李斯特的《B小调奏鸣曲》是作曲家本人最重要的钢琴作品之一，它是继贝多芬奏鸣曲之后最伟大的奏鸣曲，在19世纪钢琴作品文献中具有里程碑式的特殊地位。它开创了单乐章奏鸣曲式的先河，采用主题变形的方式将几个乐章融为一体。这部庞大而在结构上极其复杂的作品的音乐内容也非常丰富，为我们的研究和演奏提供了广大的空间。近年来这部作品越来越受到人们广泛的关注与喜爱。但由于李斯特本人对这部奏鸣曲的人文背景和深刻内涵保持缄默，使得参透这部作品的准确内容变得比较困难。所有的演绎者都只能通过自己的猜测和分析遐想来揣摩演奏之道。本文试图在总结和阐释以往的评论研究和演奏风格的基础上，用音乐美学和钢琴演奏法的观点来探索《B小调奏鸣曲》的艺术特色，通过对国内外以往研究的总结和音像资料的分析，加上笔者的演奏学习来就此作品进行详细论证和说明，剖析作品的音乐内涵和戏剧的音乐形象，并且找到如何在演奏中体现这首奏鸣曲演奏风格的方法。再现李斯特这位音乐大师作品的艺术魅力。

As one of the most important piano compositions, 《Piano Sonata,in B-minor》 created by Liszt is the greatest sonata after Beethoven Sonata Album, standing as a milestone among the 19th century piano compositions. It is the precedent of one-movement, integrates several movements together by way of changing themes. Also very rich is the musical content of the giant, structurally complicated composition, offering us colossal space for research and performance. Recent years, this piece of work has obtained more and more attention and keen. Whereas, as the silence of cultural background and deep connotation held by Liszt, it has been difficult for people to understand and penetrate the exact substance of this masterpiece. All performers could do is to figure according to their own speculation and imagination. This paper is based on previous conclusion and interpretation and review as well as deduction style of former pianist, trying to explore artistic characteristics by view of musical aesthetics and piano performance practice. In the light of analysis of research conclusion and video documents both home and abroad, combined with writer’s performance and studying, this paper demonstrates and illustrates this composition and decomposes musical connotation and image of opera, simultaneously finds way of revealing performing style of this sonata during performance, thus reproducing artistic charm of this musical master.