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The Verbunkos idiom in Liszt's 'Music of the Future' : historical issues of reception and new cultural and analytical perspectives
Loya, Shay
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Download date: 01. Oct. 2021 The Verbunkos Idiom in
Liszt's Music of the Future:
Historical Issues of Reception and New Cultural and Analytical Perspectives
Vol. II: Music Examples
Shay Loya King's College London PhD
Lßß' ý`ý ýTt?1V ýý, The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. -284-
List of Music Examples
Chapter 1: The Unacknowledged Past kalindra 1.1: Some of the most common features of style hongrois: (a) verbunkos minor and scales; (d) 288 (b) bokdz6 cadences; (c) the undulating `Kuruc' fourth; typical syncopated rhythm ...... (based lstvän 1.2: The verbunkos scale, as derived from a rotation of the Greek-Chromatic tetrachord on Szelenyi, 1963, 314) 288 p...... Hungarian Rhapsody 13, bs. 40-46 289 1.3: no...... `verbunkos' 1.4: The meeting of modernist and folklorist worlds: Correspondence between symmetric and (based Bärdos, 192) 289 scales on op. cit., p...... dynamics 290 1.5: La Nolte, bs. 72-87 (some and pedalling omitted) ...... 290 1.6: The two modes on C (downward stems) and D (upward stems) as one continuous tone-row ......
Chapter 2: Modernism and Authenticity from in (a) Haydn, Piano 2.1: Examples of dissonances and drone-based harmonisations derived verbunkos ä I'hongroise (D818), Concerto in D minor, Hob. XVIII: 11, bs. 186-9; (b) Schubert, Divertissement (c) Liszt, Hungarian Rhapsody 12, bs. 7-10 291 third movement, bs. 547-54; and no...... different in 2.2: Examples of (verbunkos-related) dissonant bimodal juxtapositions from three periods
Liszt's oeuvre: (a) Zwei Werbungstänze (1828), non troppo lento, bs. 5-7; (1885), bs. 17-24 293 (b) Hungarian Rhapsody no. 7 (1851/3), bs. 68-73; (c) Csärdäs obstinee ...... from 2.3: (a) A concise representation of the main themes of the vivace assai section Hungarian
Rhapsody no. 14 (RH 14), as they appear in bs. 209-274, leading to (b) Theme I, bs. 275-99 294 three variants of ...... between Themes I, 11 III 296 2.4: RH14, vivace assai: structural-motivic similarities and ...... in bs. 209-274 296 2.5: The melodic-harmonic structure which binds the three themes as they appear ...... in 2.6: The relationship between verbunkos elements, melodic structure, and the three-stage tonal process
the bs. 209-338 297 vivace assai, ......
Chapter 3: Style hongrois and the Question of Influence Fuge über das Motiv B-A-C-H (1855 298 3.1: The opening of Liszt's Präludium und version) ......
3.2: Reminiscences de Don Juan, bs. 392-424: The beginning of Liszt's reworking of the "Ed iofrattanto
from `wine' 299 dall'altro canto con questa e quella vo' ammoregiar" phrase the aria ...... from Hungaria, bs. 79-86 300 3.3: violin part ...... - 285 -
3.4: A textural reduction (figuration omitted) of the middle (scherzando) section from the seventh Hungarian Rhapsody, bs. 105-84 300 ...... 3.5: The beginning the `Wallachian from Magyar Dalok 20 (bs. 99-106) 301 of melody' no...... 3.6: Asymmetric phrase structures, ostinato `cut-in' cadences, discordant pedal point (C#) and ambivalent I/V tonality in Hungarian Rhapsody 9, bs. 270-91 301 no...... 3.7: Minor-major in the first from Liszt's Hungarian Rhapsody 15 302 modal shift theme no...... 3.8: Hungarian Rhapsody 14, bs. 339-354 302 no...... 3.9: (a) The the (b) IV, (c) ll; 303 verbunkos minor scale's relationship with and chords ...... 3.10: Early the harmonisation Zwei Werbungstänze (1828), bs. 32-5 303 example of verbunkos minor's ...... 3.11: Keyboard-based polychordal and bimodal effects in Hungarian Rhapsody no. 10: (a), bs. 86-8; (b) bs. 102-8 304 ...... 3.12: Liszt, Ungarischer Romanzero 11, bs. 49-72 305 no. allegro, ...... 3.13: Brahms, Ungarische Tänze 9, bs. 1-16 306 no...... 3.14: An imaginary, `source' for Liszt's Brahms' 307 reconstructed and setting ...... 3.15: Hidden parallelisms and dense motivic reflection in Brahms' ninth Hungarian Dance, bs. 9-12...... 308
3.16: (a) `Proper' dissonance control in Bb minor; (b) a hypothetical Bi, major (or F Dorian) context;
(c) Liszt's in b. 54, the D. is treated 308 actual progression where melodic as a consonant ...... 3.17: Harmonic analogy between the (a) imperfect and (c) perfect cadences of bs. 59-60 and 63-4 (b) (d) harmonic 309 respectively; and are given as reductions ...... 3.18: Repeat the first half A, bs. 99-102 309 of of phrase ...... 3.19: harmonic A B 310 a summary of phrases and ......
Chapter 4: Listening to Alternative Tonal Practices 4.1: Schenker's its (beyond the dotted line) 311 modal system of mixtures and exclusions ...... 4.2: Chopin, Mazurka in C#minor, 51/1, bs. 1-8 312 op...... 4.3: Common-tone retention between diatonic keys: a comparison between (a) normative minor mode and (b) `R' for `relative key.. 312 verbunkos minor mode. stands ...... 4.4: (a) A-kalindra's monotertial and semitonal relationships to its second degree and (b) the quasi-diatonic
relationship between kalindra modes that symmetrically divide the octave into three major thirds...... 313
4.5: Sunt Lacrymae Rerum, bs. 1-8 313 ......
4.6: Hungarian Rhapsody 3, bs. 9-16; this is the 314 no. a repeat of opening phrase ......
4.7: RH3, bs. 28-40 (second Section B the beginning Section A'. ) 314 part of and of ...... - 286 -
4.8: in RH3 315 modal transformations ...... 4.9: RH3, Section A'B' (bs. 58-66) 316 and codetta ...... 4.10: A in RH3 317 representation of retro-audible connections ...... 4.11: First (S1) from the 317 section sixth rhapsody's allegro ...... 4.12: A Schenkerian the 318 graph of sixth rhapsody's allegro ...... 4.13: A S1 D-har/maj is key 319 reading of where the controlling tonic ...... 4.14: (a) Alternative spellings for the hexachordal collection in the concluding cadence in D and the
vacillating cadence which follows (corresponding to bs. 120-126) (b) a hypothetical and schematic representation of the tonal-textural `meaning' of bs. 120-127...... 319
4.15: The idiomatic and tonal transformation of the concluding cadences in: (a) S2, bs. 149-61 (b) S3, bs. 188-94 (c) S4, bs. 213-21 320 ...... 4.16: Above: The finale's `alternative' tonal structure Below: The background the 321 structure according to above......
Chapter 5: The Verbunkos Idiom in Liszt's Late Works
5.1: Set-classes in Sunt Lacrymae Rerum, bs. 109-112: (a) different permutations of 3-3 (b) 322 vertical set-classes...... 5.2: Spondees and other groups of long accented notes, typical in `storm' marches (exx. a, b, and c): (a) Räköczi March (1871 version), bs. 31-3 (b) Ungarischer Sturmmarsch (1876 second version), bs. 17-20; (c) Revive Szegedin! (1879), bs. 1-8; (d) bokdz6 figure in Hungarian Rhapsody 17 (1884), bs. 1-4 323 short-long-short rhythm and no...... 5.3: Ornamental style and melodic types: (a) Mephisto Waltz no. 3 (1883), bs. 27-8
(b) Bagatelle sans tonalite (1885), bs. 1-16 (c) Mephisto Waltz 2 (1878/9-81), bs. 1-7 324 no...... 5.4: Equal-voice in Csärdäs bs. 283-314 325 parallel sixths obstinee, ...... 5.5: (a) Mephisto Polka, bs. 17-47 (repeated in idiomatic variation, bs. 48-80) (b) harmonic the 326 reduction of above ...... 5.6: Pendular inflected repetitions in (a) Hungarian Rhapsody no. 16, bs. 87-96 (b) La lugubre II, bs. 69-76 327 gondola ...... 5.7: Pendular and progressional inflected repetitions in (a) Csärdäs obstinee, bs. 17-76 (b) the 328 structural reduction of above ...... - 287 -
5.8: Pendular and progressional inflected repetitions in (a) Bagatelle sans Tonalite, bs. 37-60 (b) the 329 structural reduction of above ...... 5.9: (a) Unstern!, bs. 21-30
(b) reduction of bs. 21-72 (c) Bartok, Mikrokosmos 109: From island Bali (published 1940): bs. 1-4 330 no. the of ...... 5.10: Nuages bs. 1-12 331 gris, ...... 5.11: Szechenyi /stvän, theme, bs. 43-54. Xs `non-functional' the VI 331 main mark the chord on ...... 5.12: Magyar indulö, bs. 1-46 332 gyors ...... 5.13: Csärdcis macabre, bs. 1-108: (a) Introduction; (b) Exposition: Curtain Theme and (c) Theme I...... 334
5.14: Themes associated with the Csärdäs macabre from other works: (a) Opening bars of Liszt's Totentanz; (b) Liszt's Saint-Säens' Danse bs. 31-8 335 piano transcription of macabre, ...... 5.15: Harmonic bs. 1-178 (G1 to the beginning G2) 336 reduction of of ...... 5.16: Thematic transformation in half the `bridge', bs. 132-49 336 second of ...... 5.17: Curtain Theme in bs. 157-62, leading to Theme II (G2) and `F major' and, above in the `ossia' stave, the Theme II (right hand in bs. 253-68 337 varied version of only) ...... 5.18: (a) Reduction of harmonic transition into G6-ver/lyd, bs. 163-91 (b) the in the bs. 419-47 338 equivalent passage recapitulation, ...... 5.19: `Luminous' themes compared: (a) the Fe-major `spiritual' theme of Les Jeux d'Eau ä la Villa d'Este, bs. 40-5 1 (b) the Gb-ver/lyd theme in Csärdäs bs. 191-216 339 and macabre, ...... 5.20: Macabre transformations of previous themes at the beginning of G 1' (repeat of G 1): (a) Theme I-gl'
(return of the `sarcastic' theme) followed by (b) a daemonic variant of one of the bridge themes...... 340
5.21: End the beginning the bs. 281-301 341 of exposition and of recapitulation, ...... 5.22: (a) End beginning the bs. 555-80 342 of recapitulation and of coda, ...... 5.23: Closing in D-kal final the Curtain Theme, bs. 626-37 344 cadences and entrance of ...... 5.24: Conclusion the Csärdds 344 of macabre ...... 5.25: (a) Detailed and (b) background representations of the modal-tonal process in the Csdrdäs macabre 345 - 288 -
Chapter 1:
The Unacknowledged Past
kalindra 1.1: Some of the most common features of style hongrois: (a) verbunkos minor and scales; (b) bokäzö cadences; (c) the undulating `Kuruc' fourth; (d) typical syncopated rhythm
Kalindra (a) verbunkos scales
verbunkos minor
(b) bokäzö cadence (variants) (c) Kuruc 4th (d) short-long-short rhythm AI-i>>
usually harmonised as either 'authentic' or 'plagal'
1.2: The verbunkos scale, as derived from a rotation of the Greek-Chromatic tetrachord (based on Istvän Szelenyi, 1963, p. 314)
unnamed
'Gypsy' Locrian-minor I--- Greek-Chromatic 'Gypsy' - A (1: 3: 1) (3: 1: 1) (1: 1:3) (1: 3: 1) 3: 1:2 (1: 2: 1) 2: 1:3 -289-
1.3: Hungarian Rhapsody no. 13, bs. 40-46
Bärdos quotes the B6-ver/lyd passagein bs. 44-5 (Bdrdos, 1978, p. 189)
Mode: B, ver/lvd in A Formal tonal context: Neapolitan 6 chord mixed into A major The phrase concludes minor to -ý .. a aýý
dolce dolce plinüvýý Piü
b bJ
Enharmonically interrupted by FA major cadence repeated ( Bärdos'
returns in b. 49 -- not quoted)
between 1.4: The meeting of modernist and folklorist worlds: Correspondence symmetric and 'verbunkos' scales (based on Bärdos, op. cit., p. 192)
1:3 model 3: 1 model 33
00 it _ I p I 1 1
31 Kalindra 3 1 HG 1
131 I: 31 - 290 -
1.5: La Notte, bs. 72-87 (some dynamics and pedalling omitted)
(Bärdos, 193). The melody enclosed in the rectangle is Bärdos' example of a 1:3 scale op. cit., p.
A major cont-t: (con duolo) evasive cadence .. rön 71 V 1V6 __... _... _.._. _.. _.__.., 1114.
3* a al
accen[uato 27 dolce
un poco agi to
Vanoudo CO-harphiyg mode: D-ver'dor
II? repeat (COestablished as local tonic) CO(har/phryg): Iý
Bärdos' ex. of the symmetric agirato heading towards 1:3 scale (intertonal') B major
84 6 L4 op
r= 1=7 1 j - 7i rinjoz. 11
1.6: The two modes on C# (downward stems) and D (upward stems) as one continuous tone-row.
D-verbunkos/dorian (upward stems)
chord
CN tonic chord
Ci-verbunkos/phrygian (downward stems) - 291 -
Chapter 2:
Modernism and Authenticity
2.1: Examples of dissonances and drone-based harmonisations derived from verbunkos in (a) Haydn, Piano Concerto in D minor, Hob. XVIII: 11, bs. 186-9; (b) Schubert, Divertissement ä l'hongroise (D818), third movement, bs. 547-54; and (c) Liszt, Hungarian Rhapsody no. 12, bs. 7-10
stable empty 6th 'major 9th' chord (variant of verbunkos 1, ) "ý " " 186 ýJ
(a)
Piano
if L 1!
harsh 'two-note' texture
186 #fý Z N
61: 2 Orchestra
(continued overleaf) -292-
atssonant Ve 547 --- µ ,H.
lm/) cresc. lip
I/ V7: dissonant clashes and lack of supporting V bass for structural 2
consonant (stable) consonant 6 (MPCtnI minor tense Bä and DO nL _L__ chord
(c)
J - 293 -
2.2: Examples of (verbunkos-related) dissonant bimodal juxtapositions from three different periods in Liszt's oeuvre: (a) Zwei Werbungstänze (1828), non troppo lento, bs. 5-7; (b) Hungarian Rhapsody no. 7 (1851/3), bs. 68-73; (c) Csdrdds obstinee (1885), bs. 17-24
(Non troppo lento) I
(a)
sK Parallel ffths f-ý_ (If bs. 72-3)
n Zm= 0i (b)
bass-melody cross relations (encircled) C hidden octaves between inner melodic line (B4-Cd-D)
17 A-0
1
A# 13
Tension Resolution (verbunkos 1 4) -294-
2.3: (a) A concise representation of the main themes of the vivace assai section from Hungarian Rhapsody no. 14 (RH14), as they appear in bs. 209-274, leading to (b) three variants of Theme I, bs. 275-99
Theme 1(2): bs. 217-24 (repeat of Theme I, from bs. 209-16, an octave higher)
x. Sxxx-xxxx
a)
repeated an Theme II: 225-32 octave higher, in bs. 233-240
2251f-
333 33
b. 241
------rn, Xxxxx
ERR
Q)
Theme 111(1):243-258 2A Ate' ý_
242 \ý
Jon 333J3 sjogato bravura yý yý
(continued overleaf) - 295 -
End of "Theme 1112(b. 274)
End 116 (b. 258) 8''° of'I'heme r--- 255 it- 11
Theme 1112 glissando P tbs. 259-274 a delicate and high-register ariant 01 11 of lhemc . 1, . 01. #1t 11 - V
*
Reprise of first theme (three variants): Theme 13 4i- 275 $r j. ¢r
(b)) p 9:jJ FFF:: Fß JJ FFY:: FJ' Theme Is' :
Theme Ii' -296-
2.4: RH14, vivace assai: structural-motivic similarities between Themes I, II and III
ts. 209-224 225-241 242-274 Theme I Theme II Theme III
sub-phrase, rep. 4 times
2.5: The melodic-harmonic structure which binds the three themes as they appear in bs. 209-274
The beamed A represents the binding structural note (consonant with the C `drone bass' as I); white notes represent the local perception of the tonic - which is debatable in Theme III
binding melodic I Theme II Theme III note ýýTheme ý cowards new melodic 1--` cycle'
D minor N' (or F major) D verbunkos Iä ºV7 I major
s"
F major D minor/major D: I0V? (orA: IVI?
o= (perceptionof) local tonic - 297 -
2.6: The relationship between verbunkos elements, melodic structure, and the three-stage tonal process in the vivace assai, bs. 209-338
White notes indicate the (sometimes arguable) perception of the local tonic; the key signatures indicate the (analogously arguable) perception of key.
stage I
209-224 225-241 209-241 242-258 259-274
Theme I® Theme II C+ D tepee[ of'1'hemes I and 11 & Theme III. Theme IIIz (repeat)
------ý$------
A di
jim
> g L.. > A-kal N? scale (241) A-kal N 271) scale Q scale (242) i4i (258) 0
imperfect cadence plagal cadence in D -- -- or major? in A majorminor? (A= black note) (A= white note)
stage 2 stage 3 275-282 283-260 261-299 300-314 315-338(smne es 275-2821 1variants N Theme L11, 1 of Theme I: 1, Theme h Theme L' IF' KI Theme 1(h, U and V) ------ý
;Q final X799) ý' (314) __ melodic 0 descent
progression from A back to F circle of fifths emphasises (palpable) bass-melody parallelism imitates A-to-F progression plagal cadence descent previous pentachordal while 'explaining/softening inA majonminor previous parallel textures - 298 -
Chapter 3:
Style hongrois and the Question of Influence
3.1: The opening of Liszt's Präludium und Fuge über das Motiv B-A-C-H (1855 version)
stringendo ------Adagio
poco a poco accel. ------Tempo 1 - 299 -
3.2: Reminiscences de Don Juan, bs. 392-424: The beginning of Liszt's reworking of the "Ed io frattanto dall'altro canto con questa e quella vo' ammoregiar"phrase from the `wine' aria
Qausi presto Tempo deciso sotto voce
marcalo
,ý
lzb. VV
Be2nnine of sequential repeat in D-ver (A-kath -300-
3.3: violin part from Hungaria, bs. 79-86
modal variability
p molto espressivo, cantabile ý_ ---
('Western') but conventional ... also magyar nöta'fifth up' modulation (transpositional) sequence
3.4: A textural reduction (figuration omitted) of the middle (scherzando) section from the seventh Hungarian Rhapsody. bs. 105-84
Each half-phrase is repeated in its turn, and the whole phrase is sounded three times in figurative variations
open-ended tonality
E: minor / -har./maj (cross-relations: GO and-DO)-- I III major: /I
I Im E M-a :
chromatic relationshi Pw th-' Peated F nllnor--- recaPituaIated G major Pluase --
circular / 'pendular' tonality -301 -
3.5: The beginning of the `Wallachian melody' from Magyar Dalok no. 20 (bs. 99-106)
3.6: Asymmetric phrase structures, ostinato `cut-in' cadences, discordant pedal point (C#) and ambivalent IN tonality in Hungarian Rhapsody no. 9. bs. 270-91
Repeat signs replace the originally written-out music; 'I c' stands for `one bar of cut-in cadence'.
subvluase shuctures:
--[2+2+lc)x2
[(2+] c) + (2+1 c)] xz -302-
3.7: Minor-major modal shift in the first theme from Liszt's Hungarian Rhapsody no. 15
ýý
3.8: Hungarian Rhapsody no. 14, bs. 339-354
(NW)------
rinjbrz. assai -303-
3.9: (a) The verbunkos minor scale's relationship with the (b) IVs" and (c) Il; chords
(a) (b) (c)
3.10: Early example of the verbunkos minor's harmonisation Zwei Werbungstänze (1828), bs. 32-5
5'and 4 prolonged IV II chords -304-
3.11: Keyboard-based polychordal and bimodal effects in Hungarian Rhapsody no. 10: (a), bs. 86-8; (b) bs. 102-8
(a)
/a capriccio)
uasi crest `_ zimbal- - ---
_. . v
------
ý ei EM um= Bm ma i
(b)
a capriccio 8------
xuýquasi i zimbalo -do
------106 J'.. I-_t
f; l! 101 --P- - Hit
f f molto ------
VVV -305-
3.12: Liszt, Ungarischer Romanzero no. 11, allegro, bs. 49-72
------
NM------I - 306 -
3.13: Brahms, Ungarische Tänze no. 9, bs. 1-16
Allegro non troppo
pnmo
secondo
3
Io
2° 3
(continued overleaf) -307-
------
I°
z°
iwmw------
1°
20
3.14: An imaginary, reconstructed `source' for Liszt's and Brahms' setting.
or here (Liszt) V already or: A_ phrase Vq (Brahms)
III I V, I V----- IV
Liszt
nh-- R
V Brahms -308-
bs. 9-12 3.15: Hidden parallelisms and dense motivic reflection in Brahms' ninth Hungarian Dance, hierarchy Note values correspond to the harmonic pace in the piece (not to the Schenkerian of white/black beams indicate notes); full beams indicate the structural bass-melody arpeggiation; dotted the subsidiary arpeggiation of the middle voices
Exx. 3 16 3.19 to the from Liszt's Ungarischer Romanzero no. 11 . - refer allegro section
(a) "-a' 0rp 16s 3.16: (a) `Proper' dissonance control in B6 minor; (b) a hypothetical B6 major (or F Dorian) context; (c) Liszt's actual progression N4-3 Vu/III - III in b. 54, where the melodic Dq is treated as a consonant
(b)
In all three examples, white notes represent stable black or IV4_3 V7-7ý/III -- III consonances, notes represent neighbour passing notes/chords, and small notes signify chromatic neighbour or passing notes.
(c)
IV4_3(V) V7 -'7/Ill -- III -309-
63-4 3.17: Harmonic analogy between the (a) imperfect and (c) perfect cadences of bs. 59-60 and respectively; (b) and (d) are given as harmonic reductions in (c). Note that (d) offers the more normative counterpoint against Liszt's `de-synchronised' voice-leading
6-1
svnchroniscd 1 rd) rýý or cf. normative with counterpoint: B4
336 Gt Iv IV IA 5
3.18: Repeat of the first half of phrase A. bs. 99-102 - 310 -
3.19: a harmonic summary of phrases A and B
Although tonally self-enclosed (hence white notes), the phrases are joined by modally-generated enharmonic connections (esp. the regularly-inflected Aq/b; see also dotted slurs) and by an overarching arpeggio motive that resonates with the local arpeggio motives in Phrase B.
overarching arpeggio arpeggio motives in Phrase B motive: FA C
arp. 3: 5ºk ý_ ý'`-J ', arp. ` 3: bºq
Phrase A, bs. 49-56 Phrase B, bs. 57-64 Phrase B repeated, bs. 65-72
*o= local tonic / tonic chord -311-
Chapter 4:
Listening to Alternative Tonal Practices
40 Lydian .
Ionian (Major) "
36
66
4.1: Schenker's modal system of mixtures and its exclusions (beyond the dotted line) 7_ Mixolydian -i
36,66
36,76 10% Dorian
66,76
36,66' Aeolian (Minor) 76 ------26,36, Phrygian 6b, 76 - 312 -
4.2: Chopin, Mazurka in C#minor, op. 51/1, bs. 1-8.
p r
'"--ý aý. \r--q--- ,. LI LM Iw do - V) I --o HW
4.3: Common-tone retention between diatonic keys: a comparison between (a) normative minor mode and (b) verbunkos minor mode. `R' stands for `relative key'.
VII (F major): new diatonic set V: diatonic III (R) new E4-B set, E4-R F (a)
L. VI (Eb A/Ab IV: AIA6 major):
V: D-kal ('R'! ) III: Bb-ver/ivdor D-ver F-aeo1maj Bb-ver/har FD-har/min (b) LIV: I- 1ý1- VI: Eb-ver/lyd A-kaUaol C (ver or min)/mel LII:orA-phryg C-ver (A/Ab and B IBq) -313 -
4.4: (a) A-kalindra's monotertial and semitonal relationships to its second degree and (b) the quasi-diatonic relationship between kalindra modes that symmetrically divide the octave into three major thirds
tonic diatonic 11: B, chord major (semitonal (slurred) relationship) bý s iah 4"" 17 enharmonic 11: 'Bb minor' ('monotertial' relationship)
4.5: Sunt lacrymae rerum, bs. 1-8
A-kal: (enharmonic) Bb minor -A major (cf. ex. 4.4a)
Lento assai
'diatonic' major-third relationship: A major - COminor (cf. ex. 4.4b)
'major' 'minor?
A-kal: evasive tonic - 314 -
4.6: Hungarian Rhapsody no. 3, bs. 9-16; this is a repeat of the opening phrase
t P ;,all --I do I , , OPi
i ,0 4 - 4 `eci. keo. `lea C. _:k "lea.
13 n --ý
11 3 3 3 3 ý7 6 6
yv to *
Section B (repeated from bs. 17-27): Theme 11 ------za
F HOF 10 10
1yP
una coitla ------30 slightlyvaried Theme III tom.31-3 AII. u_rfr cT, . 4.7: RH3, bs. 28- 40 (second 66W - - part EIEEEEEEM pp --66W 3333 of Section B and quasi cadenza the beginning of Section A'. ) - u
36 Section A': Theme I
ýý r - 315 -
N N ý, b r [i oEoý b ä =o- j H ýýE :c w EýEý c u-0w v !=ä '- 4 m L 3 ö m
v aý H F A n m Y v0 s9 v F e w 0 e w0 a-vý z °' 0v I.o a.o C cýro ao v m ýn m cý CC av x. 0 E I FH w
My C
M ý.
_Vz CC 0 b O E 00 7 Nb
yO
Ly
R.2
0 e sF - 316 -
4.9: RH3, Section A'B' and codetta (bs. 58-66)
SectlonA'B' 1 Scale-motive from Theme 11(motive 2) motive
bok uö cadence from Theme I (motive I)
rUt. (tothe end ofb. 64) 81 ______
motive 2 rfa piü dim. from motive 3: 'verbunkos chord' Theme II 666^ 1% 61 VU MM o::
Theme II transformed to Bý-ver/1vd
codetta ,- --- n2 99 MN M
dolciss.
g-,
-A - motive i, continuing me same major-type moue 10
P''' q ---- f
"" r -317-
------
ii i- Al Secöon SecieonB Secfion A' Q' bs. 60-61 codepa .4 , +
4.10: A representation of retro-audible connections in RH3 ------A ------
4.11: First section (SI) from the sixth rhapsody's allegro
A repeat sign is used here instead of a written-out first phrase (P1, bs. 104-111) and "D. C. " denotes a return to the B6 phrase, in this case P4 (i. e. the beginning of S2). The highlighted area shows the modal transition into D-harlmaj.
Pi: 96 P1 (single notes); repeated, P2 (melody in octaves as shown)
P3 (fmmb. 112) P1 102 S. Ll9-.. P2: I In L- .. -. .u_
- ßßuelo/ce q'b b
II S- _J c::::-- V-k
I'll C 121 Ha ig
i 41, ka. 169 kit. 1 69
'vacillating' cadence -318-
, c`l Ä
NC
pWý
8
a0 'a
CN Cq N_ Öw l QU b0
NU 1 Ra
7u
4+
t1
z 11 ýý z 016111 !t 4 b t-p C : vt 10 O C a ýJý Z ZO M ' ö C'
do cs
p
1 L4 U V)
i' . N .r
LLI - 319 -
4.13: A reading of Si where D-har/maj is the controlling tonic key
P1, P2 P3 S2: Bs confirmed r7--7-T7 as tonic A Ni r-, * LIZ "" di HI! -J -go -10.
ý Cadence in D, iterated mice
IV -
D-maj/har: VI VID! D? B6? 1 vacillating cadence
4.14: (a) Alternative spellings for the hexachordal collection in the concluding cadence in D and the vacillating cadence which follows (corresponding to bs. 120-126); (b) a hypothetical and schematic representation of the tonal-textural `meaning' of bs. 120-127
In 4.14a, white notes denote the tonic chord in each context; in 4.14b, white and black notes represent the real rhythmic value.
Liszts trans-tonal Hexachord in D Hexachord in Bb (mixed) spelling (a)
D? ? Bb? F B6ý
(b)
6-6b-5 cadence in D vacillating cadence
D B,
F#-E# [3-42-/] G6-F [/-66-5]
B: -BP [61-66-/J C)-B6 [/-26-1] -320-
Cadence in u: tonal clanty ------
(a)s
Vacillating cadence: tonal ambiguity
y b
cresc. kitý ý`
uL. f.. 1.. R :.. 4.15: The idiomatic r-. i n»i iroaio»Ai) ...... e..,.. ß, .... _i...... and tonal n, transformation of the concluding EFEE cadences in: (a) S2, bs. 149-61; (b) S3, bs. 188-94; (c) S4, bs. Rhythmic diminution of vac. cadence; Emerging Bb 213-21. tonality through 6 -5 line
Cadence in D (pik wumato) N1------
Cf. original version of these cadences in Si, ex. 4.11, bs. 120-26. (7)
191
piü rinforzanda e stringendo
'Vacillating' cadence: Clear tonal orientation, heading towards B' (S4/P1O, Hesto)
Concluding Cadences in& (motivically-related to vac cadence from S3)
(c)j - 321 -
ýyy
ýÜ Yý U Oý 4 Ü ýN Q Iäö 4: wo Iv Iýä-- U I' yý
rT1- ýä ä <ýýIIII ryy Oß 41111 Odý OS C Ö, S 'if ýýIIIII ý. ' Ä i i_ <,i N 7 ug1 IDL
\\ ý. ` y Cl. 'O ä \\ Y m U oVä \\ I IJ o yL "r \\ IN, a aä l \\ q t OI o'\ ýp and Qý3 O 'L: OCm a a' t
ä, ä 3 ä ýj ZQ
ö E V dý/ýo I- y/ý s- O by ýhA I*A al iJ 10A _äo ý bq 4A cn v -0 10A Ayv Q0 -1) c .. o iu "C VO O QUi .. i "O äy r- CO \` --0 C VIA- CC o1O LO w aF 1Epwc `c +.c vý .=e ,w- X14
A pp s CY m b i1 Q 0 cnä ýo Ll. vy
öý a " 4 ., w ý< 00 Q.M .o >,
r. v 'ý -322-
Chapter 5:
The Verbunkos Idiom in Liszt's Late Works
5.1: Set-classes in Sunt Lacrymae Rerum, bs. 109-112: (a) different permutations of 3-3 (the example is a textural reduction and omits the repetitions in bs. 111-2); (b) vertical set-classes.
T4I
4-19 4-20 4-19 (Q) (b)
To T7 - 323 -
(30) 5.2: Spondees and other groups of long accented notes, typical in `storm' marches (exx. a, b, and c): (a) (a) Räköczi March (1871 version), bs. 31-3; (b) Ungarischer FT- Sturmmarsch (1876 second version), bs. 17-20; (c) Revive Szegedin! (1879), bs. 1-8`; (d) short-long- bokdz6 short rhythm and LA ------, iiguiv III IIurzgurtutI IV -'18!, R! J.: Rý Rhapsody no. 17 (1884), bs. 1-4 (b)
I
egro marzialc ten. A.. ten. 2. #. A LJ
(c) ten. ten. ten. A 7777 A
Lento f, ýý 7 14- (d) >>>>>>> 4AL -14 14=1 TVA
In in all of the examples this chapter, unless otherwise stated, repeat signs and bar-repeat designations are used in place of Liszt's original written-out repeats. -324-
5.3 (continued overleaf): Ornamental style and melodic types: (a) Mephisto Waltz no. 3 (1883), bs. 27- 8; (b) Bagatelle sans tonalite (1885), bs. 1-16; (c) Mephisto Waltz no. 2 (1878/9-81), bs. 1-7
(a)
Allegretto mosso pendular melodic figures
dp I/ (b)) I poco a poc dim.
florid bokäzö figure
1V 0 0
Ps`'henundo pendular inflections abstracted anacrusis figure .ý
A livarn vivarv
(c)
ngure - 325 -
5.3 (continued from previous page): (d) Hungarian Rhapsody no. 19 (1885), bs. 1-4; (e) Mephisto Waltz no. 3, bs. 1-10
fT.9ditinnal hnk, -7i fionre
anacrusis figure 33 (d)
J marcato '
Kuruc 4th?
(e)
Al
33 33 Kuru c 4th? p 3 3
33
5.4: Equal-voice parallel sixths in Csärdäs obstinee, bs. 283-314
bs. 283-290 (written an octave higher), 291-298 bs. 299-306 etc. aecel -326-
5.5: (a) Mephisto Polka, bs. 17-47 (repeated in idiomatic variation, bs. 48-80); repeat signs are used in place of written-out repeats; (b) harmonic reduction of the above
n F2ý' D S (Allegretto) Agý: -- __'MI-
8-_; 7 1.7
(a) P sempre sta eato e sche ndo
a AF-01 'V
tZo. F ýýe0. e%.
33 37 35 nn uoou66
, tea ý
qs Bs. 49-80 repeat bs. 17- nn with idiomatic variation 66uuý
semprep b A0, or op
Staccato
inflected repetition: 'modulation' to AM minor? F171 25 HA 33 43 , 49 descending lower tetrachnrd of Ft minn
D UR aý
(6) descendinguppe e achordof Fl minor
.. (k) (3 Gb 1' augmented motive (A - - FÄ - EO) Cminor spelling: 3$- 3e 74 g - 327 -
5.6: Pendular inflected repetitions in (a) Hungarian Rhapsody no. 16, bs. 87-96; (b) La lugubre gondola 11, bs. 69-76
Allegro con brio ------u L
: i K7 U i U
(a) J >
(8m) ------
l73>
Melody repeated an octave higher, bs. //-ö4
The whole passage in bs. 69-84 is repeated sequentially a second down (E major/minor) in bs. 89-104 328
5.7: Pendular and progressional inflected repetitions in (a) Csärdäs obstinee, bs. 17-76; (b) structural reduction of the above
(a
u n
49 n
R F691 n
, ýeo. leA.
prolongation of dominant in bs 1ý 33 49 65 u 73 73 89 etc.
(h)
towards Fl minors ýýýýýý 'G minor"? B minor Ia to IV, Enharmonic IV;, to dominant -329-
5.8: Pendular and progressional inflected repetitions in (a) Bagatelle sans tonalite, bs. 37-60; (b) structural reduction of the above
37 n36
(a)
53 accel. poco a poco etc.
1ý
Minorimajor oscillation of C-Eb-Ab/ CY-FF-Ale
ý} >ttf (b) ------, --ý ------1 Ao
-_ Enharmonic B 1V?)------minor? dominant V' of FOminor? - 330 -
5.9: (a) Unstern!, bs. 21-30; (b) reduction of bs. 21-72; (c) Bartok, Mikrokosmos no. 199: From the Island of Bali (published 1940): bs. 1-4
(Lento, j= 48)
(a)
%15 ten. ten. AA
AA j A - ll -- -
E ET _ n> -Tb. ' *i .co. marcato
,o A: -.... -
. t-. Ili. symmew 4 a-; -a s w-mim- (ieýeGcw> (ý)
4
points of symmetry 3 overall octatonic in b. 2 andb. 3 -- 3 3_. ('restive) 1', _ collection (dý
33
e -331 -
5.10: Nuages gris, bs. 1-12
Bs. 1-8 are abbreviated; all chords and dissonant clashes are derived from inner melodic movements of diatonic tones
G-ver (G-A-Bb-C -D-Eb-FO)
6 ------5
4------5 4'------' 57
3 ------2 ------3 ------2
5.11: Szechenyi Istvän, main theme, bs. 43-54. Xs mark the `non-functional' chord on the VI.
J= 4Q' (Feroce, 116) 51
functional' (transpositional VIIZ('non-functional VI') VI function between D and Fe) -332-
5.12: Magyargyors indulö, bs. 1-46 (bs. 25-46: see overleaf); original repeat signs
Schnell und ungestüm
. e,
44 L'_ .f --. ----, -
i 1 -- 6-w 1 inarcato tý ýF LLLrLý-tý 222 0)1.4p - - -
J stacc. *1z
C verbunkos minor -C major
Bimodal SpCIIN E: ° enharmonic VI in F-ver 111in C-kat?
19 L A
p cresc. - 7-777
> inAminor? ... or'Vl' troloned suspended: ý9 ' structural V ofAminor? L major as a new key area and a modal variant to C-ver <6 -333-
5.12 (continued from previous page): Magyar gyors indulö, bs. 25-46
end of bimodal ambivalence
25 -TT.. ý .v
fJ j
------FE1- EThrinforz. p r-777 7777 77 do4 10
60 5 E: 2
>> -rt V _ýýýtA i 04*0 cresc. -
4 9d o 0 0 0 1141- 11 4 4 4 -- W- W- W- IT fy- '0 -7
V: A 31 --_ structural retam of minor ____--__------_-----__ý1ý
6d (5) ýý1 -334-
5.13: Csardas macabre, bs. 1-108: (a) Introduction; (b) Exposition: Curtain Theme and (c) Theme I (overleaf)
Curtain Theme abstract bokäzö Allegro (Dies Irae' motive)
(a) P
A-kal I--- ý EýfEý p pogo pogo resp.
(bß"6) ------
Theme I-gl ('sarcastic') 3Ný 31ý 37 t ti 'a
Peü crem. 3 %;
Ctlitätn Th0m0 (b°k°z°fnies Irae' motive) ay --- - >L j4 L> LA
(b) ýýýp poco a
ITT - ft ft - ff >-1>nn. chromatic parallelisms motive (CPM): F- Bb space
A-kal? fis 3ýM 73 ------CI pedal point------q 69 77
1 -4 81
1 -1 CPM -335-
Theme I beginning: A-/u, l 3NM morivic r-, ... no...:,... ý.,..
(c)
inflected ending: A-ver, 97 ending: A-kul 107 towards a'normative' A minor 112
5.13 (continued from previous page): (c) Theme 1, bs. 89-108
3NM
5.14: Themes associated with the Csdrdäs macabre from other works: (a) Opening bars of Liszt's Totentanz (cf. Csdrdds macabre, ex. 5.13a and ex. 5.13c); (b) Liszt's piano transcription of Saint- Säens' Danse macabre, bs. 31-8 (cf. Csärdäs macabre, ex. 5.13b and ex. 5.20b)
beginning Dies Irae' Andante of melody ý (a) marcato pesante
8 -ý ------
.; ý iaýuvciucni mwcic uc vaix
ýhý f marcato
zýa. ý - 336 -
5.15: Harmonic reduction of bs. 1-178 (Cl to the beginning of G2)
7G Introduction Exposition, GI Epoition, f C, gl n Theme i_gl CT Theme I Bridge' (fmm b. 111) ThemeII 3 pedal ý3NM """' 1 T -3NM mock modulation! y pcdal ý--ý I> decisive modal shift >
motivic inflections Il ofA-ka! 3NM or VI of D-ver 2l 1411 49 88 ý107 [iii 125 1531
real f AN Irv, bass
'shadow' sonata-form background p meaning' of key signature: undecided key, tonal ambiguity -y ý 'D minor' A minor (real) -F major'
5.16: Thematic transformation in second half of the `bridge', bs. 132-49
141 I41 145 49 132 ------137
if CPM (reduction oft W. 141-91
3NM from Theme I (GI )joined with CT in diminution, broken into transformation Curtain Theme (CT) in diminution wee repeated notes (3NIvf); Beginning of chromatic ascent (CPM) - 337 -
5.17: Curtain Theme in bs. 157-62, leading to Theme II (G2) and `F major' and, above in the `ossia' stave, the varied version of Theme 11(right hand only) in bs. 253-68
253 a
G2', bs. 253-68
End of G1 (Curtain Theme) G2, Theme II
X59 tý rr---ý -- - ý
169 A 9:
.ý p 4ý N ý. tä. * - 338 -
5.18: (a) Reduction of harmonic transition into G6-ver/lyd, bs. 163-91 and (b) the equivalent passage in the recapitulation, bs. 419-47
major-mode new theme: Gtrver/lyd variants on F: F major F-har/maj (subdominant degrees) (F-aeoUkal? )
F16-3] 179 187 183 191 rah
motive: D6 B6 (', (6) 6V --, -arpeggio - - bass
[5 subdominantN6 116 117 II / in F-aeol/kal? V bass directionality 5 -º 1146
bokäzö motive and V611motivic inflection
major-mode new theme: E6-ver/lyd variants on D: D major D-har/maj (subdominant degrees) (D-aeol/kal? )
A L4 ---, --,
F4 F43 435 / 443 447 (6) arpeggio motive: Bb -G- E(n) ,__ V bass 0 60 lit rý q 9" .b rNb subdominant IIS II7ý--ºII / 1146in D-aeol/kal? V bass directionalit [5
bokäzomotive and EVE, motivic inflection - 339 -
5.19: `Luminous' themes compared: (a) the F# -major `spiritual' theme of Les Jeux d'Eau ä la Villa d'Este, bs. 40-51 and (b) the G6-ver/lyd theme in Csärdäs macabre, bs. 191-216
Un poco piii moderato qq qg 0 461 50 w L Lý -I ý, a _. a 9
eis. imo (u) trany nllo
IS, tremolando sempre una Gorda sempre pp e legatissimo tin poco espressivo
ý (h) 1 -340-
5.20: Macabre transformations of previous themes at the beginning of G1' (repeat of GI): (a) Theme I-gl' (return of the `sarcastic' theme) followed by (b) a daemonic variant of one of the bridge themes (cf. ex. 5.16).
217
(u)1
ffl
(h)
217 nv ý' bam: #L LL! ÄL º_º.. rººs Ifi ssr iM f . * 4777E- 0 --
237 # # # # # -341 -
5.21: End of the exposition and beginning of the recapitulation, bs. 281-301
A?w ------
(NM)------
Recapitulation (Curtain Theme) -342-
5.22: (a) End of recapitulation and beginning of the coda, bs. 555-80
Descending Elver/lyd scale: overall melodic progression to D major
4 36 5) ------4 ------3
(a))
COdQ CPM in D (D-maj/har), main progression: III - VI -I- VI
In ------FO- Bmotivicspace ------
VI I ------Bb - D, complementarymotivicspace ------
Thematic-tonal-modal synthesis: 'luminous' Them(
VI
(continues overleaf) - 343 -
5.22 (continued from previous page): (b) Modal metamorphosis in bs. 581-90; (c) Theme I continues; final resolution to D major and its prolongation through modal mixtures, bs. 589-609
B-er/lvd Bimodal juxtaposition frxmerly'unrequited' leading tone (1: 3 symmetry)
(b))
D-ver/hid motivic FN/F) transformed and resolved
(c)
D major (modal mixtures)
,w. v D-harimaj ------D-kal -344-
5.23: Closing cadences in D-kal and final entrance of the Curtain Theme, bs. 626-37
Closing cadences in D-kal Curtain Theme: III of D 626 etc.
*V ) -1 0) ýAi T? 4ý
bbb wiý V ýý 1 (J
5.24: Conclusion of the Csärdäs macabre
6S5
(fsempe)
693
q bq #qb q# b J ýý * to- - 345 -
cä o ÜÜ C ,_ C' O LU Cý 9 Öy CD C U O C Cý e Zo n O
7 C on ý0
C O 'er O OE C C Fd v .0 d Ov
) 7yL
b E 0L
>
C b C v T H- N U Ös b Ca ä--
Nö1 F v, . aV
a; `C
Fý-Jc E .'-= re= NC Op.
.ýLC yC
O ý' YL ý+
Cc, -AMC.
ýN. aý1 Y E rý N L
V C
720 cv - cv
4)0e0 H v`ýi>
N F-' (7
eö
ý' yN E
WJ
ý. ý-.
ýü ý::.,, ýtTt''1ýý ,