Primary Exploration On The Unity Sense In Performing Liszt’s Piano Sonata In B Minor

Liszt’s Piano Sonata in B minor challenges the performers with its large scale. In difference from medium or short pieces, when playing a large-scale work one should give priority to a macroscopic view rather than microcosmic aspects. Once the general plan is laid out, everything else falls into place. Therefore, a large-scale work always requires its performers to master, above all, the key links first. By doing so, the other details will be easier to arrange.This dissertation consists of seven chapters in which reference materials the author has consulted are contained, along with his personal experience after studying Liszt’s Piano Sonata in B minor. Chapter1focuses on the programmatic interpretations in order to give an overview of the Sonata. Ranging from five various angles, the following Chapters2-6focus on the structure, thematic transformation, time elements, sound elements and harmonic specialities of the work respectively, to deepen this discussion on the unity sense in performance. Chapter7synthesizes the above-mentioned chapters into a unity in which various elements resonate in a single passage of the B minor Sonata.Thus the dissertation comes to a conclusion:in the performance practice of such a large-scale work like Liszt’s Piano Sonata B minor, it is vital to turn a horizontal look into an overview for its performer. Piano works often obtain various musical elements which never isolated stand. Therefore, a performer should not only analyse the music score deliberately to insure that not a single information which the composer has written down is missed, but also to explore the psychological experience and aesthestic values behind the notes. By using the resonation of different elements can music expressions be fully sounded out.