a catchy yet numinous chord progression, aided by the sparkles in the texture of the flowing river Rhein. 4:29 - Attente, S171d/6 (Kosyakov) This piece is part of the previously unpublished Préludes et Harmonies poétiques et religieuses Liszt sketched in 1845. The marvellous false relation between the C natural and C sharp provides the most heartwarming tension, and displays Liszt's keen interest in the augmented chord. 5:31 - Réminiscences de Boccanegra de Verdi, S438 (Dossin) Liszt evidently saw Verdi's normal harmonies and thought to himself "This needs a little more spice...", creating the most scintillating and Romantic chord progression out of Verdi's melodic material in the overture. Liszt knew he had struck the mother lode with his development, as he brings it back as the coda to the whole fantasy! 6:50 - Sonetto 104 del Petrarca, S161/5 (Laplante) Petrarch's text is a journey through opposites and paradoxes, and Liszt's musical journey does exactly that. His uses of chords moving in thirds, augmented chords, minor plagal cadences etc all culminate in this Romantic masterwork. 8:11 - Trübe Wolken – Nuages gris, S199 (Zimerman) Maybe Liszt's most famous "modern" piece besides the Bagatelle sans tonalité, S216a. The bass line alternates between semitones as in the start of the piece, and the yearning chromatic octaves are underpinned with descending augmented chords, as in the middle of the piece. This recaptulation languishes into nothing, and the final cadence is to die for. Please leave your thoughts and opinions in the comments, and subscribe for more Liszt nerd content :)