Franz Liszt, remains an enigmatic figure. Probably no other major composer of the 19th century, with the possible exception of Berlioz, has aroused such contradictory opinions. That he was a major figure there can be no doubt- the B minor sonata and the Faust symphony testify to that. But that he was a genius, as Alfred Brendel, and, no doubt, others suggest, is more debatable. Geniuses produce works which (1), withstand the test of time, often of very long periods of time, and (2), are perceived as flawless masterpieces (or as near to it as is humanly possible). Now, although Liszt passes on the first point- his work is still very much with us both in live and recorded form- I do not think it can be said that any of Liszt’s works, even the very best, are flawless. Even the great B minor Sonata has at least two dud bars (708-9), and does not that great tune marked grandioso, and first heard in bar 105, come just a little too many times for the effect that Liszt was aiming at to be fully realised?
On the other hand he cannot be dismissed lightly. His enormous output contains many works, which may not be masterpieces but can still have an uncanny power over unprejudiced audiences. I remember Claudio Arrau’s magisterial readings of some of the Transcendental Studies which almost convinced one that these were indeed masterpieces, and Kempff’s poetic and almost impressionistic touch with some of the pieces from Anees de Pelerinage.
But whatever we may think about his final place in the pantheon of composers, there can hardly be any dispute over the position of the late works, those written after 1860 in which Liszt, virtually on his own, foreshadowed many of the new directions explored by composers in the 20th century. In mostly short pieces, and in the main for his own instrument, we find Liszt anticipating impressionism, atonality, unorthodox chords and progressions, and scales outside of the customary major and minor, all of which did not become common until well after 1910.
Table of Contents
1. Liszt’s Late Works for Piano
2. Variations on a theme of Bach “Weinen, Klagen, Sorgen, Zagen”
3. Vier Kleine Klavierstucke
4. Five Hungarian Folksongs
5. Funeral Music on the Death of Mosonyi
6. Csardas Macabre
7. Csardas Obstine
8. Nuages Gris
9. Anees de Pelerinage- Italie
10. Les jeux d’eaux a la Villa d’Este
11. Marche Funebre
12. Elegies
13. Die Trauer Gondel
14. Richard Wagner-Venezia
Research Objectives and Themes
This work aims to analyze the stylistic evolution and experimental nature of Franz Liszt's late piano compositions, specifically examining how his departure from traditional virtuosity foreshadowed 20th-century musical innovations.
- The transition from early virtuoso career to experimental late-period composition.
- Analysis of specific late works including the Hungarian pieces, tone-poems, and elegies.
- Exploration of advanced harmonic techniques such as atonality, augmented triads, and whole-tone scales.
- The influence of personal tragedy and disillusionment on Liszt's sombre and pessimistic sound world.
- Liszt's historical position as a bridge between Romanticism and modern musical movements like Impressionism.
Excerpt from the Book
The strange occupant of this chamber, Franz Liszt, remains an enigmatic figure.
Probably no other major composer of the 19th century, with the possible exception of Berlioz, has aroused such contradictory opinions. That he was a major figure there can be no doubt- the B minor sonata and the Faust symphony testify to that. But that he was a genius, as Alfred Brendel, and, no doubt, others suggest, is more debatable. Geniuses produce works which (1), withstand the test of time, often of very long periods of time, and (2), are perceived as flawless masterpieces (or as near to it as is humanly possible). Now, although Liszt passes on the first point- his work is still very much with us both in live and recorded form- I do not think it can be said that any of Liszt’s works, even the very best, are flawless. Even the great B minor Sonata has at least two dud bars (708-9), and does not that great tune marked grandioso, and first heard in bar 105, come just a little too many times for the effect that Liszt was aiming at to be fully realised?
On the other hand he cannot be dismissed lightly. His enormous output contains many works, which may not be masterpieces but can still have an uncanny power over unprejudiced audiences. I remember Claudio Arrau’s magisterial readings of some of the Transcendental Studies which almost convinced one that these were indeed masterpieces, and Kempff’s poetic and almost impressionistic touch with some of the pieces from Anees de Pelerinage.
Summary of Chapters
Liszt’s Late Works for Piano: This chapter introduces Liszt's life in his later years and the stylistic shift in his compositions toward experimentalism and pessimism.
Variations on a theme of Bach “Weinen, Klagen, Sorgen, Zagen”: An analysis of Liszt's variations on Bach's chromatic bass line, highlighting the harmonic approach and the use of the chorale.
Vier Kleine Klavierstucke: Discusses these four short pieces, noting their simplicity and the unique chord progressions found within the second piece.
Five Hungarian Folksongs: Explores Liszt's use of national styles and their integration into his late piano output.
Funeral Music on the Death of Mosonyi: Examines the orchestral qualities of this piano piece and its mournful tone.
Csardas Macabre: Analyzes the use of forbidden intervals and the piece's departure from traditional dance forms.
Csardas Obstine: Describes this piece's structural construction based on two primary melodic and rhythmic motives.
Nuages Gris: Discusses the impressionistic qualities and the economy of means utilized in this piece.
Anees de Pelerinage- Italie: Reviews the descriptive tone-poems inspired by the Villa d’Este.
Les jeux d’eaux a la Villa d’Este: Focuses on the radiant mood and the effective use of tremolandi to depict water.
Marche Funebre: Briefly notes the significance of this piece in memory of Emperor Maximilian I.
Elegies: Investigates Liszt's ability to create deep, brooding movements from simple melodic cells.
Die Trauer Gondel: Discusses the atmospheric depiction of mourning through augmented chords and a ground bass.
Richard Wagner-Venezia: Briefly addresses this work as a reflection of the same atmospheric inspiration found in the gondola pieces.
Keywords
Franz Liszt, Piano music, Late works, Impressionism, Atonality, Harmonics, Virtuosity, Musical experimentation, Romanticism, Modernism, Compositional style, Tone-poems, Chromaticism, Elegies, Musical notation.
Frequently Asked Questions
What is the primary focus of this work?
The work focuses on the late piano compositions of Franz Liszt, specifically analyzing how these pieces represent a shift away from his earlier virtuoso style toward experimental and avant-garde musical language.
What are the central themes discussed in the text?
The text explores themes of personal loss, disillusionment, the search for new modes of expression in maturity, and the anticipation of 20th-century musical trends.
What is the main objective of the author's analysis?
The goal is to demonstrate that Liszt's late works, though sometimes misunderstood or viewed as minimalist, contain innovative harmonic and structural ideas that were ahead of their time.
Which scientific or analytical method does the author employ?
The author uses a qualitative musicological approach, combining historical context with detailed formal and harmonic analysis of specific scores.
What subjects are covered in the main section of the book?
The main section covers a survey of specific late works including the Hungarian-inspired pieces, the Villa d'Este tone-poems, and elegiac works, analyzing their unique musical features.
Which keywords best characterize this publication?
Key terms include Franz Liszt, late-period experimentation, harmonic innovation, Impressionist roots, and tonal ambiguity.
How did Liszt’s personal life influence his late piano music?
The text notes that personal tragedies, such as the death of his children, alongside his disillusionment with his career as a virtuoso, contributed to the stark, pessimistic, and experimental tone of his late compositions.
What specific musical techniques does the author highlight as "experimental"?
The author points to Liszt's use of augmented triads, whole-tone scales, atonality, parallel fifths, and continuous modulation as examples of his departure from contemporary conventions.
What does the author suggest about the legacy of the "Csardas" pieces?
The author argues that the two Csardas works are sophisticated and tautly constructed pieces that demonstrate Liszt's ability to flout convention while maintaining musical integrity.
How does the author characterize the "Elegies"?
The Elegies are described as prime examples of Liszt's talent for building substantial and deeply moving musical works from extremely simple, brooding melodic cells.
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- Michael Regan (Autor:in), 2010, Liszt's late works for piano, München, GRIN Verlag, https://www.grin.com/document/160789
