No. 9 "Ricordanza"

I would like to address teachers and learners who are reading this article, assuming that you are quite advanced. This piece might fall into the category of easier pieces among the 12 Transcendental Études, but without solid technique, it will be difficult to perform as intended. However, perhaps the most challenging aspect is understanding the piece. Throughout this piece, it is a song sung by a vocalist, with a stronger vocal element than a purely pianistic one. Therefore, performers must not only possess a sense of lyricism but also understand how a vocalist sings. Those who lack confidence must listen to art songs daily and study how vocalists sing.

Next, I would like to discuss resonance. Resonance refers to the "afterglow" or "reverberation," indicating parts or notes that are neither melody nor accompaniment. In this piece, there are many instances of resonance in addition to the vocal parts. In typical pieces, resonance and non-resonance parts are often clearly delineated, but in this piece, it is very difficult to distinguish them from the vocal parts.

Now, what follows is a subjective discussion and may be debatable, but for example, the melodic line from measure 15 concludes at measure 18. The vocal part in measure 17 can be easily found in the right hand. However, the question arises as to how far the vocal part extends into the next measure. High registers and fast passages, such as those written in measure 18, are impossible for a vocalist (this, for example, is one reason why one must constantly listen to singing). Speaking from my personal perspective, I believe that the phrase in measure 18 either ends with just the single note A-flat, or with the two notes G and A-flat. In that case, the subsequent arpeggiated passage is a resonant, pianistic section, and should be played leggiero, gently, lightly, softly, and quickly.

Such discussions can be found throughout the piece. One must consider which parts are vocal, which are resonant, which are ornamental, and which are piano accompaniment, discern them, and treat them accordingly. Other points to note are listed below:

• In measure 14, there is a long pause. I often hear performances where this is ignored.
• In measure 15, the melodic line is the main theme of this piece, but there is an eighth-note rest at the beginning of the beat. This indicates a kind of 'hesitation.' Sometimes, when a melody appears after a rest on the downbeat, it can often become agitato (e.g., Chopin Étude Op. 10, No. 9). Try intentionally removing this rest and playing the melodic line from the beginning of the beat. While it still forms music, it transforms into something rather bland. However, this section is marked dolce, so one must never add an accent. This rest expresses a special emotion, such as a slight plea, a sense of grandeur, or elegance.
• In measure 50, this is simply largamente. Liszt's largamente does not mean to slow down to an extreme degree. In fact, some pianists even increase the tempo. The essence is to play with a weighty, and molto espressivo feeling.
• In measure 69, the mood of the first 20-note group and the subsequent 25-note group is entirely different. Do not forget the expression.
• Above all, imitate a vocalist, play freely and improvisationally, and prioritize the vocalist's interpretation in advancing the music.