Posted by Mikael on May 10, 19104 at 13:52:28:

In Reply to: Re: help! about key symbolism of Liszt posted by mikael on January 20, 19104 at 18:29:40:

ITALY

1. Sposalizio

E major as in the Elisabeth legend and several religious piano pieces. It seems to be asociated with Mary and religious glory. Notice that the Ride into Jerusalem and Resurrexit in Christus also are in E major, just as the Harmonies cycle begins and end in E major.

2. Il Penseroso

C sharp minor is the parallel key to E major. It is found in two Hungarian rhapsodies (Nos 2 and 12) der Nächtliche Zug and in Tristis est anima mea (Christus) but apart from that it is a quite rare bird in Liszt’s ouevre. Clearly, the key is asociated with pensive thoughts and grief.

3. Canzonetta del Salvator Rosa

A major, an relatively uncomplicated key for Liszt. The song Angiolin, Schnitterchor from Prometheus and the pastoral section from Les Preludes are other examples. However, more complex pieces such as the first Mephistowaltz and a Galop in A are spi ced up with several ounces of irony.

4, 5 and 6. The Petrarca Sonnets

I think that they were all written in Aflat major (first versions for voice), which is Liszt erotic key par preference.

7. Dante Sonata

D minor/Fsharp major with a recapitulation in D major. Note that the first root chord in the Sonata is Aflat major, which makes the transition from Aflat to Dminor more comprehensible to the ear.
Essentially the same keys as in the Dante Symphony. D minor is also found in Mazeppa and Hungaria, reflecting struggle and pain. Fsharp major is another religious key, but more abstract than the Virrgin Mary E major.

In ana-logy with the first year; I am tempted to the following intrepretation. Sposalizio is a portrait of Marie d’Agoult and Il Penseroso is Liszt. In the Canzonetta, exile is described. The three Petrarca Sonnets is of course about Liszt’s love to Marie d’Agoult, and the Dante Sonata describes the Paolo and Francesca da Rimini episode. It was of course easy for Liszt’s and Marie d’Agoult to identify themselves with Paolo and Francesca.

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• Re: help! about key symbolism of Liszt Mikael 13:54:27 5/10/104 (0)

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: ITALY : 1. Sposalizio : E major as in the Elisabeth legend and several religious piano pieces. It seems to be asociated with Mary and religious glory. Notice that the Ride into Jerusalem and Resurrexit in Christus also are in E major, just as the Harmonies cycle begins and end in E major. : 2. Il Penseroso : C sharp minor is the parallel key to E major. It is found in two Hungarian rhapsodies (Nos 2 and 12) der Nächtliche Zug and in Tristis est anima mea (Christus) but apart from that it is a quite rare bird in Liszt’s ouevre. Clearly, the key is asociated with pensive thoughts and grief. : 3. Canzonetta del Salvator Rosa : A major, an relatively uncomplicated key for Liszt. The song Angiolin, Schnitterchor from Prometheus and the pastoral section from Les Preludes are other examples. However, more complex pieces such as the first Mephistowaltz and a Galop in A are spi ced up with several ounces of irony. : 4, 5 and 6. The Petrarca Sonnets : I think that they were all written in Aflat major (first versions for voice), which is Liszt erotic key par preference. : 7. Dante Sonata : D minor/Fsharp major with a recapitulation in D major. Note that the first root chord in the Sonata is Aflat major, which makes the transition from Aflat to Dminor more comprehensible to the ear. : Essentially the same keys as in the Dante Symphony. D minor is also found in Mazeppa and Hungaria, reflecting struggle and pain. Fsharp major is another religious key, but more abstract than the Virrgin Mary E major. : In ana-logy with the first year; I am tempted to the following intrepretation. Sposalizio is a portrait of Marie d’Agoult and Il Penseroso is Liszt. In the Canzonetta, exile is described. The three Petrarca Sonnets is of course about Liszt’s love to Marie d’Agoult, and the Dante Sonata describes the Paolo and Francesca da Rimini episode. It was of course easy for Liszt’s and Marie d’Agoult to identify themselves with Paolo and Francesca.

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