Scholars agree: The Sonata in B minor is considered Liszt's most important piano work, possibly even his masterpiece. Characteristic of this composition is the clear absence of programmatic or extramusical elements. Nevertheless, some experts, including Alfred Brendel, have suggested a possible connection to Goethe's Faust. Brendel also mentioned a religious dimension, which he suggested might be based on the "cross motif" in the Grandioso theme, but contradicted the idea of a religious background in his analyses. For a less technical perspective, he recommends his essay in "Music Sounded Out."
Without delving into specific scholarly literature, the structure can be described as a single, uninterrupted movement. This includes a slow middle section and a scherzo-like fugato, which serves as the classical development section within a large sonata form. Schubert's "Wanderer Fantasy" influenced Liszt in the composition, as he aimed for a more unified dramatic form. Following earlier extensive piano works such as the Great Concerto Solo, Scherzo, and March, the Sonata represents his most significant contribution to this form since Beethoven and Schubert, and remains his greatest success in this endeavor.
Among Liszt's most outstanding works are both the Faust Symphony and the B minor Sonata. The entire Sonata was recorded by Liszt in a version for two pianos, while the second movement of the Faust Symphony appeared as a solo piano piece under the title "Gretchen." The Totentanz (Dance of Death) for piano and orchestra has often been considered his finest work in this medium, though the captivating solo piano version is rarely performed.
Liszt's Elegies form a pair: one for Countess Moukhanoff and another as a thank-you to Lina Ramann. Both are in A-flat major in 3/4 time and follow simple, melancholic melodies that build to passionate climaxes before concluding with high A-flat major chords.
The Consolations are among Liszt's most popular works, particularly because of their accessible technique. Although they are rarely performed as a complete cycle, it is worthwhile to hear the definitive version in its entirety. The whole cycle is characterized by restraint, with the third piece considered a true masterpiece. Liszt dedicated the sonata to Schumann as a token of gratitude for his Fantasia, Op. 17, which Clara Schumann later spitefully removed from her publications.