1st Sight Analysis #5: Liszt Sonata mm. 385-402

This passage features another harmonization of a descending chromatic line in the bass. How does it work?

On Liszt, easily the most underrated composer ever (I'm writing this from memory, so feel free to correct me): in addition to being a celebrity as a piano virtuoso (which is basically all the credit he gets), Liszt was:
· A conductor (premiered several operas by Wagner, and important pieces by everybody who was anybody)
· A financial backer for all of them (Berlioz, Schumann, Brahms, ...) at various times
· A thinker and writer (one of the main figures of the league for "Musik der Zukunft," "Music of the Future")
· A composer who ranks with Wagner in pushing the limits of tonal harmony—in fact, the first composer ever to write a piece expressly without tonality: the "Bagatelle without Tonality" from 1883, some 35-40 years before Schoenberg made the leap to atonality, out of which he (Schoenberg) eventually invented the 12-tone system.
· The inventor of the "Tone Poem," a genre mixing programmatic music and the symphony.

0:00 The passage
1:01 On Liszt's music
2:17 Start: tonic chord in f minor
3:58 A dominant as a German Augmented sixth chord
6:18 Mediated deceptive cadence
7:53 Another V→Ger
9:26 Summary so far
10:26 The chromatic descent

[juanbritto]

This piece is such a tough nut to crack... this video did help out a lot. Thanks so much!