CONSOLATION IN E by Franz Liszt | ABRSM 2025 & 2026 Grade 8 B3 Piano Tutorial

Описание: B:3 – Consolation in E (No. 2 from Consolation, S. 172) by Franz Liszt (1811 – 1886)

Note from ABRSM
Franz Liszt was a Hungarian composer and pianist. He was perhaps the most brilliant piano virtuoso of his day, so it is hardly surprising that much of his piano music requires an exceptional technique. However, he also wrote short, lyrical pieces of great beauty, which are more technically approachable. Good examples are the six Consolations (S. 172) of the 1840s, which have become particularly well-known.

The tempo mark of Consolation No. 2, Un poco più mosso, could seem puzzling until one realises that it is a step up from the Andante con moto of No. 1. Dynamics and pedalling are left to the player's discretion. RJ

Source: first edition, Consolations pour le piano (Leipzig: Breitkopf & Härtel [1850])

Note from channel
Difficulty evaluation (for Grade 8): 8/10

Franz Liszt is best remembered as one of the greatest piano virtuosos in history. Yet, alongside his monumental technical works, he composed a series of shorter, lyrical pieces which showcase a different side of his artistry. Among these, the Consolations offer performers an opportunity to explore expressive phrasing, legato control, and poetic nuance without requiring excessive virtuosity—though they are by no means easy.

No. 2, marked Un poco più mosso, continues naturally from the more restrained Andante con moto of No. 1. Though the tempo marking suggests forward motion, the piece should always retain its gentle, singing character. The player may take a slightly brisk tempo if desired, but the tempo should never drag, as this would compromise the flow and elegance of the lines.

The real technical challenge lies in the left-hand accompaniment. The continuous, spacious arpeggiations demand precise coordination and physical comfort across wide leaps. It is strongly recommended to learn and internalize the left-hand patterns separately first—ideally by memory—so they may be executed with security and calmness. Divide the music into smaller, logical phrases for practice, and aim for evenness and smooth transitions between chords and positions.

Unlike typical Romantic textures where the bass provides structural grounding on the first beat, this piece often places the melody above with the bass entering slightly after, creating a feeling of suspended movement. The melodic direction must always lead the texture. The performer should listen carefully to how each phrase breathes and sings across the bar lines, maintaining a true cantabile tone throughout.

Bars 38 to 42 contain large leaps in the left hand, paired with expressively marked melodic lines. These leaps must be measured—spacious but never hesitant. Keep the line ben marcato ed espressivo il canto in mind: the expressivity must always govern the timing. Avoid making the leaps sound risky or hurried.

From bars 46 to 53, the melody flows between hands. The top notes of the left hand and the bass notes of the right hand together form a secondary melodic line that should be clearly voiced. Practising these sections hands separately with attention to voicing will help reveal this inner thread.
Ultimately, the greatest difficulty lies in preserving a mood of calm introspection and weightless lyricism throughout. The legato should be effortless, the phrasing natural, and the sound luminous. Pedalling should be used sensitively to support the harmonic colour but never to blur.
This piece is an invitation to cultivate mature musical sensitivity: restraint, balance, and a poetic touch.

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