role of tonality in the swiss book
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Akadémiai Kiadó
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ELE7;Q',1"#6 Q.> Akadémiai Kiadó/-+Q'# R%S> http://www.jstor.org/stable/902543 .
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PazzlMer7Xick68
In thefollowingdiscussion f thetonalitiesn Annees , I shallmakeuse
therefore f the same hreeassumptions,amely:1. A7 s associatedwithlove2. E is associatedwithreligion3. B is associatedwithheaven.This"programmatic"se of key (amountingo key symbolism)s frequentnworkswritten tWeimar,which s whenLisztproducedhe f1nal'version"of Album.e. A8nnees, andwithdrewheearlier ersion.4
Onwhatbasisdid hecomposere-constituteisset of pieces?Aretheninepiecespublishedn 1855a suiteora cycle? s thereany nner ohesionto the order n whichtheyappear there s no thematic ross-reference)?What, f any,wasthe1^olelayedby tonalityn the f1nal rganizationf theset?Thekeysof theninepiecesofLiszt'sSnnees are:
1. C.hclpellee G2zillaume ell C
2. A Iczc e Wczllensadt A ID3. Pastorale E
4. A1lbordd 'ne sotlrce A;
5. Orage c
6. Vcllleed'Oberngann e/E
7. Eglogue A;
8. Le mal dzfpays e
9. Lezclochezde Geneve B.
Thecyclewaspublishedn this orm n 1855.Albun1 aspublishedar-lierin 1842, andsix piecesfrom t wereincludedn the1855set, the threenew piecesbeingOrage,EglogueandLemaldupays.Thedating f these
new pieceshas beena subjectof dispute,5or example n manysourcesEglogueisdatedfromthe1830s;accordingtoKroo, owever, hereisnotraceof thispiecebefore tsappearancenthe 1855cycle,in whichcase itscomposition, longwithOrage,probablytems rom heWeimar eriod.Oneof thefeatureshatdistinguisheshe1855 etfrom hatof 1842 sthe o-nal sequence n whichthe piecesappear:Liszt changedhe orderof thepiecespublishedn 1842.He also n somecaseschangedhemusic tself,forexamplehe1842version f Lescloches ontains longsectionnAb omitted
4 'Liszt regarded his revision[i.e. Anslees 11as being synonymouswith the invalidation,or withdrawal,
of the earlierseries [i. e. Albllm]. And so that here wouldbe no possibilityof performingor spreading he woIk,
Liszt bought backthe publicationrightsand the platesof theAlbun1d un lvovageur *om the work s publisher
Haslinger, n l 850. Nor did he permit he cycle to be included nthe catalogueof his works. ' From thePreface o
theNel1 Liszt Edition Series I volume6, p. X.
S See Kroo, Gyorgy:Annees de PeleESinclge Pe emiere Annee: VersionsandVal ants.Sluclia Mllsicologiccr
1992, pp. 405-426.
Studic7MvsiL01{7gicvl 4cadelo2iac SLienlic7ral*J 1szr1,ffaricae9. /99d'
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Dews eins ch _ Lollg;l 7or if orne.LnNOStAlgie. tL1 dUpao ._ Bonragy.
molto yrosllzziuto 1s znelodta -
ItilltsJelido -- 5 e = p $ It S5<; r F ?
t co(zoze S 4 $ S S a z r t 4 _9° * r
7tif .? ' * * Itristanue7atc
les ctcco7ztpaqnenaenfs to7<otls ,viarto
gti accon*,lJayflelzlc{; sein,vre ,vianc
TheRole of Tonalityn the S 1pi^ ookof Anneezde Pelerinczge 369
in 1855. Inonecase,Pastorale, etookapiecepublishedn c.1840vith thetitleFetevillageois
andalsoincludedwithout nytitleasNo. 3 of Fleursmelodiques,hesecondpartofSIbum),andchangedhekeyfromGto E.Theearlyversion f Vallete'Obermann,ycontrast,s inthesamekeyofeminor/Emajor sthe aterversion,but s so differenthat tconstitutesir-tuallyanother iece.6Obviously complicatedrocessof re-arrangementandreE1nementasgoingon inLiszt'smind.
Oneofthemost ellingprocesses f changesthatcontainednLemaldupays.The1855versionusesasong irstgivenbyLisztasaquotationn apiecepublishedn 1836,Fantaisie omantiqueurdeuxmelodies llisses(S157,R9.) Thesongis notby Liszt,butwaspublishedn 1818,entitledHemehlied (songofhomesickness).Liszt' treatmentf itin 1855, hou-ever,diflaeredusicallyrom hat f 1836 Music xample
A).Thissongap-
MusicexampleA (i):Fantaisieromantiqueur dez{xmelodiessuisses, bars136-15 1
6 See Kleinel-tz. Rainel-: Zul) Pl oblem des Frullwerks' bei Fl anz Liszt aln Beispiel xzon"Vallee d Obel--mann", StudiaMasicologica, 1992, pp. 251 -26S .
7 See Kroo, Annees/Versions, StadiaMusicolo,gica 992, p. 41 S.
iSttzclint1 it.sicsZo,gicLt 4cLtJelrtinteSKcol?tiLtl, Ht,t7ga,-ic v 3 9. / 99,S'
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370 Pazll Merrick
.fl\ltt--i> t04>l- ttr-
7() , c>;)rcssiso il%s:li O- < Wt s, --s ---- M - 1- 19. -
e eX K _ =g,a_'_0zp=_ = =_0 4
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' , O O O O O O O O S O D S t > O O St S D S-S S S V t8' '^ O ° t' It- - - '- ''- z 1 ° *,f X ° ° -
_ I ' ' _ _ _ = =
2 dolcess ,-
|9-rv ¢. j -HS* - j - ' -r- _-ssg;XeLf-H-s-, e-
Music exampleA (ii): Le mclldelpclys,bars20-27
pears n the middle of Le maldt pays.The music thatopensLe mal s foundin No. 2 of Fleursmelodiques,lso in the key of e minor, but there anothermelody appearsat bar 18, markedAllegro Vivace, and the piece, which is160 bars ong, ends in G. The 1855 version s exactly 70 bars long, andendsin the tonic e minor butwith an unusual eature oundhardlyanywhereelsein Liszt's music (at least, to my knowledge):during he course ofthe piece,the key signature hangesfromone to two sharps,andrenains or the returnofthe e minoropening Music exampleB). Thus, although he tonalityofthe
l C>=it R il'_ ___; ,Vs 4 P69- P, -==:, )X"? o X11 X
?S S / > FA== ,_ z = j
Music example B: Le n1cll u pcly.v, ars65-70
final cadence s e minor, the tonalityof the key signature s still the b minor
ofthe earliermusicalsection(Music exampleC). This ambiguity s reflected
in the unusualharmonyofthe cadence, in particular he progression rom A#
to E in the bass - Liszt seems to be referring o the "wrong"key signature.
What was Liszt's purpose n retaining he two sharps, when he frequently
changes he key signature n his workseven for shortpassagesoftwo or threebars?The answer, I believe, is thathe wished to relate he tonal endingofLemaldtlpayso the B majorofLescloches hat ollows. Liszt is implying hat
Slildia Musit f)JoewicLJ4 LIdelJ)iae ScqienliLlrltlJ)l#/,czricae 39. 199($'
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TheRoleof Tonalityn theSliss Book f AnneesdePelerinage 371
- , , rl tsgrhl.
47 ,\luiss 41.>l:sl<: .>
Se Lo 4e * f S , _,D00DOD
\ cantocspr. assal <- l [
|0EHW -a ' W < |r$ ' _L--<j mS * i SS A
ae ilalo
1 sU
I /t /<oRt)-< _rvomtS . '>; 1 :,:. .
MusicexampleC:Le mclldzlpctysw,ars47-54
the majoronality f the 9thand inalpieceof the cycleresolves he minortonalityof the 8th piece- B major s to resolvee minor b minor).As"heaven",hekeywouldalsorepresenthe onged or"home" xpressednLernal upays, aswellas being hedestinationf the ourneyhatunderpinsthe wholecycle.Tonally peaking,B majorhere s theprogrammatically"correct"esolution f e minor, n whichcasethenormal esolution f E,whichoccursat theendof Obermann,s " ncorrect"whichweknow-, e-cause hatpiecedoesnothavea "happynd".
InLiszt, t is usual o progressrom heminor othe major.Therearepieces hatbeginandend n theminor?f course,butI knownone hatbegin
inthemajor ndend n theminor whichs notunknownn Romantic ianomusic, or exampleChopin'sNoctttrneOp.32 No. 1 inB ends n b minor).If the ninekeys of Annees area connectedequence,we wouldexpectasimilarprogressrom he minor owardhemajor.Letus see thesequenceagain:
1. C 2. AN3. E 4. Ab 5. c 6. e/E 7. AS 8. e 9. B
We aredisappointed;is followedby c minor,andE is followedwiceby e minor.These nterjectionsfthetonicminorafter heestablishnaentfthemajorkeyrepresent significant isturbancen termsof content; pti-mismand ranquillityrebrushedside,and heremust, ntermsof Liszt's
tonaldramaturgy,e "programmatic"easonsorthisfeature.We have oconsiderwhytheE ofPastorale s followedby appearancesf e minor,andwhy heC of Chapelles disturbedy thec minor f Orage.
iSltdictMu.scolozyic A cttlLsr7licteSceltlictl b71 ttr1yaJtuto 3 (v. 'v9A'
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The Role of Tonality n the Sw1i.ss ook of Annees de Pelerinage
M. ^ r t" tJ ris,
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C ti O R
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h i.e, Ws;t _s t' '> tva ptz ze . ris,
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Music example D (i):Baptisma>o. 1 of Septem acran1enta),ars 17-36
Music example D (ii): Baptisma,bars60-74
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374 PatzlMerrick
an associationof heaven and love. ] The evidence is enough to infer that for
Liszt the presenceof water gave music in ANa religious aspect. If this asso-ciationoperatesalso in S ubord 'une o2lrce,hendramaturgicallyhe di l er-ence between the two pieces - that he f1rst s stillwater, he secondMC)Ving
water- can be seen to affectthe progressofthe cycle, especially f we associ-ate movementwith life, or spirit.This difference s mirrored y the epigraphsthathead he score of each:Aulac de Wallenstadtas the inscription:
... thy contrasted ake,
With the wild worldI dwell in, is a thing
Whichwarlls me, with its stillness, to forsake
Earth's roubledwatersfor a pul-er pring.
(Byron)
while Aubordd 'une ourcehas:In SauselnderKuhle
Beginnendie Spiele
Derj ungenN atur
(Schi er)
The key words are "stillness" n the f1rst pigraph,and "Beginnen" nthe second, since Wallenstadtspartofthe musical"scenery", andsollrce sfollosvedby musical"action" Orage).
The thirdpiece in AS,Eglogue,has been surrounded y some contradic-tory infornzation.The questionof its date has alreadybeen mentioned.Re-
garding ts contentwe are told, for example n the Preface to the New LisztEdition Series I Volume 6, that t "is an arrangement f a Swiss shepherd'ssong" According o Kroo, however, this is not the case. 1 My own opinionis thatthe main thematicmate1^ialf Eglogue ppears irst in bar 6, and is avery clear statementof what in my book I call Liszt's Cross motive.12Thismotive, which occurs throughoutLiszt's careeras a composer, but with in-creased intensity duringthe Weimarperiod, is given special mention in anote at the end ofthe score ofthe oratorioTheLegendf St. ElizabethMusic
0] See Kroo: Annees/Versions, Studia Musicologiccl1992, p. 412. In a footnote Kroo quotes tlom W.
Rusch, F. Lis-t sAs7nees e Peleris1age,Bellinsona1934, p. 17: "Das Allegro final aus dem Troi.s4irvKSui.s.se.sr-scheint wieder ill 'Egloguet' . Kl oo adds: '*The similarity, however, concerns only the begilmillg of Eglog2le lld t
is too general. It would be quite wrong to suggest that Egloguewas a version of this work. '
12See Mel rick: Relpollltiosl/Lis7t, pp. 284-287, where examples are given of Liszt's hal monization ofthc
motive e.g. C'rX-fidelisn the symphonic poem Hus7Z7eslsc17klcht.he sequence of chords used there (1 Vl, IV) is
found ot'ten - inciudillg 11ere n Eglog2le.
iSzudit7 usitolt9seictl ttlLltw2liae^Stienlilrulallitlt,gariz7e3). 1')9N'
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TheRoleof TonalityntheSiss BookofAnneesdePelerinage 375
exampleE (i),(ii). It appears 0 times nEglogue, n thekeysof Ab andC,
thus iulfillingheroleofa bridge etween hosekeys e.g. betweenCl?upelleandWallenstadt).tsappearancenSnnees in Abafterandbeforemusic ne minor ObermannndLe mal dupays) is paralleledorexample nLesMorts, he firstof the TroisOdesFunebresS112/R429,1860),where hefirstof fourappearancesf theCrossmotive s in Ab(in a piece n eminor)at hewords"HeureuxesMorts,quimeurentans eSeigneur" (Music x-ampleE(iii)). TheByronic pigraphoEglogue ays:
The morn s upagain,thedewy morn,Withbreathall incense, aladwithcheek all bloom,Laughillg heclouds awaywithplayfulscorn,Andliving as if earthcontainednotomb, - . . .
Sthttsssliclxci ]\0e)1bl llwerkt :lis elie Ir.lollatloltS 1-1 iln g-ra8torlulllschenCWSUD,,^chr hau-
fiU gebraucht ist: zunl Reispiel us dem i, .. ; --- a, d,Zl ji)rnllus i? > . | otc._
'; ' e;t * f4' ( t Cout [l . dc . tj
Der CorTponist ieses \NerS;cshalt die niihfr.lichernnfolge meErm.albrvendel_ anter andern in derFu¢e des G3oriasf,,rums4iCtoxf)l'r8{2J er Craller hIessc; im Schlu>schorder Dantc Sinfouic, undin dPr s s lphorlischexl)ichlul ,,Die HunluenSehl3cht " _ Sie bildet, in der oUlie;gczldenCompositiolller Leende der heiliDen Elisabeth, gleithcaln a1; to1listhts Sxsubol d¢s lire:uzes, das lIrtup(laotifdes Chors der )^;reuzriter ti') 1Jl a) Utli des Dens ¢.Stancbo (.5° E d)
MusicexampleE (i): Note referring o the "tonischesSymbol des Kreuzes"fowld at the end of the full score of theoratorioTheLegend vf t.Eli-aheth
Allebrclto cogl tsoto
(§ ; ' ; i. < ' <' =,-r =:- P-¢2>'<--S--L
t 2L,b (g >_ s e- ; - L E lJ a g E
ttv -- J 0 l a) 3 ; o -<z y#-=51;<
Xb' =Fk -° 8 R_'2
Musicexample E (ii): Openingbarsof Eglogzze
.VttlC/iCt t2.ss olvgis ct 4 cctclevenicteSc esitlic/ ttt Httltsctr tt ctev 9. 199,S'
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376 Parll Merrick
(L<nto 3szil dotr0ssrtnw f ntenuto
i3[lt->-. 2 Hp 5- g i tk 4
( tIcu rcux les Slorts, qui mcur ent daru te Scigrour
(_Sf Ct-}-II NJ>^ --L; _ t__ _ t >, 4-4 X -s - _ t
_ _ _ {
w_ _r xr -
Music example E (iii): Les Mortsspiano score), bars22-27
To give these wordsa religious nterpretations not difficult; here s thepresence of'iincense" and the earth hat "contain'dno tomb". What s the
"morn" hat"contain'dno to1nb'' if not Easter?This surely s the religiouscontentof the piece (redemption,resurrection),whose finction is to act as
the catalyst or the whole cycle, making he song quoted n Le n1aldu pays,which follows Eglogue, the psychological urning-pointwhere Liszt identi-
fies the "home", and moves away from E to B. We see here how the whole
of Annees I, in its new organization,has been derived by Liszt from this
song, since before composing Orage and Eglogue he must have already
given the song its new interpretation.The point at which this happenedand
when Le n?al acquired ts pivotalrole in the cycle, vas the momentwhenS1-
bumbecame superseded,or in Liszt's terms, "invalidated".Lenal dupays umsup he religioustonaldramaturgy f Annees . The
song quotation,both in 1&36 nd 1855, is in two parts) lle first in the tonic
minor, the second in the tonic major. In the 1855 piece, the song is quotedthree imes. Two ofthe statementspreserve he minorto major aormat,hus
gX ndb are each followed by their onic majors.The third tatementhas onlythe second sectio1l,omittingwhatwould have been in e minor.The threema-jor key sections are thereforeG#, B) and E, but as G# s enharmonical]yAb,thenthese three statements over the keys of love, heaven and re]igion. The
enharmonic ransformation,n the overall tonal context of Annees , of ASinto G# see Ex. A (ii) bar 2 i] is such a rarity n Liszt (I know of no similar
example in Liszt - unlike in Chopin, who oficen vritespassages in enhar-
1nonic"impossible"keys like E# major orexample, nsteadof F) that t must
be symbolic. [Liszt'sno1malpracticewould havebeen to writethe major ec-
tion in flat notation.]Relevant o any consideration f its symbolismmay bethe fact that t appears ithin the key signatureof five sharps, .e. of B. Herewe shouldalso observethat he firstnote (soundingwithoutharmony)ofthe
StzJdio t1zestolo,giec1 QcudelJlirle .S'cies1tiarallz lltle1,¢asicae 39 199b'
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378 Patll Merrick
nal ourney" as it does in more orthodox ircumstances, ike a set of studies,
for example). In which case the move from the C of Chapelleo the AS ofWallenstacXt,romchurch o water,parallels he progression rom C to AS inBaptismamentioned arlier.Aflcerhis, the arrivalof c minormarks he firstpointof real drama n the cycle.
The openingof Orage svirtuallya quotation fthe openingofMaledic-tion or piano and strings(S121/R452 c. 1840), where the theme representsthe curse (music example F). [A version of this theme also opens the sym-phonic poemPromethells.Of course, mountain torms n Switzerland anbe fairly spectacular,but here we are dealingwith musicalpsychology, notmeteorology. The quotation rom Byronthatheadsthe score reads:
Butwhere of ye, O tempests s the goal?
Are ye like those within the humanbreast?Or do ye find, at length, like eagles, some high nest?
The storm"withinthe humanbreast"accounts or why the maintheme
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t2Unsi moderato.
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Music example F (i): Openingbarsof Malediction
lical referencesI would add anotherverse from St Paul, I Cor.l9:l) "Justas a humanbody, thouo,h t is made
up of many parts, s a single Ullitbecause all these palts, though many, make one body, so it is vVithChrist.9'From here it is but a short step to the motto chosen by Liszt for the oratorio Chtistus (Ephesians 4:15). It
verse 16 is added, a text emerges that is rooted in the motto of C/apelle, but can be applied to the wholeSnnees I cycle: "If we live by the tmth and ill love, we shall grow completely into Christ, who is the headbv whom the whole body is fitted and oined together,every joint adding its own strength, or each individualpart to >ork accordingto its function. So the body grows until it has built itself up in love."
SttldioMt/sitolo,gicLl4 ude9tl)iacSc enliurl/tl //l/11eatt ae 3 9. 199S'
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TheRoleof Tonalityn theSmJissookof Anneesde Pelerinage 379
Allerfo IllOttO
Musicexample F (ii): Openingbarsof Orage
ofOragebelongs o the ype ound ften n thesymphonicoems, ncludingalso in theFaustSymphonyand hePiano Sonata in B n1inor.Like manyworksof theWeimar eriod, hedrama fthis piececanbeviewed n termsof redemptionthecursebeingaparallelo theFall nChristianity).elevant
to this s thefact hat tbeginsona unison ctaveA; - changedrom he onicof sourceto thesubmediantf c minor.Lisztevidentlywished o carry verthe symbolism f thekeyto a merenote. This s not heonly nstancenyIn-nees I of such condensedhinking,nevermind he countless xamplesnotherworks,especiallyhe ateones.A moredetailedonalanalysis han hepresent ne wouldreveal hekey relationshipsithina singlepiececlearlyconformingo thesameassociationseenhereoperatingn a larger caleasbasic onalities forexamplehealternationf A; andE (withouthange fkey signature)n Wallenstadt.Anyattempto get behind henoiseof Orage
to finda seriouspurposemust ake ntoconsiderationhekeysusedby Liszt.
The piece oscillatesbetween minorandF#,betweenkeysignatures f 3flatsand6 sharps. t cannotbe without elevancehat herearemany n-stances n hisworkswhereLisztassociates #with hedivine intheByronicepigraphheeaglesand he"high est").
Sucha move from ceneryo psychology, rom he picturesqueo thedramatic,eadspointedlyo thecentral ieceofthecycle,Obern1ann, nd tsshatteringf thepeasantollityrepresentedy theE tonality fPastorale.
That hef1rst iece n E shouldbe calledPastorale is strange,becausevery oiScenisztchose hekeyof F forpastoral ssociations, erhapsn re-sponse o the nfluence f Beethovenn his 6th symphony.An examplesPaysagerom heTranscendental tudies. Lisztchanged oth hekey and
thetitlewhenhe included astoralein the1855cycle. Thechoiceof E hereis aconspicuous ne,matching is choiceof A; fora waterpiececomposedforMaried'Agoult:hekey tselfhad omethingo contribute.f E is there-
.sttiCliCZ MI#.S;COII)g;CgJ .4 caclezniacXSceSlltial-zzillHze17gu crIc}39 t99.S'
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380 Pzll DIerrick
ligiouskey)then he nferencewouldbe thatwe arewitnesses o a religious
scene an animated ne matchinghe occasion eflected n the earlier itleFete Villageois. erhapsn 1855 he musicof 1842was meant o portrayvillagesaint'sday, or church estival theFele of thefirst itle)and henewtitlePastorale eflects imply lle rural etting- its pictorial uality.Thiswouldexplain heapparent isparity etween itleandcontent: ere hetitlegivenby Lisztputs he onality andwhat t symbolizes)ntoa context, atherthan heotherwayround where he onality eflects he itle).Thecomposerseemshere o be watching hedancing easants s an outsider, erhaps e-cause heyarehappy. n he Obermannense, heyarenotrealpeople,onlypart f thescenery.Reality tartswithOrage.
Valleed 'Obermanns the only piece of the cycle to contain hematic
transformation,he e minor hemeofthe opening ppearingransfigurednE at the end. When t was publishedn 1855 Liszt explainedn a letter oSchott hathe included he piecebecause he noveltakesplace n Swtitzer-land,but hat ts interests notscenic,butpsychological.He tookexceptionto thepicture f a mountainandscape n thetitlepage,saying ;there s noplace orgunsandhunters"4In hesame etter e said hepiece"relers im-ply and olely o Senancour's rench ovel, Obermann,heactionof wthichis formedby the development f a particulartateof mind..." LiszttoidGollerich:"Obermannst das Monochord er unerbittlichen insamkeitmenschlicher chmerzen.t5 Weshould ecallhere hatLisztgavehis latearrangementorpiano rioofthepiece he itleTristia.AlthoughObermann
ends n the onicmajor, husrestoringhe ostE of Pastorale,a sharp isso-nanceat the end ells us the attempt as failed,as it plunges he musicbackintodespairo makea bitter adence. t is at hispoint hat heCrossappears
* r
n eglogzwe.WhenLisztmovedLesclochesde Geneve rom ts position s thethird
piece nSIbum o being heculminationf Snnees , he alsoaltered hemu-sic, puttinghewholepiece ntoB nzajor, ndadding new heme or hesec-ondhalf.ThesubtitleNocturne tands ttheheadof thescore,and hereareno epigraphs. heearlier ersion,howevel-, ad woepigraphs, neFrench,
14Letter to Schott [Dr. Edgar Istel: Elf ungedruckteBriefe an Schott, Die Musik, Bertin und Leipzig,
1905-1906, JahrgangV Volume XIX, Booklet 13*p. 47] quoted n the Prefice to theNels}
Li.s-tEdition2 eries IVolume 6 p. XI.
15Quoted in Malggrat; Woltoang: Eine Klavieltrio-Bealbeitung es iiVallee d'Obermann" us Liszt'sSpatzeit,StadiaMllsicologica, 1986, pp. 995 302. TakenFom AugustGollerich:Fsan Lis7t,Budapest1908.
StudiuMositoZogica 4cadeluliae Scienfiurumll8zgaricac39. 199N'
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TheRole of Tonalityn the5)1tiss ookof Anneesde Pelerinage 381
one English,plus the dedication a Blandine",he daughter f Liszt and
Maried'Agoult orn nGeneva n 1835.TheFrench pigrapheads:... Minuitdormait; e lac
etaittranquille, es cieux etoiles...
nousvoguissonsloin du bord.
TheEnglishby Byron eads:I live not in myself, but become
Portionof thataroundme; . .
The 1855 subtitleNocturnepreserveshe 1842 Frenchreferenceonight,butwhatof theByron,whichseems o refer o theexperience f be-cominga father?Thenew themeoiT855 is radiantlyeautiful, ndbearsafamily esemblanceo partof theMarchof the ThreeKings n the oratorio
ChristusMusicexampleG). TheLatin ext fromMatthew's ospel n thescoreof themarch tthispoint eads:"Etecce stella,quam iderantn Ori-ente,antecedebatos, usql1e umvenitens,staret upra,ubi eratPuer."(And uddenlyhestar heyhad eenrisingwent orwardndhalted ver heplacewhere hechildwas. Matthew , 9)Herewehave hestar, henightandthebirth f achild theNativityceneof Christmas. iszt' useof theB ma-jormusic n Clochesnassociation ithheaven sthedestinationfthe cyclein 855 edhim o omit heASsection oundn theearlyversion f thepiece.Doubtless s a celebrationf thebirth, hetwo keysB andAS again epre-sentedheaven nd ove- Lisztwasnot hefirst athero feel his child o be agift of God. [One of his very earliestsongs, Angiolindel biondocrin
(S269,1/R593aLittleangelwithgoldenhair)wascomposed n 1839as alullabyorhisyoungdaughter.6] In hereligious rogrammef Anneesthebells,however, ounda natural lace.Elsewheren Liszt heyarea symbolof heaven 1thechurch,or example he atesong hrGlockenonMarling(S328/R62 , 1874)which,althoughhemain onalitys E, hasa sectionn B(without hangeof key signature)n which hepoet, addressinghebells,says"einheil gerGesang mwalletwie schutzendenWeltlichenKlang" aholysong floatsas if protectingrom he world'sclamour);he poetadds:"behutetmichgut" watchoverme well). In ClochesLisztaddedwithoutcomment new theme o continuehetonality f B, its ubilantmoodbeingleft, as it were,to speak or tself.
IG SeeRamann,Lina: FraszzLi,ctalsKLinstlerZzdMensch,eipzig, 1880-1894, volumeI, p. 535.
,SludiblMt.vic()l)gicBc}4 c C}2e'11l i4t' Sc ievl 11icorl l wl Ht1 11gC}riL'C}( 9 1 990
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The Role of Tonality n the S 1tissBook of Annees de PelesAinage 383
A journeyhas two aspects,external nd nternal,he sceneryand he
purpose.Thedictionaryefines pilgrimages "a ourney o aholyplace"WhenLisztcomposed Ibum,he describedhe scenery,butwhenhe wrote
Annees , he wanted oexpress n nternalourney,hencehe called t "Pele-
rinage".By making lterationso the pictorial iecesalready n existence,
andby adding thers,he couldmake he pilgrimage musicalone, partly
throughhearrangementf a symbolicuse of tonality.Theninepiecescan
evenbe seenas threegroups f three,group representingMan Chapelle,
Wallenstadt,astorale), roup ItheSoul Source,Orage,Obermann)nd
group IIGod Eglogue,Le n1aldupays, Cloches).Thetonal ourneynow
looksas follows:
C mant herot ideals, churchAN love, still waterE peasant eligiousfestival
AN love, water, movement spirit)c storm inman's breast
e/E despair
AW love - Crossmotive- redemption
e longillg fbr"home"B heavell
If we omit heC of Chapelle,we see the"tonaldrama" sanattempto
moveaway romAN owards "goal" i.e. to express he purpose fthe
journey. n group theE remains static" a merepicture. n group I the
interveningminorbringsmotion ndagitation,he"idyllic"Eof Pastorale
is lost, and t cannotberestored y Obern1ann.n group II here s no at-
tempt o restore he" ost"E - theappearancefEglogue uides hepilgrim
towards he"true"B. We see here he" nnerpath" f thecycle?a pathhid-
den n the onalorganization.
By involvingonality s part fthelanguage f his "programme",iszt
wasable o build nto hemusica logicaldevelopmentotapparentnthe he-
maticmaterialr even n the itles.It s the onalityhat ontainshepilgrim-age;we mayevensaythat or Liszt he sequence f keys n asenseformed
themusical ligne nterieure".
Sll(ctt jJlla8iL>Dle}giLA 4La&112it'.stit'1?liA1-z1121 £ll?gAl'iLt' 3(J 199sS