LISZT BAGATELLE SANS TONALITE PDF

Program[ edit ] The Bagatelle, like the Mephisto Waltzes, could be considered a typical example of program music, taking for its program an episode from Faust , not by Goethe but by Nikolaus Lenau — The following program note, which Liszt took from Lenau, appears in the printed score of the Mephisto Waltz No. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song.

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It has provoked a wide range of divergent theories from those of its admirers who feel compelled to search for hidden meanings.

The Sonata is a musical portrait of the Faust legend, with "Faust," "Gretchen," and "Mephistopheles" themes symbolizing the main characters. Merrick, The Sonata has no programmatic allusions; it is a piece of "expressive form" with no meaning beyond itself. Winklhofer, Walker claims the quiet ending of the Sonata was an afterthought; the original manuscript contains a crossed-out ending section which would have ended the work in a loud flourish instead. The large section crossed out in red contains the original loud ending.

Analysis[ edit ] The Sonata unfolds in approximately 30 minutes of unbroken music. While its distinct movements are rolled into one, the entire work is encompassed within an overarching sonata form — exposition, development, and recapitulation. The first page contains three motive ideas that provide the basis for nearly all that follows, with the ideas being transformed throughout.

Some analyses suggest that the Sonata has four movements Newman, although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections have long been a topic of debate.

Others claim a three-movement form Longyear, , a one-movement structure Winklhofer, , and a rotational three-movement work with a double exposition and recapitulation Whitelaw, The first theme is a descending scale marked sotto voce; full of ominous undertow. This leads immediately to a jagged, forceful motif in octaves. This is quickly followed by a hammering marcato motif in the left hand. A dialogue ensues, with mounting energy, until reaching the noble Grandioso material in D major.

Liszt transforms the "marcato" motif into a lyrical melody later. The slow movement, an Andante sostenuto, is the centerpiece of the Sonata. This fully-fledged movement, in compound ternary form, features, in quick succession, a number of themes heard earlier in the Sonata in a tour de force of thematic economy.

The final recapitulatory section is launched by a driving fugato of contrapuntal skill which leads to the compressed return of the opening material. But this final section has just begun, and a pianist needs to have reserved fuel in their tank if he is to turn in a successful performance of the Sonata.

Each of the sections are examples of Classical forms, which means that this piece is one of the first instances of Double-function form , a musical piece which has two classical forms happening at the same time; one containing others. Already in Liszt experimented with a non-programmatic "four-movements-in-one" form in an extended work for piano solo called Grosses Concert-Solo. It has been published by Carl Fischer. The arrangement has not been published and exists only in manuscript form.

There is an orchestrated excerpt version of the Sonata in the film Hans Christian Andersen starring Danny Kaye where the ballet scene for " The Little Mermaid " is danced near the end of the film starting around min. The original performances used an orchestral transcription of the Sonata by Humphrey Searle.

This has been published by the Hofmeister Musikverlag in Leipzig. Faksimile der Handschrift.

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Overview Program The Bagatelle, like the Mephisto Waltzes, could be considered a typical example of program music, taking for its program an episode from Faust , not by Goethe but by Nikolaus Lenau — The following program note, which Liszt took from Lenau, appears in the printed score of the Mephisto Waltz No. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightengale warbles his love-laden song. Some have analyzed the piece as being constructed around a symmetrical chord—the G-sharp diminished chord with which the work ends—with the B - F tritone symbolizing Mephistopholes as part of this chord.

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