2. "Au lac de Wallenstadt"

While the technical demands of this piece are not overly challenging, it requires a robust left hand. This robustness is not for producing forte, but rather for ensuring that the sound does not disappear even at ppp. Liszt indicates "pp dolcissimo" from the very beginning. All these left-hand accompaniment figures must be played at ppp. Furthermore, the tempo marking is Andante, so it proceeds slowly. The Henle edition suggests starting the left-hand fingering from measure 5 with 1-1, but this is not strictly necessary. When the author performs this, they use 1-2-3-1-5-1-3. Please experiment with various options.

Regarding the left hand, each section invariably features two types of accompaniment figures. From measures 5-8, the left hand has two types: D-flat C B E-flat A-flat E-flat B and C B A-flat E-flat A-flat E-flat A-flat. The same applies to other sections. Consider that the group starting with D-flat (in this case, measures 5-6) resolves into the group starting with C (measures 7-8). In that scenario, the group starting with D-flat tends to have higher tension. By comparing these pairs in other sections and creating a slight difference in tension (higher vs. lower), you can support the melodic line. However, since the left hand is fundamentally ppp and always dolce, extreme differences should not be made.

Incidentally, when playing D-flat C B E-flat A-flat E-flat B, the most important note is the initial D-flat. This is because this note is the 7th of the chord (E-flat G B D-flat) and is the note you want to resonate the most; however, the initial D-flat only appears on the first beat and inevitably clashes with the right-hand melody. While it's undesirable to obscure the melodic line, it's equally undesirable to eliminate this D-flat. Consider the right balance. This D-flat can be considered to resolve to the C of the next group.

Alternatively, one can focus solely on the melody. One phrase spans measures 5-12, and these seven measures can be further divided into two parts. The first part ends on C on the first beat of measure 8, and the second ends on A-flat on the third beat of measure 12. These two notes should never be accented. The highest point in the first melodic line is A-flat in measure 7. Whether you perceive this as the peak, or, following the character of the aforementioned chords, consider measure 7 as a resolution chord and measure 6's F as the peak, is up to the performer. Please play according to whichever you feel.

Challenges in this piece include balance issues, the melodic line becoming stiff when played in octaves, and the left hand losing its presence. Furthermore, this piece must never stop or slow down unless explicitly indicated otherwise. Maintain a single tempo, constantly moving forward as if the movement of the lake's surface never ceases.