It was dedicated to Robert Schumann in return for Schumann's dedication of his Fantasie in C to this piece's composer, and it was premiered by the composer's son-in-law Hans von Bülow.
Humphrey Searle based the structure of his twelve-tone Piano Sonata on this earlier composition, and Searle also orchestrated this piece for Frederick Ashton's ballet Marguerite and Armand. A fermata on a dominant ninth chord in E minor leads unexpectedly into this work's F-sharp major Andante sostenuto section. W. S. Newman coined the term "double-function form" to describe this piece's structure. The composer anticipated some of this work's themes in his Grand Concert-Solo, which would later become the two-piano piece (*) Concerto pathétique. This work begins with quiet staccato octaves on G in the left hand, followed by a slow descending G Phrygian scale. It was dedicated to Robert Schumann in return for Schumann's dedication of his Fantasie in C to this piece's composer, and it was premiered by the composer's son-in-law Hans von Bülow. For 10 points, name this massive single-movement composition for piano solo by the composer of the Transcendental Etudes.
Humphrey Searle based the structure of his twelve-tone Piano Sonata on this earlier composition, and Searle also orchestrated this piece for Frederick Ashton's ballet Marguerite and Armand.
Piano Sonata in B minor by Franz Liszt