Un Sospiro, written by the Hungarian composer Franz Liszt, has got to be one of the most pretty piano pieces ever written. I found the piece randomly as a recommendation from YouTube (though I don’t remember what I was originally watching), and felt the need to share it with other people so that they could also be enveloped by its beauty.
Un Sospiro, written by the Hungarian composer Franz Liszt, has got to be one of the most pretty piano pieces ever written. I found the piece randomly as a recommendation from YouTube (though I don’t remember what I was originally watching), and felt the need to share it with other people so that they could also be enveloped by its beauty.
First, looking into the background of this piece, I found that the work is actually a movement of a larger piece – it’s the third movement of Three Concert Etudes, written between 1945 and 1949. The title of this movement, meaning “a sigh” in Italian, was not actually given by Liszt – the title was likely added by a publisher to make the sheet music easier to sell. Liszt preferred to refer to his pieces by the key they were in – though, he did not make any attempt to change or remove the title as he continued to play the piece through the rest of his life, and it’s not clear if he liked the title, or was just too lazy. The other two movements have a typical “absurdly grandiose” sound that is characteristic of Liszt.
The whole collection of the three movements were dedicated to Liszt’s uncle, Eduard. I haven’t been able to find much information about him, beyond the fact that he existed, was a lawyer, and handled Franz’s businesses affairs for over thirty years until his death in 1879. I like to think he handled the “business” side of things because Liszt was too busy being a different kind of player.
When you listen to the piece, it is captivating right from the start, beginning with large, rolling arpeggios in Db that quickly label the piece as a virtuosic one. Soon after, the right hand enters with the melody – a simple, sweet, nostalgic, and rubato melody, that contrasts with the rolling left hand in just the right way with how sparse it is, while still sonically fitting right in. Speaking of “fitting in,” the range of the left and right hands requires the player to be able to cross them as they play, and this difficult hand crossing is a large part of why this piece is one of three etudes, or “technical studies.”
The piece develops with variations on the melody, using harmony that is so emotionally tumultuous and obviously from the Romantic era and that you can’t not be drawn in. Several short cadenzas help break up the main content – no doubt to give Liszt a chance to show his rock star moves. The whole thing ends with a satisfying, homey chord progression that leaves the listener feeling wistful. The piece isn’t long – only about five minutes – but it’s the perfect length for what it needs to be, making you want just a little more.
Below I’ve linked the recording of the work that made me write this article; it also has the sheet music accompanying it. You’ll see the music has three staves, despite the pianist only having two hands – rather than requiring a mutant growth, the direction of the stems dictate which hand plays which notes, and you’ll see the performers hand do the previously mentioned “cross-over” throughout as the stems change.
Enjoy!
Sources and further reading:
ChatMuzak 