Franz Liszt's Petrarch Sonnets:

The Persistent Poetic Problem

ANDREW FOWLER

In this article the final versions of Liszt1s settings of the Petrarch sonnet No. 47, one for piano solo and the other for itone voice piano q are ex Born out of t same compositional seed, these two final versions are strikingly dissimilar and yet closely related. While surface elements, formal designs, and structural voiceleading are radically altered in the 1861 baritone/piano version, subsurface rnotivic relationships reveal a bond between both versions. The purpose of this article is to show that these relationships, although somet cure, bring these two versions closer toget r t has ously believed.

Alan Walkeri Franz Liszt: The Virtuoso Years - 1811-1847 r states that Liszt's comprehensive involvement with musi?al exp?~iments £f 1 kin?s led h. to revise a major portIon of nlS work. The varIOUS settIngs of Petrarch sonnets certainly belong in this "revisionist" category. Not satisfied th the early soprano and piano version of sonnets 47, 104, and 123, Liszt continued to rework them r over two decades, resulting in the existence of four separate versions. In later years, Liszt wrote that his earlier attempts were too repetitious and ornate. The persistence shown by his two revisions i icates that Liszt was concerned with the proper musical treatment of

lAlan Walker, Franz Liszt: The Virtuoso Years - 1811-1847, volume 1 (New York: Alfred A. Knopf, 1983); p. 306.

LISZT'S PETRARCa SONNETS 49

Petrarch's poetry, a problem which led to the drastic alterations found in the 1861 version.

The first version came to fruition in 1838 1839, dur ing Liszt I s Italian sojour'n th Har ie d I Agoult. These early songs were quickly transcribed for piano solo. It was the piano transcription which was first published, 1846. The publication of song version soon 11 1847.

szt worked on the first revision of t sonnets during the 1850 IS, a this revision was published as the fourth through s th numbers of t Ann~es de p~lerinage: Deuxi~me Ann~es. Italie 1858. The Ann~es de P~lerinage version is most familiar to mus ic vlor Id. Lis zt I s final revis ion, for baritone piano, was completed in 1861, though publ ished much later in 1883. I s 1 re r to the different versions the following manner: first, by sonnet's number,{i.e. Sonnet 47, 104, or 123) and then by its chronological order, using letters a,b,c j or d to designate the first through fourth versions.

Only minor alterations occur between the first three versions of 47 and 123. The first transcription faithfully adheres to the formal and melodic designs of the earlier songs, although pianistic figuration and minor alterations give the transcr iption a life of its ovm. With the first revision, that is, t Ann~es de p~lerinage version, many figurational pass es are substantially simplified. David Neumeyer and Howard Cinnamon have written articI~s about the first three incarnations of Sonnet 104. l04/c is Significantly altered from its predecessors in that it is transposed, an opening recitative removed and a new introduction inserted. 47/c is transposed as \vell. The early versions of 47/a and b in Ab major; 47/c and d in Db major.

The 1861 works are startling in their s ification of surface detail, condensation of thematic and harmonic ideas, and altered tonal schemes. However, much of the melodic, tonal, and formal design has been retained in each. The following analysiS will examine the final versions (c and d) of Sonnet No. 47, comparing and contrasting these two creations inspired by Petrarch's poem. The text and its translation are given in appendix 1. The scores to both 47/c and 47/d are found in appendices 2 and 3 respectively.

The overall fo tonal design of 47/c is shown Example 1. 47/c follows a modified strophic procedure whereby the main aria theme is presented as the antecedent; each consequent is less tonally st Ie melodic ly non­repetitious. The work opens with an out-of-key

2see David Neumeyer 1 "Liszt I s Sonnetto 104 del Petrarca: The Romantic Spirit and Voiceleading," Indiana Theory Review v.2 no. 2 (Winter 1979): 2-22, and Hmvard Cinnamon, "Chromaticism Tonal Coherence in Liszt's Sonetto 104 del Petrarca," In Theory Only v. 7 no. 3 (August 1983): 3-19.

50 INDIANA THEORY EW

introduction. The tonic (Db major) is established at m. 12. beginni of the aria t coinc es a new t

area: m. 14 in Db or I ffi. 38 in G major i m. 62 in E major. The consequent phrase of each of these three sections receives increasi rmal wei ,so t last consequent in effect marks the beg inn ng of a new section (m. 69). The introduction (mm. 1-12) reveals prototypical material for the entire piece reviews general harmonic procedures ich subs ly uence the overall tonal sc A harmonic sequence mm. 1-5, moving from

Ex e 1: Formal and Tonal Des of 47/c

.. .. BarS. 1;.11· 12-23 24-35 36-47. 48-61 62-68 69-77 78-84 85-95

. .. Division/ antecedent antecedent consequent antece- repetition

Introduction theme 1 consequent (begins with consequent codetta Procedure (aria theme) theme 1 theme 1) dent of 69-77

.,

motive b independent

Desigll and phrase A B A' B' A' C C fragement

motives a & b •........ of theme 1

v1I' v-v I> ~)

Torud .VI V7 I V7 I ~

~ll )

~ I vi Iv bn bvn V I I VI V C#9 V 7 7

bVl V7 ll~ rn V71 ~ v '--v---' bill m.. V 7 Structure jjj .. 14 V~9 #fV .-;;iv I bVl

I.···.'···'··

~ ..... , #IV

Form part I partn partm .

Harmonic Outline brackets tndlcate third relations

f G E

A major triad to C# major triad, foIl an F major triad, and, fly, back to the A major triad. Immediately following this sequence, in ffi. 6, A major is conver into a German sixth in the tonic key, Db major. These two events, one a symmetrical division of the octave via the

I> ... ..

major third, the other a b6-5-1 linear motion, recur at several levels throughout the work. The major third sequence foreshadows successive thi relations throughout the work. Example Ib illustrates these toniciz third relations throughout the work. Various tonal regions correspond to formal divisions in the text. The first quatrain begins in major, t s quatrain in F minor. The tonicization of G major coinc es with the beginning of the sestet, and the second rt of the sestet begins th a new tonal area, E major. E major is followed by tonic. Third relations are, of course, typical of Liszt's monic language. In 47/c large scale tonal relationships are related to the sequential prototype, and this relationship creates a harmonic consistency roughout several structural

LISZT'S PE'T'RARCH SONNETS 51

levels. For ex e, the ic pro project , over mm. 1-23 3 Example 2 expansion is effected through the use of the other

the b6-5-1 motion. i pit class A , ides s to Ab, dominant of Db major.

major is establis in m. 12. The same voieele ing

Ex

r ~,

re is us

e 2 Pr i al ion

MM~ 1- :7 Coi' l:> F

#~ . ,

, LJ

:ff-e-J~~ 7

• .

prot 1. Anot

-./ "1'" ~

-... --r

area of F nor, in ir integration at a

rat event b in ffi. 69, i coinc th t inn of a new t tic idea. In this measure the diminished seventh c rd is supported by the pitch F in cne Sj ieh is prolonged until 1Tl. 73. At m. 73 F descends to E, t appli inant of the A major tri in m. 74. The A major triad is the flatted su diant, ch ecomes a German sIx h, resol vi to the domi ant major. In this section, Liszt stresses t b6 of h ffi. 73 (it lass F) a d m. 74 (pitch class A) through r etit on str metr ical placernent. These stress t saine itches ich eo rise t s F,A,

Th ugh A are not nence ifi t to t

30ther examples ?f prototypical expansion in Liszt's work are discussed ~n my article "Multi-level Motivic Projection in ected Piano Works of Liszt,lI Journal Of The American Liszt , XVI (Dec er 1984): 20-34.

52 INDIANA THEORY REVIE~'\T

etta., b inni in 85, s tly reiterates the b6-5 motive t s ential irds motive. or enharmonic A, is given a last inflection in m. Finally the repenultimate F major tri refere tial1y bri s back t harmonic seauence of t ing measures.

Turning no \11 to 47/d, it has been stated by otherwr ers that this revision creates an essenti lly new work, sylisticallyakin ri Liszt ','lark Q Two

rtant stylistic ures evi in 47/d not present 47/c are man at tonal iguity arising from

rmonic valence. I 11 now briefly discuss large-scale for tonal contrasts between 47/c 47/d, showing that these later stylistic changes f man at icism tonal ity create a new rk out of

earlier I 11 t discuss e two works are similar, conci e th a summary of t ic

dif rences two are evi outlines of present s

as in 3. In 47/d, Liszt retai s the main aria t , s only twice, rather than three t (see mm. 10 and 33). e tonal center f the seco

rance of the theme is E major, not G or, as 47/c. Also I C sect ion 47/ d f inni in In. 41, contains in the voice part a melodic line not found in 47/c. At a more surface level, re is ous di i between t tvV0 intr uctions. The unst ening 0 47/c intr ces prototypical material r entire work. tl7/d presents prototypical mater ial as well. Rov/ever i Liszt di

th the two prototypes of 47/c ( rical d is on f the octave by major thirds and b6-5-1 es t place an unobtrus stepwise a fourth, stat the outer voices lover a prolongation. From this s e stepwise motion grow all of t significant mel ic patterns -- for example, the relationship of t rna aria theme to the prototype (shown in Ex Ie 4). The small

Ex 4

A Andante un poco MOSSO

Singstimme. Baritan ode! ~ Mcnosopran. upressivo

"

Klavier. I'v. II;~ IF if ~ .. 4J ~ no -- r~ ~ . ;;;-;-...,..

una corda --" / dolce r--:?' r--:?' ~ 'I.T"1 "\ .. ~ Sei ge • seg.net 1nun". Ud. •

~- J duhoLder

" Be • 1Ie. det • to sin .7 gio ... lIo,c'{tllcse,e 1'an. no, t! fa sta.

----- - - ~ ,...--..., --1

.; ... -~- ~~-

P 'f!.!!:!.ss'illo sempre ~~ ~ ~ ~ ... ... • • ~ ~ ~ ~

-.;' -.;' 7Jt' ... '

LISZT'S PETRARCH SONNE~S 53

Ex e 3: ructural rison; 47/c 47/d

:c:: ~ 36-47 .........

, Bars < f 1-11 12-23 24-35 48-61 62-68 69-77 78-84 85-95

. . ...

Division/ antecedent antecedent consequent antece- repetition

Procedure Introduction theme 1 consequent theme 1 (begins with dent consequent of 69-77 codetta

(ana theme) theme !)

c::!t·····L·.·.·.··~. Independent moUve b

and phrase A B A' B' A' C C fragement

'····.r.···.·.·;;·.l)\ moUvesa&b of theme 1

I.;i~·i~~i ~l V7 I ~II J vi Iv bn bvn V Iv I V! V

C#9 V 7 ~V! V7 I

7 bV! V7 II~ III V71 ~ ~ I~ 1iiv'----i' bIll ~ I!.. V 7

ii·20~U:~ III '. 14 Vt9 #IV bVi

... < .•.•.....•.••..•...•.••••.•...•• ~

#IV

Form .. /' .• part I part II partm

Harmonic Outline

36 62 ffi

0: ...........

~ ../'--r ""'"

#---2 0 (b 0 1 -,. ~~t: So-..... "" f G E nb

Bars J 1-8 9-20 21-32 33-40 41-61 62-79 80-92 ...........

Division,··· antecedent consequen

Introduction theme 1 consequent antecedent melody repetition

codetta Procedure (alia theme)

theme 1 derived from of41-61 motive X

Design Independent Introductory

phrase A B A' C C material

6\· motlveX reworked ..

Tonal V7 I V7 I vII' 7 6 V

6 I cro7 V cro7 V7 /V 7 I III 4 IV! I V 7 I ~ ~

4 ~ ~V4 ~I~ ~V! Structure ••• · III ~

'----v--' bIll bV! 2

WI I III #11 vII bVi

•••••••

" . ..

i Form part I part II partm

---

Harmonic Outline

g: 9 21

~

b'5:dto 33 41

.-- --------- --...:

x: (b 0 ! • :! ~. t- So-----

f E nb

brackets indicate third relattons

54 I~IDIANA THEORY REVIEW

contour alteration to t aria of 47/d closely binds this melody to its introduction. Liszt achieves musical cohesion through linka e t ique, described by Oswald Jonas as a new phrase es "as its initial idea the end of the i iately preceding one and then continues ind 1y, eiiher with the same rmal unit or to initiate a new section."

For example. mm. 39-40 serve as a link bet\'leen sections I and are a continuation of the end of the phrase ending in m. 38. This link anticipates the melodic ideas of the following phrase. The primary melodic material for t second half of the song, beginning in m. 41, is but a slight reworking of the stepwise prototype. The relationship between the prototype descent from Ab4 (in m. 41) to Eb4 (in m. 43) is obvious. The fourth descent recurs in mrn. 55-57, from C1~5 to G#4. A related forrn of the prototype is found in mm. 47-53, and again in mm. 69-74, with the descending figure in the bass, i moves omatically down from Gb to Ci. Here, the chromatic descent cloaks the fu amental descent of the fourth, from Gb to Db, or the enharmonic C#.

The ubi quality of the descending fourth prototype casts a monothematiclight over 47/d version, in contrast to 47/c, t r several distinct ideas into relief.

TONAL A1VlBIGUI'rY:,

In 47/c tonal regions were consistenly set up via the Ge rman six th/dominant prog ress ion! and though occas ionally deceptively resolving this progression, Liszt fully prepared the listener for a new tonality. 47/d, however, eschews the German sixth/dominant prototype, inst weakens clarity in several ways at seve structural levels. At a surface level Liszt weakens tonal direction ny 1) the use of inversions at critical key-defining j res, and 2) the suppression of the dominant function throughout the work. These two procedures are illustrated in mm. 29-34.

In mm. 27-28, the listener: assumes an e r tonality. At m. 29, the mediant G major s -four tri still implies e minor. However, m. 30, with its c minor sixth triad, efficiently erases e nor. Mm. 31 and 32, with respective Ab major and C# minor triads, further dest ilize tonal centricity. The entrance of the aria theme in m. 33, following on the heels of the C# minor triad, is therefore prepared not with a dominant, as in 47/c, but rather with a common tone-modulat ion. The tonic (E maj or) is finally confirmed in m. 34.

The codetta also exemplifies the brought about by these procedures. six-four chord is non-functional.

ambiguous tonal language In mm. 78-79 the tonic No dominant resolution

40swald Jonas, Introduction To The Theory of Heinrich Schenker, translated and edi by John Rothgeb (Nerrl York: Longman, 1982): 7-8.

LISZT'S PETRARCH SONNETS 55

llov;s. Inst , a sense of closure is by means of a bass a iation of the s om (mm. 83-85), i moves to the tonic. From m. 86 to the final measure, a tonic pedal, over primarily tonic and flatted subrnediant triads, provide a tran il e i Conspicuously ent from this entire f section is form of the

Anot er procedure employed in this work which significantly effects tonal clarity, provi a sense of rence, is

i ly, ation of

classes. ta, rmonic tonic

tonic and the illustrates of this Db/C=1F

t root of t iant, icltly Another nstance In m. 74, t Cit

t ass is trans rr to an inner voice. relations the G#4

4 in t At a e dual ty of lib,S of major, G#j 3 of E major, creates a long-range c nnection between t e two tonal centers, and hel s bring about tonal coherence. Examples 60. s leg gr sketches of 47/d. rtance of Ab/G# pit class is event in t t line. Thr t various structural leve 47/d, enharmonic equ functions as a major compositi process.

Havi discuss contrasts tween 47/c d, I 11 now' exam ne their similarities. After the intr uctory material of h works, with the arrival of t tonic, t fundamental voicel i melodic material is simi to ffi. 27 in 47/c m. 5 in 47/d. At s point, the works dramatically diverge, with their next tonal goals far removed from one another. The voicel ing similarities

ruptly . Yet I if t G major epi e (ms. 28-61) is excised from 47/c, a striking correspondence to the middl eg r ou of 4: 7/ d sur s. rison of examples

6a s , beginn 69 of 47/c, and m. 41 of 47/d, the leground structures are essentially the despite differences in registral placement of i structur tones different me 1 Also, es to the foreground, ifically s stitution of 6-5-1 prototype for the linear desce ing prot type, sli ly differentiate the mi of work.

In 47/c, the tonal rnovement to G major, #4, is su rising, for there are no pre ents i hint at choice for a secondary, yet significant, tonal goal. Further, Liszt not explo t s #4 relationship in any

r ring the piece. However, t G major is keeping th t improvisatory aspect of intr ctian,

ightens tonal tens ion. It is as if Lis zt IS creative fancy inexorably 1 h to s tination, , ng reached a point farthest removed from tonic, this same creativity jau slowly b

In contrast, 7/d seems more conce t un! stronger

By choosi 1 connect ion

E major rather th the tonic is

with long range G major, a

by of

A.

6 12 23 34 38 44 48 S3 63 ft I I • I I A~J- • ~, ~&+-.J .... .~ ... T f L l.. ~

~I~~+-~~ P"~-Ji .~ --~~/

l -----~

f I 'r vi -#- r +&-r ~r r -+-b6 -5 b6---5 b6--------5 b6-----------5

* * * * *----------------------------*-------*

ASTERISKS INDICATE SYMMETRICAL DIVISION VIA MAJOR THIRDS

1:3.

38 63 86 93

#IV v bill

Example 5: Harmonic Reduction, 47c

69 75 I I

b6-----5 b6-5

*-------* *

78 83

b6---5 b6-5

*------* *

93 I I

*-------*

VI 0'\

~

A.

MM 8 18 29

";:::::7""~ '-..:!Y '--------­--~r---:-'-L-~::-~~rl--\ . • w.4

L.. ,

BRACKETS INDICATE DESCENDING FOURTH LINES

B. 33 78

33 41 50 53 57

.I

Example 6: Harmonic Reduction, 47/d

62 71 74

I •

78 86

U1 ---.]

58 INDIANA THEORY REVIEW

the common tone Ab/G#. As has been shown, enharmonicism creates tonal ambiguity, and it is integrated into the work1s structure at other structural levels. Perhaps this concern for tonal coherence through enharmonic means was a factor in Liszt1s decision to delete the G major episode from 47/d.

SUMMARY

The preceding analysis has compared and contrasted the melodic, harmonic, and formal aspects of Liszt's final settings of Sonnet 47. The two versions are much like a character in an opera who, though in disguise, is obviously the same. While 47/c remains the most popular version, 47/d possesses a more streamlined and focused tonal structure. At the same time, the harmonic language of 47/d is more ambiguous. Another feature which distinguishes 47/d is its monothematicism and the use of linkage technique. A similar analytic comparison of tonal relationships and motivic interplay between Sonnets l04/c and d and l23/c and d reveal dramatic compositional links and, conversely, marked contrasts.

Liszt's compositional growth compelled him to review and rework his youthful settings, and subsequently, his mature settings. For Liszt, whose revisions were logical sequels to his unfailing search for the perfect union of literary and musical art, the Petrarch sonnets posed a persistent problem. Consequently, we may enjoy the romantic spirit exemplified in them.

LISZT'S PE'rRARCH SONNETS

A: Petrar 1 Sonnetto 47

SONETTO XLVII

Benedetto sia '/ giorno, e 'f mese, e I'anno, E la stagione, e '/ tempo, e tora, e 'I pun E 'I bel paese, e 'I loco, ov'io fu giunto Da duo begli ocelli, clle legato m'hanno.

E benedelto if primo dolce affanno, Cll'i' ebbi ad esser con amor congiunto; E tareo e Ie saette ond'io fu punto; E Ie piaghe, ch'infin al cor mi vanno.

Benedette Ie voci tante, ch'io,

Chiamando il nome di mia Donna ho sparte' , , E i sospiri, e Ie lagrime, e 'I desio;

E benedette sim tutte Ie carte

01./io fama Ie acquisto,. e 'I pensier mio, Ch'?: sol di lei, St, cll'altra non v'ha parte.

SONNET XLVII

BLEST be the year, the month, the hour, the day, The season and the time, the point of space, And blest the beauteous country and the place W here first of two bright eyes I felt the sway: Blest the sweet pain of which I was the prey, When newly doomed Love's sovereign law to embrace, And blest the bow and shaft to which I trace The wound that to my inmost breast found way: Blest be the ceaseless accents of my tongue, Unwearied breathing my loved lady's name: Blest my fond wishes, sighs, and tears, and pains: Blest be the lays in which her praise I sung, That on all sides acquired to her fair fame; And blest my thoughts! for o'er them all she reigns.

DACRE

59

60

" @I

6

:

fl'

«!

12

:

" l.J

16 :

t, 1 '

@)

20

fl ,

~24

:

INDIANA THEORY REVIE~'17

B: Score .. 47/c

t t r,.t~lI aueen a 0 ''::, 41 9, 51 . -,-~ 3,

.. 3 ~ 3 ., 3 ' 3 "'-..... , -==

I$.JIl /':\ h i~ IlJ ...lw,...l I ~ I

\I y D ~.* Y 'i'w.* 'I.'w. * 'i'w. *

Sempl'e mosso con intimo sentimento il canto mezzo fortI! l:8]Jressivo f} WI poco tIlllrCfr/o ~ ~ ~ ,----- 5 -

"

una corda

sr ~t 'f p r f ('P t 'ri,-(r~ l 'f~ "r Gy i J l'accomp. jempre Idolee

J I , i J I I J I I 'I

r "'== r ~ r 'fw.

~

t '1~~·-r1 1 21

1

'fw.

- 5,

14

>-

t W'f~ t '~f -= I, I 1:./

I . , , • ..1 /':\

r 'fw.

>- :: , ~

t

I "lr~ 1[ (' if J 0

I !!,..i. ..J

q~ ~

-

'f~ 1,

>-

t "I'~ ' V I

,

r 'fw.

5

"I .... I \I

I ,

-I

'fw.

3----:-- ~ 5~ 2. i.

~r p t 'If f-r ' , i~ 'f~'~ i 2· J I I .J I I i 1

Ih..!

-,"

.J I

r 'fw.

k l i " 2~ .. . , -.r:~ .. :H' Iil'" ~>9- ·:-;;'~-t.--'-"r

I V .J

.~

,

Vi i Y1 'hi I

:J. ~

-

bJ

i ,rl1(forz. I/. 4i 1 /':\

;.

.. i ~).

"t

'I' P} "I12'V ---==--= 1

I q1. J

T

I

I"

.-, ...

... I

'fw.

"I, ~ , SIl/IOrZf!ll~o

-.-/

~

--'cl ' " "I. V ~

I I , i

I 31 ..J 2i 4i

LISZT'S PETRARCH SONNETS

B Score, 4 c (

" I

@) 28

>~ ~

t 'I#~r Gl ~:/ t 'Iq";' ':.: I~ #~

I

q. r ~3 'l'w.

It~ * I 'l'w .

I

-

1\ 11 .I: ,. ..,~ ~ } J-----:---d @! 32~ r -== !{

rz1i/orzando el ap1ss. ~ssa( Ire corde bS·'1i

:

r- 7--../" ~--../.a

do/cz'ss. una corda

r 'l'w.

--­I 'l'w.

A

.4·1.~ • .h'1,.J~ 4 ..I~bd---J· H~ J.l

~

. - -* ~ t ~ V ~"y' lr:e~r _ V _ -== ~J G~!.U i ~= ,J j)J

Gf'"

4 3 4 34

A 43 I

,~. ~: ~ -.. ------=== (---- I JJf . r:n _

Wr'--

~ I 'l'w.

'l'w.

I! 12 ./

'l'w.

2

-

'f

~!2 ;

'ril _ -~I

:

F' 'l'w. '*

poco mllnl!

I I /IJ I J"

i 'l'w.

---

61

62

<

\

fl ~" I-fiior

~5 I, llll

., 1LlI.H .. :>-

!-I" ... ~

• ..,.

" ~.

INDIANA THEORY REVIEW

B Score, 47/c (cont.)

8----·····-----· I~-:'''r.,

r.-...

~---.; 2 2

r.-...

*

'I

iP' i

,., 'ful.

8"-R I~

I

:..; t". f' --== ' e1Y3Sc.

A

II •

;--&-

8~'~_:~l~ f II It ~~~~ 1 {;~;!- t ; < 1 "\4;~~:::-t 'r.f

4~ ~ ~ :,,~ ~ . ~---..I 1/":\ dolente

'.tw.

fl II fl .. s

@!61 l#~

11

P

..luUi. 5---

.

-...::::

r.-...

'ful.

--.....

i 2 a 4

4

-

;-;

qr r $ folcis,y.

r

------

-=======--raIl. _

1 4'

"If r--f r p .J 21 1 1

--- I'~

~

-(II-, '.tw.

~ r , J ,

@i

$ lr '~r;f p ~ "I" :- p t "Ii r--r r r " "!r~ 65 .11 1 ,

:

--e-. 'ful. r

'.tw.

/1 II'

t!! ~Z

Ii II ..

eJ 8------··------------------Ii II

J j J J.p.?'Nfi/(l1ldo:>-

-2

1 till:! .I

* r '.tw.

..J

Quasi in tempo 8----··----·· .. ·-----·

~ h ~~,:.

Pf J J r.-...

3

r.-...

L I J

..

I ~

'1', "

molto rii ~

8--··-----------~ ~.

11 i J ~"

Pf J , r.-...

• -r.-... 4·

'V

4-;; , •. -f>,

~r ~ I

" h .

" 1I

JLI!

lill.

@! Tr. • -!It- !!.~' (p ~~ p~ V fl.li~1 ritel/. ad lib.

r.-... r.-... r.-... -

@i i 1 ('

LISZT'S PETRARCH SONNETS 63

Append B: Score, 47/c (cont.)

~. :t:o.

8 ~:

~ 3~~~. ,q) .r"'1.rJ ,.AL .".9~~ .. fR-* *~ .. IL~ ~

i , , ,

f ,. @) ,

;.~ '~ Ii· 72 eresc. - - -

-q~~ ,,,J~ } } 1 ,!~J~ ,l.d~3!

I 'r lqr i '" ~. ~. ~.

~.

#~~ :!;

~ fl /"&1 ~ ~ 3

@! 75 'w ___

V '1 ~--- ~r 1I~ \.:.! q"''''qlf '"!Jill'

-~ "qt ~ = , .--- 1::,2 1':\ J. --:

!~, r l~~r <) :t:o.

-. ..---.

5 8······ .. ·· .. · .. ··· .... · .. ·· ...... · "', 5 " 2r-, W: GJ ' ~

n~ 3"~~~"; ... r-,.li # tJ ----- ~ -,

I!! q"'~'" ~ 11 .~ ... . .. . If ....

82 erese, molto

J ~ t#,J -'1~ !hd~ ,21 ~ ~~ . .

'i ! g,..- 'I ~.

64

f.

~

85

~89

o·

4

r .If

I

INDIANA THEORY REVIEW

Appendix B: Score, 47/c (cont

~ 43 .J I I .lb ~t: ..

f con 80mma pa88ione

I

lhf .~ 2-

i

/':\

~Ji llLL-4JL nw'~ 4,

/':\

/':\bJ.ll

,t ~ b_ !~

-

:

~~ r d I o·oe • '.I

p r ~~ ,~ .,

2\ J

p r--

2 2)

---

.11 j 1

piU dimin._ e rallent. -p--== =====1-1

3,

:

I

o#~

_11

LISZT'S PETRARCH SONNETS

C: Score, 47/d

Franz Liszt.

Andante un poco mosso (Spiitere F:Jssung. veri-;[fenUioht 1883.)

A

Singstilllme. Raritan oder

Mcnosopran. Ie.! esp;;(ssivo

'" e.! "jr 'r If ~- ;~J

'f7' n n ~ _<. ---. ,J> ~ Klav'''·1 flltacoyda

'" d I ace ~ r--r' ~ 3 .. e.!

8 Sei ge _ seg_net im..merdar von al _ len Ta_gen, duhoLder Be _ lie _ det _ to si" if gior _ 'lO,e'fmese,e l'an _ 11O, e la st,,_

" ~ ~ ......---, ~ .---

e.! - - :::.::: p :f!!.!!:!.'SS""0 sempre

::: ~ 4: ~ ... .. '# '# ~ ~ ~ ::

Cf'W. "IIi" "IIi" • "IIi" Cf'W. "IIi"

" .1 3 3 3 3 3 3 3 3

it! Len_zes_tag u:d~'gu_ten ...

ihr s~h(Lnen 12 Stun _den; Flu _ ren, da wur _ de ich ge_ g;otle, e'l te ... _po, e 1'0 - raJ e'l P"" _ to, e'l bel pa_ L _ se e'l 10 _ co, ov'io fui

" --------... iuule

ll~, J 1 L J .

J J J J j .. P tJ 1'w.

r'; ~) "IIi"

'" , . = It! 15 Au _ g":n, u~d ~'Bann ---- ~on zwei-en fun _ den von zwei.en ge _ schla_gen

g;wl _ to d" duo he _ gli oc _ eM ehe Ie _ ga_ _ to m'hatt. _ flO, du. duo be_

'"

( e.!. J J _b ... J. 'J. J. j ... 11 'iI

.... ' ~' ,... ~'

,1\ .' . 118 Au _gen, und in Bann I ge - schla_gen. 0, sei ge_

gli DC _ chi che Ie _ ga_ - _ to 1J1,'hull_'lO. E be_ tI"-

,,., ~I ~ --It! , ... ..". '# 2" ~'-... / .. 1> .......... ..

.---. ~ ~ sempre dolctss":mo

: 1 1 ... 1 -Cf'W.

'" 3 3 3 3 3-== . It!

net, er _ stes siLJ3es Za _ gen, mit~:mdie Lie_be:!:ich an sich ge _ bun_den, ihr 22 seg _ de! _ to o'l pri_11lo dolce af-fi"'_"o ch';' eb_ hi ad es _ sey con a .lnOY cOIl_g,'un.lo, e

A - -~e.! 11 11 11 111 111 11 iii T 1>* .. ~. T T T T

(simile)

( :

Cf'W. ~~' \.'l -if' Cf'W. ~

65

LISZTiS PETRARCH SONNETS 67

c: Score, 4 (cont

1\ .1

I@.J Zei _ len, durch die '---' '-:' ~:y _ n;:;;d_ Ruhm ihr er - wor_ben mein

,,45 ov' io fa. _ 1Ua Ie acqu£s _ tu]_ e'l_ pet• _ _ ster_

11~, 'Iq~ r r t 'Iq~.g~ 'Ii'r r ~ 'Ii L! __ ~ .l,. I" :

• .., oJ

crescendo _ ~

" Wiih _ _ nen, das sic a1- _lein, das sie al -49 1", .. ' 0 ch'e sol di let~ ch'e sol di ;0,-

r r , .

-~ ~ ~

'3?W. i) 'fta. (i '3?W. i) '3?W. (i

1\ A w. poco ralle"fllil i< ( > ==-I';

lein, ja, wer noch sallr es \~ _ len! 53

lei, '" si chI al _ Ira tWit VI ha par. _ fe.

f ~~~ Lhf If "t f .A

H:;i: I P selllpre 'ma corda

1\ 3

I'; Seid ge _ seg_ _ netallch

~ iJu:::::. ihr,_

59 Be . tie. dct. . Ie sia1l_ f,d _

1\ .>- #~4.~' GIL .fI-4 ___ -::::----...

'" -------It)

d. ; P I I I I I I r r #

~~ __ ... __ .k ::..~t§ it it it .fit-.. :

ifw. '3?W.

1\ -== .>- 3

It) ~~,1 _ ge _ reinLt~n Ru~m I

------- -----Zei _ Jen, durch die ihr er _ war" ben mein

65 fe Ie car _ te ov' io fa. _ ma Ie aeguis _ to __ e'l_

, 1\ .~ 4_ -. 4?-~?-~ .---;;----- .:----.. ~

I'; ~r r I I I 1

I.;.f J ~r k ."Q~ ~ ~ ~ ~~~ .. := .. ill--

i) r sempre legato 1

68 INDIANA THEORY REVIEW

Appendix C: Score, 47/d (cont.)

" >- A >- un poco rzfenuto

lu sie al lein, ,~

- . ja, w"r noch sollt' es tei • _ len, 73 sol di Ie. _ i, s£ c!z.!ai_Ira non v'hn pay. _ Ie,

;., ilYiI.s !q). ~F A

u

J ,,~~i i d ~ '~4 ~~

f I'"

P :

~. H~ I , ;.,

[V ja, wer noch sollf es tei • len!

79 si ch' a/. 1m '1011 v' ha par. Ie.

" --- -iiJ ~ ~ do1(;e

tt :g: .. :

T r r u

" dolce 1":\

lu 86 Seid ge _ seg. . _ net, seid ge _ seg _ - • rlet! Be .ne • del. _ ta, be _ ,Ie del . _ to,

Lq~~~ ~

~ ~ 1":\

" un poco rnllellt Lq~ !L~ .n.

~rv :

1# p

{ 1":\ :

lu '?J-----JJ1 '-r:.t.. I?J f} 7'J ?J u 'Bo. ~---------------(l

F. L. VII 9G.