Waldesrauschen S145/1 (1862-3)

Together with Gnomenreigen, its antithesis in every way, Waldesrauschen was first published as one of two Études de concert in Lebert and Stark’s Klavierschule in 1863. While it certainly presents a technical challenge, not least in sustaining a supple and expressive legato line in one hand against a rhythmic ostinato in the other, it is remarkable more for the poetic atmosphere it creates - in anticipation not just of piano impressionism in general but of Ravel’s Ondine in particular. The titles of the two pieces tell us that Liszt’s rustling ostinato is inspired by forest murmurs, whereas Ravel’s represents the sound of water, but the textures are much the same in the two cases and, without those clues, it would be difficult to tell which is which.

At the beginning of Waldesrauschen the ostinato is in the right hand, una corda, and the legato melodi line in the left, where it remains as the harmonies modulate from D flat to E major. As they return to D flat, it is transferred to right-hand octaves, the sonority now expanded to tre corde. So it goes on, passing through a variety of harmonies and keyboard and pedal colouring, occasionally attracting a resourcefully scored counterpoint, until it is driven into a passionate climax high in the right hand and rhythmically transformed in violent octaves low in the left. Although the melody returns in its original form in D flat, its rhythms are distorted again, this time in breathless syncopations in an accelerating, brilliantly dramatic cadenza. The forest turmoil subsides, however, and the study ends even more peacefully than it began.