Analysis: Liszt - Nuages Gris

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@23BET23 8 жыл бұрын

...this work is a masterpiece... maybe Liszt's most important work. I'd say it somehow manages to do even more than the sonata with such limited means. The ending still gives me chills to this day and that entire chromatic move upwards in octaves is just so beautiful. The most haunting music written in the 19th century that I've heard.

@BChapkanov 6 жыл бұрын

It is this piece that inspired me to do a whole PhD-level study on harmony in Liszt's late piano music. I am now approaching the middle of my second year and still not sure what I will do with some of these so unusual for their time pieces! I will try to analyse Nuages Gris in the context of the idea of Weitzmann regions, as developed by neo-Riemannian theorists. The augmented triads are at the centre of these regions, each one generating six consonant triads by a single semi-tonal displacement. Sorry for the hard-core theory, for those who are not into that kind of stuff - watch Eyes Wide Shut if you haven't, Stenley Kubrick has skillfully used Nuages gris in his last movie!

@DavidBennettThomas 6 жыл бұрын

Wonderful! Thanks!

@ivancandia7882 5 жыл бұрын

You are the first person who I find that is studying Cohn's theory. I wonder why just a few people know about it. I found him because I was so disappointed with the traditional theory I was learning at the conservatory. I would definately like to know more about your work and what you are learning...

@eucaiopontoart 8 жыл бұрын

Awesome analysis! Explained a lot of things to me! Maybe, a good way to explain the mysterious harmony is analyse the hands separately: - The left hand plays exactly the last augmented triad played (that has the third major feeling, realy important to the piece), but calling the Cb a B, still with the bass in A. That can maybe explain the repetition of A (without a triad) 3 measures before the chord, something that only happens on the point of the piece (if another note was supposed to be played, in the context, should be a Bb). - The right hand continues with the octave cromatic movement, ascending from F# to G, playing also a B that makes another octave with the left hand. Therefore, Lizst seems only to continue with the combination of ideas already said in the analysis, but, instead of a accompanied melody texture, at this point we have a chorale/homophonic texture with these ideas. This "changing of texture" is also a common thing in the piece. What do you think about it? haha See ya, and ty for posting this!

@CheeseBae 6 жыл бұрын

Years before I was ever interested in music theory I could tell that the way this song was composed was different. I loved the section after the tremolo, and wanted to understand how something could sound broken, delicate, and beautiful at the same time.

@composer7325 10 жыл бұрын

Excellent,another master class of analysis not just for your students but for all students in the world.Please do Beethovin's 5ft sym 1st movement. Thank once again.

@KajDav100 10 жыл бұрын

Incredible piece!! Thank you for loading it, and for the useful analysis.

@giovannifadda3453 8 ай бұрын

Interesting and clear analysis. Thank you!

@DeadBlackmageguy 6 жыл бұрын

This feels so Scriabinny.

@r.b.strongwill6755 5 жыл бұрын

Thank you so much for making this analytical VDO.

@ndmath Жыл бұрын

Schoenberg didn't know Liszt's later works, and yet he seems to predate him by decades. Liszt is always associated as the pianist with the virtuosic bells and whistles. Shows that composers can compose things that don't seem historically necessary. Liszt is searching here, for something. He has always been interested in dissonance from a young age, but after he leaves his virtuosity behind, he comes to this.

@hopingtocollidewith 4 жыл бұрын

Thanks David! Beautifully done mate.

@adamsmith4416 7 жыл бұрын

Wow. Does not sound like Liszt at all. Never heard this before, but I like this a lot. Reminiscent of Scriabin.

@mrthirdeyeching 6 жыл бұрын

Yeah, agreed. It's like Scriabin took this and ran with it whole hog.

@mikrokosmiko1 3 жыл бұрын

los dos últimos acordes proceden del c.42: Ab-Eb-Cb is Ab-Eb-B, y sobre eso viene la resolución de F#-G, o sea que es un acorde pedal

@GabMartins 10 жыл бұрын

Nice. Thanks for sharing.

@Thecristhianuribe 4 жыл бұрын

Muchas gracias, muy didáctica la explicación.

@Niekpas1 10 жыл бұрын

Thank you very much!

@Alextkirk 10 жыл бұрын

Thank you!

@jjyeo 4 жыл бұрын

Greetings, could you explain why you labeled the augmented chords in mm. 13, 15, and 17 as F+, C+, and Cb+ instead of F+, E+, and Eb+? I think that would better show how the augmented chords are descending chromatically.

@cricosse 4 жыл бұрын

It would be easier to understand it this way : F+, E+, Eb+, like you said, but it's written like this because of the choice of notes from Liszt ! f a c# = F+. Then e g# c = 1st inversion of C+, and the same for the next chord. But e g# c = e g# b#, so C+ = E+...

@danielproctor6789 8 жыл бұрын

Wouldn't bar 15 be an E+ instead of a C+? It would spell out the descending line a little differently: F+, E+ Cb+, Bb+. Unless of course it functions as both E+ and C+ in this case.

@viviholland1891 8 жыл бұрын

Daniel Proctor I think it's C + because it's spelled as a c triad: C, E, G, although of course the g is augmented. Harmonically it functions or sounds the same as E+, however