5. Sunt lacrymae rerum! (There are tears in human things) – in Hungarian style

This piece is included in Années de pèlerinage, Troisième année (Years of Pilgrimage, Third Year), and I believe this entire collection, the “Third Year,” is the most musically challenging to comprehend among the Années de pèlerinage collections. Compared to Liszt's earlier period, when he used many notes to challenge human limits, his works from this time can be described as having fewer notes, being simpler, and having become more religious. It is rare to perform or hear this piece in concerts. While it might be performed in an all-Liszt program for dedicated Liszt enthusiasts, it is unlikely to be chosen by performers when other composers are included. It is that rare.

Having performed many of Liszt's works, I find this piece very appealing as well. The key performance hint for this piece, I believe, is simply to play it “clearly” or “in an easily understandable manner.”

This means making the notes clearly audible and performing in a way that allows the form to be clearly grasped. Since the piece is already difficult to understand, such consideration is all the more necessary.

Let's look from the beginning. Measures 1-8 constitute the cadenza section. It begins with psychological depictions such as dignity, determination, fate, suffering, sorrow, and fear. In measure 1, the first cadenza ends on B. The second cadenza ends on A in measure 2, and the tension is somewhat alleviated compared to B.

From B to A, and from A, it settles on G-sharp in measure 3. Therefore, as it descends through B, A, and G-sharp, the feeling gradually softens, but the unease remains. A depiction of searching for something continues until measure 8. Improvisatory playing is required; one should never play it like a metronome.

Measure 8 is pp while measure 1 is FF; therefore, the volume should decrease from FF to pp over the course of 8 measures, observing the ritenuto, and a slightly blurred sound quality might be acceptable for measures 4-8.

Measures 9-19 constitute the recitative section. Therefore, it becomes an improvisatory solo, and as indicated, molto accentato e doloroso (playing each note firmly and expressing sorrow) should be observed.

The tension should be higher in measures 15-19 than in measures 9-14. Decrease the volume once, enter measure 20, gradually crescendo, and aim for measure 24 as the goal. Thereafter, follow the written dynamic markings.

In measures 30-41, notes in a very low register appear. When performing Liszt's works, one must be very careful with pedaling in such low registers. Pianos from Liszt's era differed from modern pianos; their sound did not sustain as long as modern pianos, nor did the low notes produce as much volume. If one blindly applies the pedaling written for that era to a modern piano, the notes may become indistinguishable or excessively muddy. In such cases, the pedal should be used as sparingly as possible, and each note should be played so that it is clearly audible. For example, observe the left hand in measures 40-41. The chromatic movement occurs in a very low register.

At this point, the thumb will likely be on A-flat; play the A-flat as softly as possible to ensure the moving voice is clearly heard.

Measures 42-56 should be played improvisatorily, aiming for measure 55 as the goal. From measure 57 to 72, gradually increase the tension. Measure 72 slowly decays. From measure 73, evoke an image of a dream world. From measure 89, the tension genuinely builds towards measure 101.

The last dynamic marking in this piece is sempre FF in measure 117, but no dynamic markings are written from there until the end. Presumably, sempre FF is appropriate until the very end.

The main theme of this piece is fundamentally F, E, B in the right hand in measures 9-10. These are intervals of a minor second and a perfect fourth.

The right hand in measure 101, where the tension is highest, also features this theme: F-sharp, F, C, which is again a theme of a minor second and a perfect fourth.