|
|
These forums are being phased out. The new, improved Franz Liszt (1811-1886) Forum is at classicalmusicforums.com.
Posted by Mikael on May 10, 19104 at 13:54:27:
In Reply to: Re: help! about key symbolism of Liszt posted by Mikael on May 10, 19104 at 13:52:28:
Annes de Pelerinage III
1. Angelus
Also known as Gebet an die Schutzengel. E major (of course).
2. Threnodie I
G minor/major as in the chorus of the poor and Elisabeths death in the Elisabeth legend.
3. Threnodie II
E minor/major. A late pendant to Valle d’Obermann maybe? The two march-like episodes in Bflat major reminds me of the March of the Crusaders in the Elisabeth legend.
4. Les jeux d’eaux a’ la Villa d’Este
In F sharp major, Liszt’s “abstract” religious key, and the religious connection is further emphasized by a quotation appearing in the middle of the score.
5. Sunt lacrimae rerum and 6. Marche funebre
Two more Threnodies/Elegies, if not by name (The original title of Sunt lacrimae rerum was Hungarian Threnody). The introduction to Sunt lacrimae rerum resembles the introduction to the Faust symphony in that both uses descending Gypsy scales. In the final bars F sharp major chords loses out to A major chords.
The March funebre (to the memory of Maximillian I) initially moves within a narrow melodic interval, but the coda reaches a more triumphal conclusion in F sharp major.
7. Sursum corda (lift up you hearts)
The cycle ends in E major, just like both of his (completed) oratorios. Notice that Harmonies poetiques et religieuses also begins and ends in E major, just like the 3rd year.
Clearly, this final year consists of religious pieces and threnoides only. First a sacred piece followed by two threnodies. This pattern is repeated once and then the cycle ends with Sursum corda.