the Sonata, Liszt always rejected the idea of a preconceived form. In his Faust Symphony, which employs related thematic material, he does not attempt to write another "four-movement-in-one" work. Concert piece or concerto? The word concert(o), except for its spelling, is the only consistent part of the various titles of the Concerto pathétique, though its meaning is open to interpretation. The German word Concert (modern spelling Konzert) could mean both concert and concerto, but the titles Grosses Concert-Solo or Grand solo de concert seem just to denote a large-scale concert piece (as opposed to a short salon piece for example), whereas Concerto pathétique calls to mind a concerto. The prefix Concert (Konzert) or the French de concert could also mean a concerto-like and/or one-movement work for solo and orchestra (such as Schumann's Konzertstück and Konzert-Allegro, Chopin's Allegro de concert, or Weber's Konzertstück, one of Liszt's "war horses"). Such a Konzertstück (concertino) form seems to be indicated by the title Morceau de concert [sic] (pour piano sans orchestre). The existence of sketches (in Liszt’s hand) for a piano concerto version of the Grosses Concert-Solo give evidence to the concerto character of the solo version. Liszt was not the only composer to have written a "concerto without orchestra". The term concerto might also point to certain formal procedures. Liszt’s later addition of the Andante sostenuto part to the solo version results in sectional tempo (and mood) changes somewhat related to a baroque concerto. Another heritage from the baroque age is the idea of competing forces (solo against orchestra for example). The two-piano medium is excellently suited for projecting this concert style (also recognized by Stravinsky's Concerto per due pianoforti soli or Busoni's Duettino concertante). In a solo piece the idea of struggling forces would be expressed by different moods (registers, modes, keys, dynamics, tempos, etc.) pitted against each other (the opposing characters in Faust). It cannot be doubted that there exists more than just a technical connotation of the term concerto for Liszt's unlimited imagination. The adjective grand could mean large-scale and/or indicate a certain grandeur of character, expression, or style. It is commonly used by Romantic composers (Chopin's Grande polonaise brillante). But the German groß does not have that connotation in Grosses Concert-Solo. External links Compositions for two pianos Concertos by Franz Liszt 1865 compositions Compositions in E minor