1. Old and New in Liszt B-Minor Piano Sonata

2. Moto: “Because I choose to.”

3. “Because I choose to.” Antagonist Vs Protagonist System Vs Personality The historical Order Vs The individual Responsibility /Decision, Devotion/ Old Vs New

4. Old Versus New In terms of Tradition Vs Innovation /spanned over the parameters of the given piece/. Analytical, Theoretical Research. In terms of Culture Vs Evolution /beyond the parameters of the given piece/. Ontological, Aesthetic Research. Perspectives – Composer, Performer, Audience

5. Old Vs New Tradition Vs Innovation Composer’s Perspective /Defined/ Not the author, the person himself /independent on biography, prevalent style/ Not the abstract idea /phenomenon/ - independent on deliberate or nondeliberate intentions Roland Barthes – “The Death of the Author” /1967/

6. Old Vs New /Tradition Vs Innovation/ Composer’s Perspective /Defined/ The composer’s idea /perspective/ Not as an single phenomenon /creator’s inspiration/, but as a Empirical ‘organism’ /critically observed, multiply experienced/.

7. Old Vs New /Tradition Vs Innovation/ Composer’s Perspective Melody /Simple ‘song’ lines or chorale textures Vs Thematic Transformation/ Bars (153  ) and Bars(331  )

8. Old Vs New /Tradition Vs Innovation/ Composer’s Perspective Harmony /Tonal Centres, Cadences Vs Chromatic progressions, Enharmonic Modulations/ Bars (30  ) & Bars (394  )

9. Old Vs New /Tradition Vs Innovation/ Composer’s Perspective Rhythm, Tempo /Detailed precision Vs Expressive freedom/ Bars (470  ) & Bars (301)

10. Old Vs New /Tradition Vs Innovation/ Composer’s Perspective Stanley Sadie /SADIE, Stanley, ed. (1985) The New Grove : Early Romantic Masters 1, 2vols. (London : Macmillan) – p.274

11. Old Vs New /Tradition Vs Innovation/ Composer’s Perspective (sum up) Multimovement, single movement Sonata Form Programmatic insight Content governs the Form, instead of vice versa  Universality Vs Individuality, Realism

12. Old Vs New /Tradition Vs Innovation/ Composer’s Perspective (sum up) ADORNO, Theodor (2002) Music and Language : A Fragment, in Quasi Una Fantasia : Essays on Modern Music, trans. by Rodney Livingstone (New York : Verso Classics) – p.4 Music as Language /Notes as Words/

13. Old Vs New Tradition Vs Innovation Audience /Public/ Perspective Narrative Conflicts /Plots/ Lyric Vs Epic Black Vs White Imitation Vs Experiment Physical Vs Psychological

14. Old Vs New /Tradition Vs Innovation/ Audience Perspective Lyric Vs Epic /”Faust” Plot/ Faust Motif (Bars 8  ) Mephistopheles Motif (Bars 13  ) Gretchen Motif (Bars 153  )

15. Old Vs New /Tradition Vs Innovation/ Audience Perspective Black Vs White /”Paradise Lost” plot/ Motif of the Cross (Bars 105  ) Motif of the Prayer, of the Redemption (Bars 331  ) Tibor Szasz

16. Old Vs New /Tradition Vs Innovation/ Audience Perspective (sum up) “... my piano is me, it is my speech – my life.” /Published in Revue et Gazette Musicale on 11.02.1838/ - Cited from CHANTAVOINE, Jean - Franz Liszt : Pages Romantiques (Paris : 1912)

17. Old Vs New /Tradition Vs Innovation/ Performer’s Perspective Imitation Vs Experiment Physical Vs Psychological Performer’s perspective 1. Virtuosity 2. Orchestral sonorities

18. Old Vs New /Tradition Vs Innovation/ Performer’s Perspective Application of Virtuosity WALKER, Alan, ed. (1970) Franz Liszt : The Man and his Music (London : Barrie & Jenkins) – p.84; p.156

19. Old Vs New /Tradition Vs Innovation/ Performer’s Perspective Application of Orchestral Gestures HOROWITZ, Joseph (1982) Conversations with Arrau (London : Collins & Co Ltd.) – pp.136-142 Articulation (Legato/Staccato) – Bars 319  Rests – Bars 596-598 Fermatas – Bars 119-120

20. Old Vs New Tradition Vs Innovation (Sum up) How Tradition transforms to Innovation? In what phase of the piece’s existence does it happen? Composer  Performer  Audience What next? How Innovation can transcend into Culture?

21. Old Vs New Tradition + Innovation  Culture + Evolution

22. Old Vs New Innovated Tradition into the Evolved Culture

23. Old Versus New in Liszt B-Minor Sonata (Sum up) The Performer as Hero-Artist Catalyst for Transformation (Progress) Co-author (Roland Barthes) Matrix Vs Artistry (The Choice, The Will)

24. Old Versus New in Liszt B-Minor Sonata (Sum up) Art is all about the Change, but Change is all about the Choice

25. ‘Because he has chosen so...’ Liszt B-Minor Piano Sonata as: 1.Customary Model (Reflect the Old, the Past) 2.Personal Duty (Awaits the New, the Future)