Music and Visual Arts Final Assignment
Franz Liszt’s Transcendental Etudes
Franz Liszt was a Hungarian composer born on October 22, 1811, and died on July 31, 1886. He was well known for his contributions to the virtuoso piano repertoire, his extreme proficiency on the piano and his talent for incredible performance. Liszt was one of the first to participate in solo piano recitals. Much of his music derived from visual representations and he is known for inventing the symphonic tone poem. The Transcendental Etudes are magnificent works that showcase Liszt’s talent at creating music representing visual contexts.
Generally speaking, each movement is based on a specific image and is given a title to represent that image:
Italian Titles: (1) Prelude, (2) Molto Vivace, (3) Paysage, (4) Mazeppa, (5) Feux Follets, (6) Vision, (7) Eroica, (8) Wilde Jagd, (9) Ricordanza, (10) Allegro Agitato Molto, (11) Harmonies du soir, and (12) Chasse-niege.
English Translation: (1) Prelude, (2) Much Lively, (3) Landscape, (4) the name Mazeppa, (5)Will-of-the-wisp, (6) Vision, (7) Eroica: heroic march, (8) Wild Hunt, (9)Remembrances, (10) much agitated quickness, (11) Evening Harmonies, (12) Snow-whirls.
A number of the etudes without descriptive titles are merely etude pieces
without a story/visual representation behind theme. Nevertheless, they still
are able
to form visions within dramatic octave arpeggiation figure that pounds out the initial melody. the listener’s mind. Etudes 1, 2 and 10 are non-lyrical
pieces. The prelude is an exercise warm-up for the pianist and leads into the
second etude. The second etude, Molto Vivace, contains many leaps and resembles
what a violinist might play in a virtuoso work. The tenth etude resembles a
Chopin etude in F minor and contains many flurries and chromatic harmonies.
For each etude described, I have found an artistic work that I believe captures the essence of what is being depicted in each lyrical work.
(3) Paysage. Poco adagio.
The third etude is the first lyrical piece in the Transcendental set. Paysage means landscape and the piece is very calm and pastoral, representing the mood and feeling of a European countryside. The piece is approximately four minutes in length and is in the key of F major.
The opening starts with the left hand playing descending rolling notes in the first three measures. The motives are short and the theme repeats frequently, suggesting a rolling motion. One can easily picture a cloudy countryside with continuos rolling hills throughout.
The right hand enters in measure four in a cantando singing style. The notes are spread out and the right hand seems to float along the rolling left hand. Perhaps Liszt was thinking of overhead clouds floating past the landscape. In measure 13, the hands reverse and the right hand takes the part of the rolling hills and the left becomes the slow moving clouds.
A minute and a half through the piece, both hands have the same rhythmic pattern with a staccato touch. Perhaps at this section, the clouds and the rolling hills meet each other in the horizon and become one.
Towards the end of the piece, the hands separate once again and the movement ends quietly and night begins.
(4) Mazeppa
This etude was inspired by a poem by Victor Hugo by the same name, Mazeppa.
Mazeppa was a Cossack nobleman from Poland who was sent to die tied to a wild horse galloping crazily through the countryside. The piece is d minor and is approximately 7:30 minutes in length.
Liszt begins this piece with rolling chords and sweeping motions. The right and left hands have a descending rolling arpeggiation at the beginning. The introduction depicts the horse beginning to gallop. There is a pause and we hear a quick cadenza that shows the flurry of the horse as it begins to take off.
The Allegro portion after the introduction and cadenza definitely depicts a galloping horse. We hear a melody on the downbeats with quick successive thirds rolling upward in between. We hear a series of strong octaves up and down the keyboard which could represent the struggle of the nobleman as he tries to break free. He is obviously successful as the galloping motion continues.
There is another flurry among the keyboard, which represents further attempts to be set free. A gigantic octave chromatic scale ascends and a new canto marcato section appears. The section is much less forced and seems to flow freely. Maybe this is the part where the nobleman contemplates his death. Or, maybe this is where the horse seems to lose momentum and begins to fatigue.
After this section, the tempo picks up and seems to be a bit more lighter and quicker. The horse has evidently regained control makes its way into quicker territory. However, the horse seems to be galloping less strong at the end of this section. Perhaps the nobleman’s savors are there to rescue him and have shot the horse. The horse slows and by the end of the piece, it appears that he is in much pain. There is a triumphant ending which symbolizes the majestic rescue of Mazzepa.
(5) Feux follets. Allegretto
This etude is called Will-of-the-wisp and is a work of light texture and quick motion. The piece is in B-flat major and is approximately 4:20 minutes in length.
The piece begins with a quick chromatic scale upward and the left hand enters sweetly in the second measure. The quick wisps of chromatic scales become a very technically challenging assignment in the third system. The descending motives are in double-note figuration and the must be played as light as possible. The entire piece is extremely based on the wind and it is very easy to imagine the wind blowing wisps of will along in the sky.
The middle half of the piece is even more technically difficult and the left hand has quick grace notes that involves leaps and jumps. The ending is very bright and twinkly.
(6) Vision. Lento
This piece is very dark and moody, as it is based on the dance of death chant: DiesIrae. It depicts the death and suffering experienced during the dark times. Entitled “Visions,” this piece speaks of visions nobody ever wishes to have.
The piece starts off with the melody in thirds in the right hand, played in the bass. The left hand has accompaniment figures that role up the lower part of the keyboard. There is much repetition in this piece and at times, it is not very clear as to the Dies Irae theme. It appears here and there but is not exactly in the same format all the time. The melody becomes octaves in the fifth system of the piece, getting more intense. On the second page, the right hand takes over the accompaniment figures and the left hand has rolled melody lines. This adds a very mysterious effect that becomes quite dramatic.
Half way through the piece, both hands have dramatic arpeggiation that contains
the melody on the downbeats. There is a huge struggle in the middle with grand
octaves Much of the piece focuses on arpeggios which turn into sinister creations.
The tremolos near the end create a ghastly effect and the final few measures
are packed with tremolos that build into the final octave descent.
(7) Eroica. Allegro
This etude is in E major and is based on one an opera by Rossini and themes from the composer Spontini. It is a very heroic march that is full of drama and over-the-top themes.
The opening starts off strong with fortissimo octaves scattered across the keyboard. The second measure displays a huge downward arpeggio. The opening is extremely flashy and showy. After the first two bars, there is a comical upward motion started in the bass that seems to skip upward quietly.
The Tempo di Marcia section is calmer and more composed. It consists of a theme revolving around B-flat with a right hand marked accompaniment. This is definitely the part where we envision some kind of march. The theme is almost like a Polonaise or Scherzo by Chopin, at least, it has the same effect. The middle march continues for a few minutes before it quickens and becomes more agitated and accented.
Before the ending there is a dramatic octave arpeggiation figure that pounds out the initial melody. The keys change ever so slightly giving a slow moving figure. The slower march theme appears again right before the flashy introductory motifs come back for the finally.
The piece generally feels as if there is a story to it and in the end, there is a grand statement to be made.
(8) Wild Jagd. Presto furioso
Wild Jagd is a wild hunt in the key of c minor. Marked in Presto furioso, the piece is extremely quick paced and fierce. The pianist becomes a part of the wild hunt through the woods. The opening starts with quick octaves in the left and single quick offbeat notes in the right. The second measure sees accent dotted figures descending. The third system contains a combination of melody in both hands followed by quick five-note scale patterns in between. This gives this part a very hurried feel, and definitely adds to the feeling a wild hunt.
After the forced introduction, there is a more lyrical section in the middle with an exercise in voicing. The right hand has both melody and accompaniment and the trick is to see if the tops of each system can be brought out lyrically. This middle espressivo section is the resting period before the piece becomes very much more dramatic.
The ending plays more on the dotted rhythms of the initial introduction. The piece seems to speed a long as the dotted figures become more frequently repeated. There is a quick dash of the early stated romantic espressivo material again before grand ascending arpeggiation to the brisk ending.
(9) Ricordanza. Andantino
Number nine etude is a slow Remembrances lyrical piece with a very wandering, dreamy melodic introduction. To me, this is a very similar type of etude from a later Chopin etude. Very similar in style.
The beginning contains triplets, which can be considered very dreamy when drawn out like it is. There are glissando-like scales that seem to float above the inner harmonies stated in the bass. The quick grace notes before the melody add a certain aspect that creates the feel of dreaminess. The accompaniment allocations are superb, as they roll above to complement the lyrical melody. It is obvious that this piece represents someone day dreaming and thinking of past good times long since passed. There are flutters that occur in and out of the sincere sections that seem to die away too.
The part before the middle section gets quite deep, with the repeated D-sharp note chords. The octaves add a more dramatic appeal to the listener and allow the story teller the opportunity to express the meaningful facets of the story.
Another glissando section and the piece returns to its calm, gracious state. Trills mark the beginning of a light upward ascent. The middle section is darker and there are constant eighth notes keeping the rhythm. The right hand has a sadder melody that eventually builds into a strong array of quick arpeggios and dark trills that build, then fall with wandering glissandos.
The last third of the piece condenses much of the other material from the first two thirds of the piece. The calm melodic section returns, followed by a stronger eighth note rhythmic section and finally a delicate ending consisting of the quick arpeggio section.
(11) Harmonies du soir. Andantino
The eleventh etude is one of harmonies of the night. It is a calm etude in Andantino that contains rolling chords and smooth-flowing melodies. The un poco animato section builds up and then eventually subsides into a section of rolled chords in quick succession. It resembles another one of Chopin’s etudes.
There is a complicated section where the right hand has to arpeggiate quick full hand chords ina d minor pattern. This leads to a strong part that consists of a loud pattern of drawn out of strength and power. The night harmonies become agitated and very dramatic. There is one part that becomes the turning point, where everything must be played in full fortissimo with relentless left-hand repeated accompaniment.
The ending becomes sweeter and less agitated with rolling chords and ending with a quiet d-flat major chord in the low bass register.
(12) Chasse-neige. Andante con moto
The last etude in this set is titled Snow whirls. The music, not surprisingly, depicts the whirls of snow during winter. The opening begins with the right hand having a distinct melody and the left tremoloing in a D-flat and f. A bit on the sadder, more pensive side, this piece can represent the darkness of winter despite the white snow.
After the initial set up of the scene, both hands take the part of the accompaniment figure and the piece grows from there. The tremolos seem to get thicker as they become quicker and more condensed. The melody is played in octaves after a while and that gives it a stronger effect. The melody then passes through into the bass and the right and left hand appear to answer each other. This is representative of the uncontrollable nature of snow in the wind.
The wind seems to get blown around quicker when the quick chromatic motives in the left hand appear. Eventually, it slows a bit and then builds into chromatic scales in both hands which crescendo into a larger set.
The blizzard now erupts and the hands become active with octaves. There is a darker sadness in this section when the octaves are answered with tremolos in both hands. There is a huge contrary motion chromatic scale before the ending begins. The ending is very drawn out and ends unassumingly, much like the winter scene.
