Sonata Dante

Liszt’s Dante Symphony is a work of astonishing imagination. His evocation of the ‘Inferno’, the shade of Francesca da Rimini and her sad remembered love is marked by strokes of genius which, with bewildering frequency, pre-empt the mature Wagner (who was, incidentally, the dedicatee of the work). If the second and third movements – the ‘Paradiso’ was wisely commuted to a setting of part of the Magnificat plus a brief Hosanna – don’t quite match the sweep and control of the first, they have their own particular magic. Even so, the work has not acquired the popularity of the Faust Symphony. Barenboim’s new recording with the Berlin Philharmonic is thus particularly welcome. Not only does it augment the number of available recordings to four, it is also the most polished. Even performing ‘live’, the Berlin Philharmonic turns in a performance of near-perfection – the solo lines are a particular joy.

Franz Liszt - Piano Sonata in B Minor, Dante Sonata - Jorge Bolet (2015) {Decca 478 8910}
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© 1983-85, 2015 Decca Music | 478 8910
Classical / Romantic / Piano

Here is another recording of Liszt s Sonata displaying absolute mastery, complete insight. With Bolet one is aware of Liszt the transcendental virtuoso who discovered whole new areas of expression within the piano. -Gramophone.

A finalist in the XVII International Chopin Piano Competition, Japanese pianist Aimi Kobayashi shows her evident sympathy for the music of the Polish composer here. His Second Piano Sonata, complete with its Funeral March finale, is played with winning poetry in a fine performance that’s alive to the vividly contrasted moments of light and shade. The more demonstrative music of Liszt, too, finds Kobayashi an imaginative interpreter. She tackles the Dante Sonata with energy, and tunes into the contemplative mood of the three Petrarch Sonnets with creativity and personality.

Liszt’s sonata is regarded by many as his ultimate masterpiece and it ranks alongside other “greats” in the pantheon of piano repertoire. This was not always the case, however, and in the 19th century it was met with extreme reactions, from admiration to suspicion and envy. The critic Eduard Hanslick declared “Anyone who has heard this and finds it beautiful is beyond help”, while Wagner heaped praised upon it (perhaps unsurprisingly). Alfred Brendel has called it “the most original, powerful and intelligent sonata composed after Beethoven and Schubert”.