The physical sensation of playing it again was satisfying. Yet I think I was able to understand more of the composer’s intent and to express that as I played. Now after relearning the Liszt Un Sospiro, I’m not sure it is a good repertoire piece because of the technical challenges. As an adult student, my aim has been just to enjoy the music I learn and the process of learning, not to perfect my technical skills. When I resumed study as a middle-aged adult, I didn’t have years of scale, trill, and arpeggio practice to recall. I was almost 14 when I began studying piano, and I took lessons for just five years. The technical challenges are always my greatest challenges. Matt pointed out that in Un Sospiro’s fortissimo section, I needed to bring out the left hand bass melody so it could be more easily heard above the very busy right hand accompaniment. I hear through digital devices (hearing aids) that alter the sound entering my ears, and I have a compressed dynamic range that makes it difficult for me to determine how loudly or softly I am playing and the balance between the two hands. Such legerdemain quickly had novelty-conscious Paris by the ears, Morrison writes, and an elegant white kid-glove rather than than a mere gauntlet was thrown down before Liszt. Franz Liszt (22 October 1811 31 July 1886) was a Hungarian composer, virtuoso pianist and teacher of. With my hearing loss, balance issues are sometimes difficult for me. The Polish pianist and student of Liszt Moriz Rosenthal claimed Thalberg adopted the technique from the harp. He also helped with balance in the agitated, fortissimo middle section of the piece. My teacher, Matt Harre, stressed counting and awareness of pulse for the Liszt Un Sospiro, so that rhythmic elements were clear. I wanted to make it flow under the fingers as I remembered doing when I first played it. When I first picked up the Liszt Un Sospiro again after having deserted it about 10 years ago, I was thrilled to hear the sound of it and could hardly wait to relearn those initially perplexing cross-overs. I love learning new pieces but find it a chore to maintain repertoire, so I never have much in my repertoire at any one time. What this means is that often the right hand of the pianist plays down to the bass notes and in turn, the left-hand crosses over the right hand to play the higher notes of the piano. I recently decided to try to build a repertoire of pieces I had once played, and I started with the Liszt Un Sospiro. ‘Un Sospiro’ Liszt wrote to challenge pianists with the technique known as ‘cross-hands’. Joyce Morton plays Un Sospiro from Franz Liszt’s Three Concert Études.
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