No. 11, Harmonies du Soir

It can be said for both the 2nd and 3rd editions that it is wiser to interpret Liszt's indication of "animato" as "with animation" or "with spirit." Interpreting it as "fast" can lead to various problems. When he intends a slight increase in tempo, he uses "mosso." These terms often have specific nuances depending on the composer; at least in Liszt's case, they are frequently not actual tempo indications like metronome markings. In that sense, his use of "Lento" is very typical. It describes the overall atmosphere rather than the beat's speed.

In other words, if one creates a new tempo simply because "poco animato" appears, the connection between sections will be severed, making it sound as if many pieces with different tempos are being played. And not only that, the tension built up until that point will suddenly collapse. One must be truly careful with Liszt's indications such as "animato." Let's assume Liszt intended a tempo change in a new section. Even if that were the case, the change should not be abrupt, as if a new piece suddenly begins, but rather smooth, maintaining tension and connecting with what precedes and follows.

Another point to consider is Liszt's "fff" markings. This applies not only to Liszt but also to other composers: "fff" markings indicate the overall volume, not the loudness of each individual note. Especially for composers like Liszt, whose works often contain a large number of notes in voices other than the melody line, these other voices can obscure the melody. Even when "fff" is indicated, the inner voices actually played are often "p."

Examples:

• 3rd edition, from m. 98
• 2nd edition, from m. 128

It is sufficient for the overall sound to be "fff," not every single note. Please keep this in mind. Conversely, what is very challenging when performing his works are the "pp" markings. It is assumed that older pianos, unlike modern ones, did not produce as much volume.

However, even if that were the case, with so many notes written, it inevitably becomes "f," so when "pp" is indicated there, it is truly difficult. When performing such sections, it is advisable to first practice all notes at fortissimo, and then reduce the volume. This is because attempting to play "pp" from the beginning can lead to problems such as notes being missed.

Examples:

• 3rd edition, from m. 38
• 2nd edition, from m. 37

In conclusion, when performing Harmonies du Soir in both the 2nd and 3rd editions, please prioritize balance (do not take dynamic markings literally) and the flow of the piece (do not abruptly create new tempos).