This electronic thesis or dissertation has been

downloaded from the King’s Research Portal at

https://kclpure.kcl.ac.uk/portal/

The copyright of this thesis rests with the author and no quotation from it or information derived from it

may be published without proper acknowledgement.

Take down policy

If you believe that this document breaches copyright please contact librarypure@kcl.ac.uk providing

details, and we will remove access to the work immediately and investigate your claim.

END USER LICENCE AGREEMENT

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0

International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/

You are free to:

Share: to copy, distribute and transmit the work Under the following conditions:

Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work).

Non Commercial: You may not use this work for commercial purposes.

No Derivative Works - You may not alter, transform, or build upon this work.

Any of these conditions can be waived if you receive permission from the author. Your fair dealings and

other rights are in no way affected by the above.

The Verbunkos idiom in Liszt's 'Music of the Future' : historical issues of reception andnew cultural and analytical perspectives

Loya, Shay

Download date: 06. Nov. 2017

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

1.1: Some of the most common features of style hongrois: (a) verbunkos minor and kalindra scales;

(b) bokdz6 cadences; (c) the undulating `Kuruc' fourth; (d) typical syncopated rhythm ....................... 288

1.2: The verbunkos scale, as derived from a rotation of the Greek-Chromatic tetrachord (based on lstvän

Szelenyi, 1963, p. 314) ........................................................................................................................... 288

1.3: Hungarian Rhapsody no. 13, bs. 40-46 ................................................................................................... 289

1.4: The meeting of modernist and folklorist worlds: Correspondence between symmetric and `verbunkos'

scales (based on Bärdos, op. cit., p. 192) ............................................................................................... 289

1.5: La Nolte, bs. 72-87 (some dynamics and pedalling omitted) .................................................................. 290

1.6: The two modes on C (downward stems) and D (upward stems) as one continuous tone-row ................ 290

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 I'hongroise (D818),

third movement, bs. 547-54; and (c) Liszt, Hungarian Rhapsody no. 12, bs. 7-10 ................................

291

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) Csärdäs obstinee (1885), bs. 17-24 ................ 293

2.3: (a) A concise representation of the main themes of the vivace assai section from Hungarian

Rhapsody no. 14 (RH 14), as they appear in bs. 209-274, leading to

(b) three variants of Theme I, bs. 275-99 ............................................................................................... 294

2.4: RH14, vivace assai: structural-motivic similarities between Themes I, 11 and III .................................. 296

2.5: The melodic-harmonic structure which binds the three themes as they appear in bs. 209-274 .............. 296

2.6: The relationship between verbunkos elements, melodic structure, and the three-stage tonal process in

the vivace assai, bs. 209-338 ..................................................................................................................

297

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) .......................... 298

3.2: Reminiscences de Don Juan, bs. 392-424: The beginning of Liszt's reworking of the "Ed iofrattanto

dall'altro canto con questa e quella vo' ammoregiar" phrase from the `wine' aria .............................. 299

3.3: violin part from Hungaria, bs. 79-86 ...................................................................................................... 300

- 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 of the `Wallachian melody' from Magyar Dalok no. 20 (bs. 99-106) ............................. 301

3.6: Asymmetric phrase structures, ostinato `cut-in' cadences, discordant pedal point (C#) and ambivalent

I/V tonality in Hungarian Rhapsody no. 9, bs. 270-91 ..........................................................................

301

3.7: Minor-major modal shift in the first theme from Liszt's Hungarian Rhapsody no. 15 .......................... 302

3.8: Hungarian Rhapsody no. 14, bs. 339-354 ............................................................................................... 302

3.9: (a) The verbunkos minor scale's relationship with the (b) IV, and (c) ll; chords ................................. 303

3.10: Early example of the verbunkos minor's harmonisation Zwei Werbungstänze (1828), bs. 32-5 .......... 303

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 no. 11, allegro, bs. 49-72 ....................................................................

305

3.13: Brahms, Ungarische Tänze no. 9, bs. 1-16 ...........................................................................................

306

3.14: An imaginary, reconstructed `source' for Liszt's and Brahms' setting ................................................. 307

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 actual progression in b. 54, where the melodic D. is treated as a consonant ...................... 308

3.17: Harmonic analogy between the (a) imperfect and (c) perfect cadences of bs. 59-60 and 63-4

respectively; (b) and (d) are given as harmonic reductions .................................................................. 309

3.18: Repeat of the first half of phrase A, bs. 99-102 .................................................................................... 309

3.19: a harmonic summary of phrases A and B .............................................................................................

310

Chapter 4: Listening to Alternative Tonal Practices

4.1: Schenker's modal system of mixtures and its exclusions (beyond the dotted line) ................................

311

4.2: Chopin, Mazurka in C#minor, op. 51/1, bs. 1-8 ..................................................................................... 312

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.. ......................................................................

312

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 no. 3, bs. 9-16; this is a repeat of the opening phrase .......................................... 314

4.7: RH3, bs. 28-40 (second part of Section B and the beginning of Section A'. ) .........................................

314

- 286 -

4.8: modal transformations in RH3 ................................................................................................................ 315

4.9: RH3, Section A'B' and codetta (bs. 58-66) ............................................................................................ 316

4.10: A representation of retro-audible connections in RH3 .......................................................................... 317

4.11: First section (S1) from the sixth rhapsody's allegro ............................................................................. 317

4.12: A Schenkerian graph of the sixth rhapsody's allegro ........................................................................... 318

4.13: A reading of S1 where D-har/maj is the controlling tonic key .............................................................. 319

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 structure according to the above ................................................................... 321

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) vertical set-classes ........................................... 322

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) short-long-short rhythm and bokdz6 figure in Hungarian Rhapsody no. 17 (1884), bs. 1-4 ............

323

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 no. 2 (1878/9-81), bs. 1-7 ........................................................................................ 324

5.4: Equal-voice parallel sixths in Csärdäs obstinee, bs. 283-314 ................................................................. 325

5.5: (a) Mephisto Polka, bs. 17-47 (repeated in idiomatic variation, bs. 48-80)

(b) harmonic reduction of the above ...................................................................................................... 326

5.6: Pendular inflected repetitions in (a) Hungarian Rhapsody no. 16, bs. 87-96

(b) La lugubre gondola II, bs. 69-76 ..................................................

327

5.7: Pendular and progressional inflected repetitions in (a) Csärdäs obstinee, bs. 17-76

(b) structural reduction of the above ...................... 328

- 287 -

5.8: Pendular and progressional inflected repetitions in (a) Bagatelle sans Tonalite, bs. 37-60

(b) structural reduction of the above ...................... 329

5.9: (a) Unstern!, bs. 21-30

(b) reduction of bs. 21-72

(c) Bartok, Mikrokosmos no. 109: From the island of Bali (published 1940): bs. 1-4 ........................... 330

5.10: Nuages gris, bs. 1-12 ............................................................................................................................ 331

5.11: Szechenyi /stvän, main theme, bs. 43-54. Xs mark the `non-functional' chord on the VI .................... 331

5.12: Magyar gyors indulö, bs. 1-46 .............................................................................................................. 332

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 piano transcription of Saint-Säens' Danse macabre, bs. 31-8 .......................... 335

5.15: Harmonic reduction of bs. 1-178 (G1 to the beginning of G2) ............................................................. 336

5.16: Thematic transformation in second half of the `bridge', bs. 132-49 ..................................................... 336

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 II (right hand only) in bs. 253-68 ........................................................... 337

5.18: (a) Reduction of harmonic transition into G6-ver/lyd, bs. 163-91

(b) the equivalent passage in the recapitulation, bs. 419-47 ................................................................. 338

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 and (b) the Gb-ver/lyd theme in Csärdäs macabre, bs. 191-216 ........................................... 339

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 of the exposition and beginning of the recapitulation, bs. 281-301 ............................................... 341

5.22: (a) End of recapitulation and beginning of the coda, bs. 555-80 .......................................................... 342

5.23: Closing cadences in D-kal and final entrance of the Curtain Theme, bs. 626-37 ................................. 344

5.24: Conclusion of the Csärdds macabre ..................................................................................................... 344

5.25: (a) Detailed and (b) background representations of the modal-tonal process in the Csdrdäs macabre 345

- 288 -

Chapter 1:

The Unacknowledged Past

1.1: Some of the most common features of style hongrois: (a) verbunkos minor and kalindra scales; (b) bokäzö cadences; (c) the undulating `Kuruc' fourth; (d) typical syncopated rhythm

(a) verbunkos scales Kalindra

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' Greek-Chromatic 'Gypsy' - Locrian-minor I---

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 passage in bs. 44-5 (Bdrdos, 1978, p. 189)

Mode: B, ver/lvd

Formal tonal context: Neapolitan 6 chord mixed into A major The phrase concludes in A minor

to .. a aýý

-ý

dolce plinüvýý

b

Piü dolce

bJ

cadence repeated ( Bärdos' Enharmonically interrupted by FA major

returns in b. 49 -- not quoted)

1.4: The meeting of modernist and folklorist worlds: Correspondence between symmetric and 'verbunkos' scales (based on Bärdos, op. cit., p. 192)

1: 3 model

p 00 it I

Kalindra

131

3: 1 model 33

1 _

1

3 1 HG 1 31

I: 31

I

- 290 -

1.5: La Notte, bs. 72-87 (some dynamics and pedalling omitted)

The melody enclosed in the rectangle is Bärdos' example of a 1: 3 scale (Bärdos, op. cit., p. 193).

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

mode: D-ver'dor CO-harphiyg

repeat (CO established as local tonic) CO (har/phryg): Iý II?

heading towards 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

Bärdos' ex. of the symmetric agirato 1: 3 scale (intertonal')

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, )

(a) Piano

Orchestra

186 ýJ "ý "

� "

if L 1!

186 #fý

harsh 'two-note' texture

Z N

61: 2

(continued overleaf)

-292-

547 atssonant Ve --- µ , H.

lm/) cresc. lip

consonant

consonant (stable)

(MPCtnI nL _L __� minor tense Bä and DO 6 chord

(c)

J

I/ V7: dissonant clashes and lack of supporting V bass for structural 2

- 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

(a)

f-ý_ sK Parallel ffths (If bs. 72-3)

n

0i Zm=

(b)

A-0 17

1

(Non troppo lento) I

bass-melody cross relations (encircled) C hidden octaves between inner melodic line (B4-Cd-D)

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

a)

Theme II: 225-32

2251f-

333

b. 241

repeated an octave higher, in bs. 233-240

33

rn, -------------------------

Xxxxx

ERR

Q)

Theme 111(1): 243-258

242

2A Ate' ý_

\ý

333J3

sjogato

Jon

bravura yý yý

(continued overleaf)

Theme 1(2): bs. 217-24 (repeat of Theme I, from bs. 209-16, an octave higher)

x. S xxx-xxxx

- 295 -

11

01 11

#1 t 11

Theme 1112

tbs. 259-274

a delicate and high-register

of lhemc . 1,

glissando P

ariant

. 01. -

V

*

Reprise of first theme (three variants): Theme 13 275 $r j. 4i- ¢r

(b)) p

9: jJ FF F:: F ß JJ FF : Y:: F J' Theme Is'

Theme Ii'

End of "Theme 1112 (b. 274)

End of'I'heme 116 (b. 258) 8''° r--- 255

it-

-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

verbunkos Iä ºV7 I

D minor (or F major) D

major

N'

s"

binding melodic

note ýýTheme I Theme II ý Theme III cowards new

1--` melodic cycle'

F major D minor/major D: I0V? (orA: IVI?

o= (perception of) 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

> scale

g (241) >

A-kal

scale (242)

A-kal N scale

i4i (258)

N? L..

Q

0

imperfect cadence plagal cadence in D major? -- -- or 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

1 1variants

of Theme I: 1, Theme h Theme L' N Theme L11,

IF' KI Theme 1(h, U and V) --------------------- ----ý

__ X799) ý' (314)

;Q final

melodic

0 descent

progression from A back to F circle of fifths emphasises (palpable)

bass-melody parallelism imitates A-to-F progression plagal cadence previous pentachordal descent while 'explaining/softening inA majonminor

previous parallel textures

271)

- 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

VV lzb.

Be2nnine of sequential repeat in D-ver (A-kath

-300-

3.3: violin part from Hungaria, bs. 79-86

modal variability

conventional ('Western') ... but 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)--

major: I III /I

I m M -a : I E

--- chromatic relationshi -' Peated F Pw th recaPituaIated G major Pluase -- nllnor

circular / 'pendular' tonality

p molto espressivo, cantabile ý_ ---

-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

prolonged IV 5'and II 4 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 zimbal- - `_ ---

_. .

crest

v

--------------------------- -- --------------------------------------------------

ý ei EM um= Bm ma i

(b) a capriccio 8 ---------------

xuý i quasi zimbalo -do

------------ ------------ 106 J'.. I-_t

Hit f l!

- f;

--P- 101

molto ----------------------------

-

f

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

pnmo

secondo

3

Io

2° 3 (continued overleaf)

Allegro non troppo

-307-

I°

z°

1°

20

3.14: An imaginary, reconstructed `source' for Liszt's and Brahms' setting.

or V already here (Liszt) or:

phrase A_ Vq (Brahms)

V----- IV

nh-- R

V

III I V, I

Liszt

Brahms

-------------- ----------------

iwmw------- ------------------------------

-308-

3.15: Hidden parallelisms and dense motivic reflection in Brahms' ninth Hungarian Dance, bs. 9-12

Note values correspond to the harmonic pace in the piece (not to the Schenkerian hierarchy of white/black notes); full beams indicate the structural bass-melody arpeggiation; dotted beams indicate the subsidiary arpeggiation of the middle voices

Exx. 3 . 16 - 3.19 refer to the allegro section from Liszt's Ungarischer Romanzero no. 11

(a) "-a' 0 rp 16s

N4-3 Vu/III - III

(b)

IV4_3 V7-7ý/III -- III

(c)

IV4_3(V) V7 -'7/Ill -- III

3.16: (a) `Proper' dissonance control in B6

minor; (b) a hypothetical B6 major (or F Dorian) context; (c) Liszt's actual progression in b. 54, where the melodic Dq is treated as a consonant

In all three examples, white notes represent stable consonances, black notes represent neighbour or passing notes/chords, and small notes signify chromatic neighbour or passing notes.

-309-

3.17: Harmonic analogy between the (a) imperfect and (c) perfect cadences of bs. 59-60 and 63-4

respectively; (b) and (d) are given as harmonic reductions

Note that (d) offers the more normative counterpoint against Liszt's `de-synchronised' voice-leading in (c).

6-1

svnchroniscd

rýý 1 rd)

cf. normative or

counterpoint: with B4

IV Gt Iv IA

336

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

motives arpeggio

C motive: FA motives in Phrase B

3: 5ºk ý_ ý'`-J ', ` arp. 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_ -i Mixolydian

36,66

36,76 10% Dorian

66,76

36,66' Aeolian (Minor)

76 -----------------------------

26,36, 6b, 76 Phrygian

- 312 -

4.2: Chopin, Mazurka in C#minor, op. 51/1, bs. 1-8.

p

r '"--ý

aý. \r--q --- ,. LI LM Iw V) I --o HW do -

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):

III (R) V: new diatonic new diatonic set E4-B

set, E4-R F (a)

IV: AIA6 L. VI (Eb major): A/Ab

V: D-kal ('R'! ) III: Bb-ver/ivdor D-ver F-aeo1maj Bb-ver/har D-har/min F

I- 1ý1- (b)

LII: A-kaUaol VI: Eb-ver/lyd LIV:

C (ver or min)/mel orA-phryg C-ver (A/Ab and B IBq)

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 chord

diatonic 11: B, major

(slurred) (semitonal relationship)

s bý 4""

17 iah 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

-313 -

'diatonic' major-third relationship: A major - CO minor (cf. ex. 4.4b)

A-kal: evasive tonic

'major' 'minor?

- 314 -

4.6: Hungarian Rhapsody no. 3, bs. 9-16; this is a repeat of the opening phrase

P ;, all do I --I t

OP i , ,

i 4 -

,0

`eci. C. keo. `lea 4

_: k "lea.

n --ý 13

6

11 3 3

3 3 ý7

6

to * yv

Section B (repeated from bs. 17-27): Theme 11

----------------------------------------------------------------- za

1yP

F HOF 10 10

una coitla

-------------------------- 30 slightly varied Theme III AII. u_rfr cT, . tom. 31-3

4.7: RH3, bs. 28- 40 (second part of Section B and the beginning of Section A'. )

EIEEEEEEM quasi cadenza

66W pp

- --66W - 3333

- u

36

ýý r

Section A': Theme I

- 315 -

b b :c H

4

L

3 ö

A m

N N r

j

c v m

m

v H F

v e w 0 vý a- z °'

0 e s F

[i

ä w

n Y

I

ý, oý =o- oE

ýýE EýEý u-0w !=ä '-

aý

v0 s9

F

e 0 w v 0

.o

.o I a cý ro ao v m ýn m cý

av x. 0 FH

My

M ý.

_Vz

b

Nb

yO

Ly

R. 2

C

CC

E w

C

CC 0 O

E 00 7

- 316 -

4.9: RH3, Section A'B' and codetta (bs. 58-66)

SectlonA'B' motive 1 Scale-motive from Theme 11 (motive 2)

motive 2

rfa

motive 3: 'verbunkos chord' from Theme II piü dim.

666^ 61 VU MM 1%

o::

Theme II transformed to Bý-ver/1vd

codetta ,- --- n2

MN 99 M

dolciss.

g-, -A - motive i, continuing me same major-type moue

10

P''' q ---- f

"" r

bok uö cadence from Theme I (motive I)

81 _______ __ ___ rUt. (tothe end ofb. 64)

-317-

------------------

ii i- Al

Secöon .4 , Secieon B Secfion A' + Q' bs. 60-61 codepa

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)

P1 102 P3 (fmmb. 112) P2: I In ..

S. Ll9-.. -.

L- .u_

- ßßu elo/ce q'b b

I'll C 121 Ha ig

i 41, ka. 169 kit. 1 69

'vacillating' cadence

II _J c:::: -- V-k S-

, c`l

Ä

b C O

C a

-318-

NC

pWý

CN

Cq N_

l Öw

QU

1 b0

NU Ra

7u

4+

z 11 !t ýý z 016111

4 t-p

: vt 10

Z ýJý

ZO M

' ' ö C

p 1 L4

i' .

L LI

8

a0 'a

t1

do

cs

U V)

N .r

- 319 -

4.13: A reading of Si where D-har/maj is the controlling tonic key

P1, P2 P3 S2: Bs confirmed

A r7--7-T7 Ni as tonic

r-, "" i HI! * IZ

-go d -J L . -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.

Hexachord in D

(a)

(b)

6-6b-5 cadence in D

Liszts trans-tonal Hexachord in Bb (mixed) spelling

vacillating cadence

D B,

F#-E# [3-42-/] G6-F [/-66-5]

B: -BP [61-66-/J C)-B6 [/-26-1]

D? ? Bb? F B6ý

-320- Cadence in u: tonal clanty

---------------------------------

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.

(a)s

y b

cresc. kitý ý`

r-. uL. i n»i iroaio»Ai) ...... f.. e..,.. ß, 1.. .... _i...

R :.. ..... ..........

n,

EF EE

Cadence in D (pik wumato)

Cf. original version of these cadences in Si, ex. 4.11, bs. 120-26. (7)

Rhythmic diminution of vac. cadence; Emerging Bb tonality through 6 -5 line

N1----------------

piü rinforzanda e stringendo

(c) j

Vacillating cadence: tonal ambiguity

191

'Vacillating' cadence: Clear tonal orientation, heading towards B' (S4/P1O, Hesto)

Concluding Cadences in& (motivically-related to vac cadence from S3)

- 321 -

4

\\

'if

\\

o \\ I

"r \\ IN, a

\\ q o'\

a a' t

ä, ä

ýj ä

w

.=e

,w- A pp

ýo Ll. Q

Yý

Iäö

Iv

y Y U

Qý3

ZQ

al

v

äy

0 s m b i1

a öý "

I'

<ýýIIII

41111

ýýIIIII

ö dý/ý o V y/ý

iJ

\`

o1O

wc `c 1Ep

cnä

ý<

4: Ü ýN

t ýp

E

_äo

Ayv

c "C VO

QUi

C

LO

aF

wo Iýä-- rT1-

i i_ <, i

IJ

I-

ýhA I*A

10A 4A 10A

-1)

VIA-

X14

4

ýyy

ýÜ U

Oý Q

U

ryy ýä Oß

Odý OS Ö, S N IDL

Cl. 'O ä

oVä

yL

aä

O 'L: and OCm

3

s- O by

ý bq cn -0

Q0

.. o iu

.. O

i "O

r- CO

--0

CC

+. c vý

CY

vy

., w

00 .M .o Q >,

r. v 'ý

yý ä

C

ý. ' Ä 7 ug1

ý. `

m

l

OI

-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

(Q) 4-19 4-20 4-19

(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; FT- (b) Ungarischer Sturmmarsch (1876 second version), bs. 17-20; (c) Revive Szegedin! (1879), bs. 1-8`; (d) short-long- short rhythm and bokdz6 iiguiv III IIurzgurtutI

Rhapsody no. 17 (1884), bs. 1-4

(b)

-'18! LA ------------ ,

IV , R! J.: Rý

I

(c)

ten. egro marzialc ten. 2. A.. #. A LJ

�� ten. ten. A 7777

ten. A

Lento

(d)

f, ýý 7 14-

>>>>>>> 4AL

-14 14=1

TVA

In all of the examples in 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)

(b)) I

pendular melodic figures Allegretto mosso

dp I/

poco a poc dim.

florid bokäzö figure 1V 0 0

abstracted anacrusis figure Ps`'henundo pendular inflections

.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

(d) anacrusis figure

33

J marcato '

Kuruc 4th?

(e)

Al

p Kuru c 4th? 33

3

33

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 F2 ý' D

(Allegretto) S

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

(6)

66uuý

sempre p

b or op A0,

F171 25 33

descending lower tetrachnrd of Ft minn

Staccato

inflected repetition: 'modulation' to AM minor?

HA 43 , 49

UR

descending uppe e

D aý

achord of Fl minor

.. (k)

augmented (3 motive (A - Gb - FÄ - EO) 1' C minor 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 ------------------------------------------------------

(a)

(8m) ---------------------------------------------------------

l73>

u

: i K7 U i

L

U �J >

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

(h)

towards Fl minors 'G minor"?

ýýýýýý B minor

Ia to IV, Enharmonic IV;, to dominant

, ýeo. leA.

prolongation of

u 1ý 33 49 65 73 73 89

dominant in bs

etc.

-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

1ý

Minorimajor oscillation of C-Eb-Ab/ CY-FF-Ale

ý} >ttf

(b)

, --ý --------- ------ 1 Ao

)-------- -_

Enharmonic B minor? 1V? dominant V'

of FO minor?

accel. poco a poco etc.

- 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 AA

ten. ten.

AA A j ll - -

_ E

ET

--

n> -Tb. ' *i .co. marcato

, o�A: -.... -

(ý)

. t-. Ili. symmew 4 a-; -a s w-mim- (ieýeG cw>

4

points of symmetry 3 overall octatonic in b. 2 and b. 3 -- 1', _ 3 3_. collection ('restive)

(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.

4Q' (Feroce, J=

116) 51

(transpositional functional'

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, .

.f 44 --. L'_ ----, -

tý ýF tý i 1 222 0)1.4 - inarcato

p LLLrLý- -

-- 6-w 1

-

stacc. J

*1z

C verbunkos minor

19 L A

-C major

Bimodal SpCIIN E: °

enharmonic VI in F-ver 111 in C-kat?

p cresc. 7-777 -

> ... or'Vl' inAminor?

ý9 ' structural V ofAminor? L major troloned

as suspended:

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 �

FE1 ETh fJ

------- r-777

- rinforz.

7777 p

j

77 o4 d

10

5 60 E: 2

>> _ýýýt -rt V A i

cresc. - 04*0

0 1141 - o 0 0 11 4

fy -

31

9d 4 4 4 W- W- W- '0 -7 IT --

--_ structural V: retam of A 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) --- --- --------

31ý 37 t 'a ti Theme I-gl ('sarcastic') 3Ný

Peü crem. 3 %;

(b) ýýýp poco a

ITT - ft ft - ff >-1>nn.

chromatic parallelisms motive (CPM): F- Bb space

fis 3ýM 73 A-kal? ------------- CI pedal point-----------------

69 q 77

1 -4 81

1 -1 CPM

Ctlitätn Th0m0 (b°k°z°fnies Irae' motive) ay - ---

j4 >L L> LA

-335-

Theme I beginning: A-/u, l morivic

r-, 3NM ... no...:,... ý.,..

(c)

3NM

5.13 (continued from previous page): (c) Theme 1, bs. 89-108

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 of Dies Irae' melody Andante

(a) ý

marcato pesante

8 -ý -- -- --

.; ý iaýuvciucni mwcic uc vaix

ýhý f marcato

zýa. ý

97 ending: A-kul 107 inflected ending: A-ver, towards a'normative' A minor

112

- 336 -

real bass

'shadow'

sonata-form background

5.15: Harmonic reduction of bs. 1-178 (Cl to the beginning of G2)

Introduction Exposition, GI Epoition, 7G

C, f gl n Theme i_gl CT Theme I Bridge' (fmm b. 111) Theme II 3 pedal

y ý3NM �"""' 1 pcdal

I> T -3NM mock modulation!

decisive modal shift > ý--ý

motivic inflections

2l 1411 49

Il ofA-ka! or VI of D-ver

88

3NM

ý 107 [iii 125 1531

f AN Irv,

p meaning' of key signature: undecided key, tonal ambiguity 'D minor'

5.16: Thematic transformation in second half of the `bridge', bs. 132-49

141

132 -----------------------------------------

137

if

-y ý A minor (real) -F major'

I41 145 49

CPM (reduction oft W. 141-91

3NM from Theme I (GI )joined with CT in diminution, broken into Curtain Theme (CT) in diminution transformation 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

X59 rr---ý -- - tý ý

169 A 9:

.ý p

ý 4 N tä. *

ý.

253 a

G2', bs. 253-68

End of G1 (Curtain Theme) G2, Theme II

- 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? )

rah F16-3] 179 187 183

--, -arpeggio motive: D6 - B6 - (', (6)

191

6V bass

subdominant [5 N6 116

bass directionality 117 -º II / 1146 in F-aeol/kal? 5 V

bokäzö motive and V611 motivic inflection

major-mode new theme: E6-ver/lyd

variants on D: D major D-har/maj (subdominant degrees) (D-aeol/kal? )

(6)

A L4 ---, --,

F4 435 F43 / 443

,__ arpeggio motive: Bb -G- E(n)

447

V bass

0 60 lit rý

subdominant rNb

V bass directionalit [5

q 9" .b

IIS II7ý--ºII / 1146 in D-aeol/kal?

bokäzo motive 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

w ý, L Lý a 461 -I 50

_. a

(u)

9

eis. imo trany nllo

IS, tremolando sempre una Gorda sempre pp e legatissimo tin poco espressivo

(h) ý

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).

(u)1

(h)

217

ffl

217 nv iM ý' bam: f .

#L LL! ÄL º_º.. rººs Ifi ssr

477 7E- * -- 0

237 # # # # #

-341 -

5.21: End of the exposition and beginning of the recapitulation, bs. 281-301

A? w -------------------

Recapitulation (Curtain Theme)

(NM) -----------------

-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

VI ---------------- Bb - D, complementarymotivicspace --------------- I

Thematic-tonal-modal synthesis: 'luminous' Them(

VI

(continues overleaf)

In ----------------- FO - Bmotivicspace -------------------

- 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 (1: 3 symmetry)

frxmerly'unrequited' leading tone

(b))

(c)

, w. v D-harimaj - -- ------- D-kal

D-ver/hid motivic FN/F) transformed and resolved

D major (modal mixtures)

-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.

T? 0) ýAi *V 4ý

) -1

wiý bbb 1 V ýý (J

5.24: Conclusion of the Csärdäs macabre

6S5

(fsempe)

693

q bq #qb q# b ýý J * to-

- 345 -

9 C'

e Zo

U H-

ä--

Nö1 F v, .

Fý-Jc

Op.

O ý' ý+

Cc,

ýN. aý1

rý

WJ

C O

CD C O

C n

on

C O C C v

b

>

b v T N

b

ý::. ýü ,, ý , ýtTt''1ý

cä o ,_ ÜÜ

LU Cý Öy

U

Cý O

7 C ý0

O 'er OE

.0 Fd

d

Ov

) 7yL

E 0L

C C

Ös Ca

aV

a;

`C

E . '-= re=

NC

.ýLC yC

YL

-AMC.

Y

E N

L

V

C

72 0 cv cv -

e0 4)0 H v`ýi >

N F-' (7

eö ý' yN

E

ý. ý-.