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【第一梅菲斯特圆舞曲,】Liszt Mephisto Waltz No.1, S.514
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https://www.youtube.com/watch?v=e1YINreQ2Wc Liszt’s first Mephisto Waltz has become regarded as just a (admittedly dazzling) showpiece, when it’s a wildly creative and technically extremely sophisticated work. (It ought to be celebrated as much as Chopin’s 1st or 4th ballades, it really is that good.) Start with the work’s structure – it’s extremely tightly knit, and follows an A-B-A’-Coda form in which the B section is essentially a theme and variations, and almost every bar in the A’ section engages in some drastic thematic transformation of material already heard before. Most of the work, therefore, consists of continuous development. The efficiency with which material is used is remarkable: the middle section melody (3:08), for instance, generates the passages at m.676 (7:41), m.737 (8:22), m.764 (8:43), m.792 (9:05), and so on. On a more granular level, the colours/harmonies/textures Liszt deploys here are extraordinary. Most famously, the work begins with a pileup of 5ths that sneakily introduces the rhythmic shape of the work’s first real theme. But there’s lots of other wonderful things too: the care Liszt takes to write out the sparkling 32nd notes at m.149 (1:17) & similar, instead of using staccato chords or grace notes; the syncopation & yearning non-harmonic tones (especially the flattened 6th, which becomes its own motif and helps to unsettle major-key passages) which give the middle section an untethered, seductive effect; the way the flattened Bb comes to life in the C section, taking over the role of the dominant & giving the section its double harmonic major colour; the birds at 4:58 and the languorous nightingale in the Coda.
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