The Jlate Piano Works of Franz Liszt"

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THE LATE PIANO WORKS OP FRANZ LISZT, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS

DISSERTATION

Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OP MUSICAL ARTS

Raymond Marchionni, B. Mus., M. Mus, Denton, Texas August, 1976 i /rv Marchionni, Raymond, The Late Piano Works of ffranz Liszt,

— lecture Recital, Together with Three Recitals. Doctor of

Musical Arts (Piano Performance), August, 1976, 21 pp.,

15 illustrations, bibliography, 41 titles.

The lecture recital was given April 2, 1973. A dis-

cussion of Liszt's late piano works included information

about specific compositional techniques and innovations

which influenced twentieth-century composers. Five selections

of the late works were performed by memory.

In addition to the lecture recital, three public solo

recitals were performed.

The first solo recital, performed on April 9> 1972,

consisted of works by Haydn, Beethoven, Ravel, and Chopin.

The second solo recital, performed on August 4, 1974,

included works by Beethoven, Debussy, and Brahms.

The final solo recital, performed on April 5» 1976,

consisted of works by Bach, Chopin, and Prokofieff.

All four programs were recorded on magnetic tape and

are filed, along with the written version of the lecture

recital, as part of the dissertation. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library.

11 TABLE OF CONTENTS

PERFORMANCE PROGRAMS Page

First Solo Recital iv

Lecture Recital. The Late Piano Works

of Franz Liszt v

Second Solo Recital vi

Third Solo Recital vii

LIST OF ILLUSTRATIONS viii

THE LATE PIANO WORKS OF FRANZ LISZT 1

BIBLIOGRAPHY 19

111 North Tex'as State University School of A\usic present! Remo AWckionrti, Ftanist ma Graduate Recital

Sunday, April % 1972 5:00 p.m. Recital Hall

Variations in FMinor (Hob.XVI1: 6) Haydn

Sonata in £b Major, Op. 31 No. 3 Beethoven. Allegro Scherzo: Allegretto vivace Menueiio: .Moderate e ^mztoso Presto coniuoco

Intermission

Valses Nobles et Sentimentales Ravel Mode re — ires franc Jkssez lent Modere Kssez anime fresqm lent \¥ Moins Vi'f Epilogue - Lent

Berceuse, Op. 57 Barcarolle, Op. 60 Chopin

Presented in partial fulfillment of the requirements for the decree Poctor of Musical Arts North Testis State University School of Music presents Remo A^archionni. fWst m a Lecture Eecitat

"The JLate Piano Works of Franz Liszt"

Monday, April 2,1975 5:00 p.m. Recital Hall

Kua^es Gris (Gmy Clouds) 1881

Unstern (False Star) 1880-1886

EnReve (Dreaming) 1885-1886

JLa iu^ubre Gondola I (The Funeral Gondola!)... 1882

Third MephUto Waltz . 1881

Presented in partial fulfillment of the requirements for the decree Doctor of Musical Arts NORTH TEXAS STATE UNIVERSITY

School of Music

presents REMO MARCHIONNI ill

Graduate Piano Recital

Sunday, August 4, 1974 4:00 p.m. Recital Hall

Sonata, Opus 109 Ludwig van Beethoven Vivace, ma non troppo Prestissimo Gesangvoll, mit iimigster Empfindung

Images, Book I Claude Debussy Reflets dans l'eau Hommage a Rameau Mouvement

INTERMISSION

Eight Piano Pieces, Opus 76 Johannes Brahms Capriccio Capriccio Intermezzo Intermezzo Capriccio Intermezzo Intermezzo Capriccio

Presented in partial fulfillment of requirements for the degree of Doctor of Musical Arts

VI North Texas State University School ofiWusic

presents Remo JVWcKionni, Pianist

in a Graduate Recital

Monday, April 5,1976 5'.00 p.m. Recital Hall

Toccata in C Minor J. S. Bach

Andante spianato and Grande l&lonaise brillante, Opus 22 Frederic Chopin

Intermission

Sonata Wo. 6, Opus 82 Ser^e Prokofieff Adecjro modemto Allegretto Tempo di va.1ser lentissimo Vivace

Presented in partial fulfillment of the requirements for ike decree Doctor of Musical Arts

Vll LIST OF ILLUSTRATIONS

Figure Page 1. Franz Liszt, Les Jeux d'eaux a la Villa d'Este, mm. -nrr-: 7 7T7 3 Liszt, Les Jeux d'eaux a la Villa d'Este, mm. 88-95 . . 7 . . 7 . . . Liszt, Les Jeux d'eaux a la Villa d'Este, mm. 40-43 ..... 7 . . . 4 4. Claude Debussy, L'isle .joyeuse, mm. 7-8 . . . 5 5. Liszt, Sursum Corda, mm. 66-71 6 6. Liszt, Czardas Obstine, mm. 1-21 ...... 7 7. Liszt, Czardas Macabre, mm. 49-62 8 8. Liszt, En Reve, mm. 35-47 10 9. Liszt, Nuages Gris, mm. 46-48 11 10. Liszt, Petrarch Sonnet 104, mm. 78-80 . . . . 11 11. Liszt, Unstern, mm. 57-70 12 12. Liszt, Unstern, mm. 20-23 13

13. Liszt, La Lugubre Gondola II, mm. 152-168 . . 15 14. Liszt, third Mephisto Waltz, mm. 1-10 . . . . 16 15. Liszt, Bagatelle sans Tonalite, mm. 1-21 . . 17

Vlll THE LATE PIANO WORKS OP FRANZ LISZT

The artistic achievements of Franz Liszt have long been considered an outgrowth of his unique piano virtuosity, con- ducting, and orchestral experimentation. Acknowledged are the brilliant piano works, the tone poems with their inno- vative structure, and the essays on esthetics. The music of Liszt's final years, however, remains almost totally neglected and unknown.

Liszt's contemporaries have given us a picture of the aging composer as an eccentric who produced works embarrassing to his friends and pupils, and a source of amusement to his enemies. The music of Liszt's old age drew the remark from Edward Hanslick: "After Liszt, Mozart is like a soft spring breeze penetrating a room reeking with fumes."1 Wagner's criticisms of Liszt's late works were apparently in the same view. Peter Raabe, one of the earliest reliable biographers of Liszt and Director of the Liszt Museum at Weimar, explains: Like all other musicians of sound judgment, Wagner had come to recognize that Liszt's creative genius was on the down grade. He was horrified by the things he saw and heard. However, he felt it im- possible to tell Liszt his real opinion of these senile compositions . . ."2

"^Walker, Alan, editor, Franz Liszt: The Man and his Music (London, 1970), p. 350. "Szabolsci, Bence, The Twilight of Liszt, translated by Andras Deak (Budapest7~T959), pp. 22-23. Several of Liszt's most intimate pupils rejected the late works with indignation, regarding them unworthy of the brilliant pianist and renowned composer. However, Liszt referred to his musical "after-life" with confidence. In a letter to Princess Wittgenstein he stated that "His only remaining ambition was to hurl a lance as far as possible into the boundless realm of the future."^ To August Stradal, a pupil, the seventy-four year old Liszt remarked: "The time will yet come when my works are appreciated. True, it will be late for me because then I shall no longer be with you."^

His prediction was borne out when Bela Bartok, in his lecture at the Academy of Sciences in Budapest in 1934» pointed out the many novelties in the music of Liszt. He called Liszt the most powerful force in stimulating and en- riching the imagination of the new generation of composers.-* Bartok further states in his autobiography: The great artist's true significance was revealed to me at last. I came to recognize that, for the continued development of musical art, Liszt's compositions were more important than either Wagner's or Strauss' . . . Courageous and prophetic gestures, things never said before, it was on account of these that Liszt rises to the height of the greatest composers . . ."6

^Walker, Franz Liszt: The Man and his Music, 350. ^Szabolsci, The Twilight of Liszt, 5. 5 Bence Szabolsci, "Liszt: The Composer," The Music Magazine: Musical Courier. CLXIII (November, l"55T), 8-9. r Szabolsci, The Twilight of Liszt, 75-77. In Rome in 1884, the young Debussy heard Liszt play several of his recently-published impressionistic pieces, among them, Les .jeux d'eaux a la Villa d'Bste. The dominant ninths at the outset of the piece (Fig. 1, p. 3), the descending chain of secondary sevenths occurring in the main body of the work (Fig. 2, p. 4), and an accompanimental figure (Fig. 3, p. 4), similar to one Debussy later used in L'isle joyeuse (Fig. 4, p. 5), made a tremendous impact on the younger composer.

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Fig. 1—Liszt, Les Jeux d*eaux a la Villa d'Este, mm. 1-3,

In his very last compositions Liszt avoided cliches, virtuosity, and many other elements typical of his earlier style, and he often spoke of the "strange oscillations" of Allegretto 9 va _ .

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Pig. 4—Claude Debussy, L1 isle .joyeuse, mm. 7-8. his musical settings. The piano pieces written between 1881 and 1886 do indeed show daring experiments. Extensive chromaticism, the Hungarian scale with its two augmented seconds, the whole tone scale, and declamatory or speech- like elements characterize much of the melodic writing. Melody is shortened, often to four notes or less, quite unlike those of many of the earlier works where thematic ideas create Classical four-bar and eight—bar phrase struc- tures. Limited periodic structure, sequence and repetition of short motives (as in Debussy), short ostinatos, and large sections transposed literally are common. A rhythmic unit often remains an isolated end in itself. The juxtaposition of keys, tritone relations, and chords with added dissonances veil tonality. Augmented triads appear everywhere. Hints of chord chains and parallelism in several of the late works 7 . Pisk, Paul A., "Elements of Impressionism and Atonality in Liszt's Last Piano Pieces," The Radford Review, XXIII, no. 3 (Summer, 1969), 172. 6 anticipate Debussy's techniques. Functional cadences are frequently delayed or completely avoided. Very thin textures, single line melodies in extreme registers, and extended tremolos in the bass create austerity. Liszt constantly experimented with the expansion of tonality. The whole tone scale, which by definition is without tonality, appears frequently in the late works. The climax of the Sursum Corda of 1877, which is in the third volume of Annees de Pelerinage, consists of a series of octaves outlining the whole tone scale:

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Pig. 5—Liszt Sursum Corda, mm. 66-71. The simultaneous sounding of major-minor thirds is another of Liszt's late experiments. Passages built on chords such as P# A#, C# P# At? are not uncommon in the late works. The Czardas Obstine of 1884, which uses the major- minor third, anticipates the music of Bartok:

Presto

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sempre staccato

Pig. 6—Liszt, Czardas Obstine, mm. 1-21. 8

The open fifths at the beginning of the Czardas Macabre (Pig. 7, p. 8), written with the expressed intent of irri- tating Hanslick, drew the criticism from one of Liszt's own pupils who exclaimed, "Is it allowed to write such a thing? Is it allowed to listen to it?*'® Bence Szabolsci, a Liszt scholar, suggests that a "conspiracy of silence" surrounded the composer's late works. To prevent any further hostile criticism, Liszt's supporters purposely held back many of these compositions from publication. The Czardas Macabre, composed in 1881, was finally published in 1951, along with several of the other late works.^

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Pig* 7—Liszt, Czardas Macabre, mm. 49-62.

8, Valker, Pranz Liszt: The Man and his Music. 353. Ibid-, P. 353- The nocturne, En Reve, is one of the most conservative of Liszt's late piano pieces. This two-part miniature is Mozartian in its melodic simplicity and clarity of texture. Melodies are conceived in Classical four-bar phrase struc- tures and are more flowing and lyrical than most of the other late compositions. Liszt never really obscures the tonality of B-Major, as the melodic material is accompanied by a pedal point on the dominant throughout most of the work. Noteworthy is a final cadence delayed through trills under which sound non-functional harmonies moving at a slow rhythmic pace (Fig. 8, p. 10).

Also classically conceived in phrase structure, Nua^es Gris (1881), demonstrates several elements common to Liszt's late style: a structurally tight motive, intervallic meta- morphoses, ostinatos and extended bass tremolos, tritone relations, chains of augmented triads, chords with added dissonances and thin textures. Written in G;-minor, although the key is never clearly established, the work ends on chords which completely cloud the tonality (Pig. 9, p. 11). Both Debussy and Stravinsky described this work as beautiful and perfect.

Liszt used the augmented triad in many of his earlier works. The Petrarch Sonnet 104 exemplifies the device of substituting the augmented triad for the subdominant. An augmented chord on C is approached from and leads to an E-niajor chord (Fig. 10, p. 11). in the late works, the use 10

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Pig. 8—Liszt, En Reve, mm. 35-47.

of the augmented chord became a major style characteristic Nuages Gris and Unstern contain whole sections based on chains of augmented chords supported by extended tremolos in the bass (Pig. 11, p. 12). 11

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Pig. 10—Liszt, Petrarch Sonnet 104, mm. 78-80,

Written between 1880 and 1886, Unstern demonstrates still other aspects of Liszt*s late style. The piece is cast into two large sections; the first is without a key center, the second is in B-Major. The tritone (the "diabolus in musica")» dissonant chord clashes, the whole tone scale, or intense chromaticism are used in every measure of the first section, eliminating a sense of tonality. A most striking feature of this section is a repeated dotted rhythm which remains a stark and isolated end in itself (Pig. 12, p. 13). The contrasting B-Major section, marked "sostenuto 12

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Pig. 11—Liszt, Unstern, mm. 57-70. quasi organo," begins without transition and alternates soft chords with chromatic unison passages. However, the key- center of this section remains somewhat vague. Within the first two phrases, the B-Major chord is heard only twice, and in its second inversion. The B-Major chord never again appears for the remaining forty-seven measures of the piece. 13

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Pig. 12—Liszt, Unstern, mm. 20-23.

Both the final chord, F#-Major with E in the bass (the last inversion of the dominant seventh), and the final note of the piece, E, approached from a descending whole tone scale outlining the tritone, creates tonal vagary. The note E both begins and ends the composition.

Liszt wrote four pieces honoring Richard Wagner. Richard Wagner—Venezia and La Lugubre Gondola I and II_ were written for piano and composed in Venice in 1882. The fourth piece, entitled Am Grabe Richard Wagners, was written in Bayreuth in 1883 and scored for string quartet, harp and piano ad libitum. The two elegies La Lugubre Gondola repre- sent the Venetian funeral processions which were conducted in gondolas and, in fact, anticipate Wagner's funeral procession which occurred some months later. La Lugubre Gondola I employs bar form—A A B, or "Stollen" "Stollen" "Abgesang," the form favored by the medieval German Mastersingers. Liszt*s choice of bar form 14

might in itself have been a tribute to Wagner. Wagner, in his opera Die Meistersinger von Nurnberg, consistently used the form. The three acts of Die Meistersinger create a huge A A B design, the third act equalling in length the combination of the first two. The scenes of the second act also parallel those of the first, almost without exception. In addition, Wagner chooses bar form for many of the songs of the opera, including the Preislied. Liszt's piece, based on the barcarolle rhythm, consists of two equal "Stollen," the second of which is transposed one whole tone lower, and an "Abgesang" which develops previous thematic material. Trans- parency of texture, motivic structure, narrow melodic ranges, and augmented triads also characterize the work. It is not really clear whether Liszt intended a consecutive performance of the two Gondola pieces, or if the second remained an alternative to the first piece, being a variation of it.

It is not unusual for Liszt's late works to end with unaccompanied melodies. Both the beginning and ending of La Lugubre Gondola II are written without key signatures. The final seventeen measures of the work imply the key of G#-minor (Pig. 13, p. 15).

Building chords in intervals other than thirds is still another of Liszt's experiments. The seventeenth Hungarian Rhapsody of 1883 and the Via Crucis of 1879 demonstrate Liszt's attempt to construct chords in fourths. The third Mephisto Waltz of 1881 begins with successive tones on the 15

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last inversion of a chord built on fourths—C# E# A# and D# (Fig. 14, p. 16). The basic structure of the chord reads E# A# D# (G# omitted) and C#, foreshadowing a practice of Scriabin. The chord could be based on the dominant of F#- Major, yet, also on the tonic of A#-minor. To the late period belong several of Liszt's finest dance compositions. Included among the works are the Czardas Macabre and the Czardas Obstine, the four Valses OubliSes, and the second, third and fourth Mephisto Waltzes, With the exception of these dance pieces, virtuosity plays little or no part in Liszt's late piano works. The third Mephisto Waltz integrates many of Liszt's late experiments 16

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Pig. 14—Liszt, third Mephisto Waltz, mm. 1-10, with the utmost of piano virtuosity. Rather than complying with any given form, Liszt freely varies materials through thematic transformations. No key scheme is followed, lost of the waltz centers in and around 3?#-Major, but ends in the key of D#-minor. The rhythmic scheme of the opening fourth motive, a half-note followed by two sets of eighth-note triplets, serves as the germinal idea for all thematic materials, again demonstrating Liszt's ability at thematic economy. The programmatic idea is the same as that of the earlier and more famous Mephisto Waltz—Mephistopholes en- chanting his listeners with his violin playing. 17

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Fig. 15—Liszt, Bagatelle sans Tonalitet mm. 1-21. 18

One of the most remarkable of all Liszt's late works is "the Bagatelle sans Tonalite of 1885, originally conceived as a fourth Mephisto Waltz. Although Bagatelle sans Tonalite is Liszt's own title, the composition does not erase all feeling of tonality in the Schoenbergian sense. The tritone, juxtaposition of keys, and chromaticism are employed at the beginning of the work (Pig. 15, p. 17). Liszt's critics declared that the composer, in his experimentation "betrayed and ruined pure music."10 However, in his search for new musical idioms, Liszt opened the door to the twentieth century. His late works point toward the music of Debussy, Ravel, Schoenberg, Bartok, and others. Liszt, whose music spanned practically the entire Romantic Era, was without a nineteenth century parallel.

10 Szabolsci, "Liszt: The Composer," p. 9. BIBLIOGRAPHY

Books Abraham, Gerald, A Hundred Years of Music, New York, Alfred A. Knopf, 1938":

Kirby, P. E., A Short History of Keyboard Music, New York, The Free Press, 1966. Mellers, Wilfrid, Romanticism and the Twentieth Century, New York, Schocken Paperback ed., 1969. Salazar, Adolfo, Music in Our Time, New York, W. W. Norton & Co., Inc., 1946. Searle, Humphry, The Music of Liszt, London, Williams and Norgate, Ltd., 1954.

Sitwell, Sacheverell, Liszt, New York, Philosophical Library, Inc., 1956. Szabolsci, Bence, The Twilight of Liszt, translated by Andras Deak, Budapest, Publishing House of the Hungarian Academy of Sciences, 1959. Walker, Alan, editor, Franz Liszt: The Man and his Music, London, Barrie and Jenkins, 1970.

Articles Anderson, Harry L., "Liszt: The Pianist," The Music Magazine: Musical Courier, CLXIII (November, 19*517, 10-127""^ "Bagatelle sans Tonalite," (author unknown) Musical Opinion, LXXX (August, 1957), 633.

Bar-illan, David, "Is Liszt Next?," HI PI, XVIII (April 1968), 42-45. Dumm, Robert, "Liszt Lives, Part I," The Piano Quarterly, LXVI (1968), 16:18-21. a * » "Liszt Lives, Part II," The Piano Quarterly, LXVI (1968-69), 17:20-25. *

19 20

Pagan. Keith, "The Forgotten Liszt," Musical Opinion, LXXXVIII (June, 1965), 533.

"Forgotten Waltz," (no author given) Musical America (December. 1954).

Gibson, David, "Franz Liszt's Christmas Tree," The Dianason. LXII (December, 1970), 28. '

Herring, Harriet T., "Liszt's Influence on Early Twentieth- Century Piano Music," The Radford Review, XXIII. no. } (Slimmer, 1969), 135-14X

Holcmann, Jan, "Liszt: Piano Records," The Music Magazine: Musical Courier, CLXIII (November, 1961), 14-16, 45.

Jacobson, Bernard, "Liszt on Records," HI PI, XVIII (April. 1968), 51-55.

Kammerer, Rafael, "Record Review," American Record Guide, XXXII (September, 1965), 58-59.

Lewenthal, Raymond, "In Search of the Real Franz Liszt," HI FI Stereo Review, XV (November, 1965), 65-69.

"Liszt—Bartok. Report of the Second International Musicological Conference, Budapest, 1961," papers edited by Q. Gardonyi and B. Szabolsci, Music and Letters, IV (1964), 393-95.

"Liszt: Early and Late Piano Works," (no author given) Music and Letters. XXXIV (January, 1953), 83-84.

Muranyi, R. A., "Unknown Liszt Relics," Studia Musicologica. IV (fascicle 2, 1963), 195-200.

Pisk, Paul A., "Elements of Impressionism and Atonality in Liszt's Last Piano Pieces," The Radford Review, XXIII. no. 3 (Summer, 1969), 171-1757

"Rediscovered Liszt," Music and Musicians, XVI (December, 1967), 34-36.

Searle, Humphry, "Liszt's Final Period, 1860-1886," The Royal Music Association Proceedings. LXXVIII (April, T552), <57-81.

Szabolsci, Bence, "Liszt: The Composer," The Music Magazine: Musical Courier, CLXIII (November, 19ST), 8-9.—

Vincej S., "The Apostle of Liszt," Musical Opinion, LXXV (January, 1952), 213-15. — 21

Waters, Edwin W., "Harvest of the Year: Selected Acquisitions of the Music Division," The Quarterly Journal of the library of Congress, XXLV (January, 1967), 5'l-57» 64, 71. Yeomans, W., "The Late Piano Works of Liszt," Monthly Musical Record (February, 1949)•

Dictionary Articles Searle, Humphry, "Franz Liszt," Grove's Dictionary of Music and Musicians, V, edited by Eric Blom, MacMillan & Co., rra., 1954.

Unpublished Articles Goode, William Myrick, "The Late Piano Works of Franz Liszt and Their Influence on Some Aspects of Modern Piano Composition," unpublished Ph.D. dissertation, Indiana University, 1965. Wiley, Larry Don, "Selected Piano Y/orks by Franz Liszt and Their Influence on the Impressionists," unpublished master's thesis, School of Music, North Texas State University, Denton, Texas, January, 1968.

Music Debussy, Claude, Selected Works, New York, G. Schirmer, Inc., Vol. 1845. Liszt, Franz, An Album for Piano Solo II, New York, Kalmus. Liszt, Franz, Annees de Pelerinage 2m»e Annee "Italie," New York, G. Schirmer, Inc., Vol. 911. Liszt, Franz, The Final Years, New York, G. Schirmer, Vol. 1845.

Newspapers Searle, Humphry, "Later Liszt is More Austere," New York Times (November 20, I960) 110:13 Section 2. Sitwell, Sacheverell, "Incomplete Image," New York Times (November 13, I960) 110:21 Section 2. Straus, Noel, "New Light on Liszt," New York Times (January 20, 1952) 101:7 Section 2.