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Franz Liszt's Vallee D'obermann from the Annees De Pelerinage

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Franz Liszt's Vallee D'obermann from the Annees De Pelerinage Franz Liszt’s Vallée d’Obermann from the Années de Pèlerinage, Première Année, Suisse: A Poetic Performance Guide A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2013 by Bora Lee MM, University of Cincinnati, 2003 BM, Yonsei University, 2001 Committee Chair: Jonathan Kregor, Ph.D. Abstract An informed performance of the music of Franz Liszt often requires biographical study and knowledge of numerous literary references. Composed primarily during his exile from Paris with Countess Marie d’Agoult, the keyboard work Vallée d’Obermann from the Années de Pèlerinage, Première Année, Suisse captures the despondence and hope in two Romantic sources: the French novel Obermann (1804) by Étienne Pivert de Sénancour and the English poem Childe Harold’s Pilgrimage (1812) by Lord Byron. But the score also reflects the young musician’s unease over his career, reputation, and future. This document will address the highly personal nature of Vallée d’Obermann and investigate musical narratives that will benefit enterprising pianists for more poetically nuanced rendition. The first chapter will discuss the compositional and literary background of Vallée d’Obermann, delving into the works by Sénancour and Byron and touching upon events in Liszt’s life. The second chapter will present the rhetorical devices in Vallée d’Obermann that create unique music-poetic relationships. The final chapter is a performance guide to Vallée d’Obermann for pianists who wish not only to execute the technical obstacles of the score, but to project the work’s literary and autobiographical aspects. ii Copyright © 2013 by Bora Lee. All rights reserved. iii To God for the wisdom and strength to complete this project To my family for their prayers and unconditional love and To my professors and mentors, Dr. Jonathan Kregor Professor Eugene Pridonoff Professor Elisabeth Pridonoff Professor Sandra Rivers for their loving guidance, patience, and encouragement iv Table of Contents Abstract ......................................................................................................................................... ii Copyright Permissions ................................................................................................................. vi List of Illustrations ...................................................................................................................... vii Introduction .................................................................................................................................... 1 Chapter 1. Liszt’s Literary Inspiration Compositional Background ............................................................................................... 8 Album d’un voyageur Années de Pèlerinage, Première Année, Suisse Literary Background ........................................................................................................ 17 Sénancour: Obermann (1804) Byron: Childe Harold’s Pilgrimage (1812) Chapter 2. Rhetorical Devices Thematic Transformation ................................................................................................ 23 Tonality and Harmony ..................................................................................................... 33 Melodic Line and Intervals .............................................................................................. 42 Presence of the Tritone .................................................................................................... 50 Recitative ......................................................................................................................... 57 Chapter 3. Poetic Performance Guide to Liszt’s Vallée d’Obermann ......................................... 64 Final Thought ............................................................................................................................... 90 Bibliography ................................................................................................................................. 92 v Copyright Permissions Liszt, Franz. Neue Ausgabe sämtlicher Werke. Series I, Volume 6. Copyright © 1976 by Editio Musica Budapest. Used by permission. __________. Neue Ausgabe sämtlicher Werke. Series I, Volume 7. Copyright © 1974 by Editio Musica Budapest. Used by permission. __________. Neue Ausgabe sämtlicher Werke. Series I, Volume 17. Copyright © 1983 by Editio Musica Budapest. Used by permission. __________. Pianofortewerke. Band IV. Album d’un Voyageur. Copyright © 1916 by Breitkopf & Härtel. Used by permission. __________. Sonate. Copyright © 1983 by Editio Musica Budapest. Used by permission. vi List of Illustrations Figures 1: Liszt, Vallée d’Obermann: Formal, Thematic, and Tonal Structure ....................................... 25 Musical Examples 1.1: Liszt, Au bord d’une source (1842), mm. 1–2 from Album d’un voyageur ...........................13 1.2: Liszt, Au bord d’une source (1855), mm. 1–2 from Années de Pèlerinage, Première Année, Suisse .....................................................................................................................................13 2.1: Liszt, Vallée d’Obermann, mm. 1–9, the opening theme with Motive A and B................... 26 2.2: Liszt, Vallée d’Obermann, mm. 75–78, the first thematic transformation in C major ........ 27 2.3: Liszt, Vallée d’Obermann, mm. 119–120, the second thematic transformation, Recitativo ............................................................................................................................................... 28 2.4: Liszt, Vallée d’Obermann, mm. 128–130, struggle between two transformed themes ............................................................................................................................................... 29 2.5: Liszt, Vallée d’Obermann, mm. 159–169, three-note motive in a spare texture ................. 30 2.6: Liszt, Vallée d’Obermann, m. 170, the third thematic transformation in E major................ 30 2.7: Liszt, Vallée d’Obermann, m. 180, the fourth thematic transformation in inversion .......... 31 2.8: Liszt, Vallée d’Obermann, m. 188, the fifth thematic transformation ................................. 31 2.9: Liszt, Vallée d’Obermann, mm. 214–216, the last statement of the theme .......................... 32 2.10: Liszt, Vallée d’Obermann, mm. 1–9, the opening passage, main theme ........................... 36 2.11: Liszt, Vallée d’Obermann, mm. 26–36, the transition back to the main theme.................. 37 2.12: Liszt, Vallée d’Obermann, mm. 66–74, the transition to the first thematic transformation ..............................................................................................................................................38 2.13: Liszt, Sonata in B minor, mm. 1–6, the first theme ............................................................ 39 2.14: Liszt, Vallée d’Obermann, mm. 75–78, the first thematic transformation in C major ...... 41 vii 2.15: Liszt, Vallée d’Obermann, mm. 20–25, four-octave descent of the theme ........................ 44 2.16: Liszt, Vallée d’Obermann, mm. 75–78, descending three-note motive of the first thematic transformation...................................................................................................................... 44 2.17: Liszt, Vallée d’Obermann, mm. 119–120, descending three-note motive of the second thematic transformation ....................................................................................................... 45 2.18: Liszt, Vallée d’Obermann, mm. 180–181, the principal theme inverted ........................... 45 2.19: Liszt, Vallée d’Obermann, mm. 196–197, the principal theme inverted, bombastic ......... 46 2.20: Liszt, Vallée d’Obermann, mm. 212–216, the last statement of the theme ....................... 47 2.21: Liszt, Vallée d’Obermann, mm. 1–2, the original theme in the left hand .......................... 48 2.22: Liszt, Vallée d’Obermann, mm. 20–23, altered theme in both hands ................................ 49 2.23: Liszt, Vallée d’Obermann, mm. 51–54, altered theme changes hands .............................. 49 2.24: Liszt, Vallée d’Obermann, mm. 71–73, altered theme in the left hand ............................. 50 2.25: Liszt, Dante Sonata, mm. 1–5, opening descending sequence .......................................... 51 2.26: Liszt, Mephisto Waltz No. 2, mm. 1–6, ascending tritones ................................................. 53 2.27: Liszt, Mephisto Waltz No. 2, mm. 535–540, descending tritones ....................................... 53 2.28: Liszt, Vallée d’Obermann, mm. 139–144, octave trading between hands and the tritone relationship in the sixteenth note passages ......................................................................... 55 2.29: Liszt, Vallée d’Obermann, mm. 149–152, the tritone in the tremolo and diminished seventh in the left hand .................................................................................................................... 56 2.30: Liszt, Vallée d’Obermann, mm. 155–158, the tritone in the tremolo and accented chords in the right hand .................................................................................................................. 56 2.31: Liszt, Vallée d’Obermann, mm. 22–25, the diminished seventh ....................................... 57 2.32:
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