Akadémiai Kiadó
!"#$%&'#$()$!(*+',-.$,*$-"#$/0,11$2((3$()$4**5#1$6#$78'#9,*+:#
4;-"(9<1=>$7+;'$?#99,@3
/(;9@#>$/-;6,+$?;1,@('(:,@+$4@+6#A,+#$/@,#*-,+9;A$B;*:+9,@+#C$!D$EFC$G+1@D$HIJ$<KFFL=C$MMD$ENOP
ELE
7;Q',1"#6$Q.>$Akadémiai Kiadó
/-+Q'#$R%S>$http://www.jstor.org/stable/902543 .
4@@#11#6>$KTIUHIHUKK$KE>HN
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at .
http://www.jstor.org/action/showPublisher?publisherCode=ak. .
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
Akadémiai Kiadó is collaborating with JSTOR to digitize, preserve and extend access to Studia Musicologica
Academiae Scientiarum Hungaricae.
http://www.jstor.org
The Role of Tonalityin the Swiss Book
of Annees de Pelerinage*
PaulMERRICK
Budapest
IntheLisztcentenary
year1986GyorgyKroopublishedanarticlelinwhich
he consideredthesignificanceof a remarkmadeby Lisztin a letterof 1835
referringto his "innerpath"(Ilgne interieure)as a composer.Againstthis
background
theauthortracedthegenesisofAlbumd 'unvoyageur[S (Searle)
156/R(Raabe)8, henceforthreferredto as SIbum], andits translormation
intoAnneesde Pelerinage.PremiereAnnee.Suisse [S160/R1Oa,hencettorth
referredto as Anneest. Ina bookon Liszt2publishedin 1987,I madethe
observationthatthe composerusedcertainkeys or tonalitiesin particular
contexts,givingtheexamplesof A7asthekeyof"love",andE asthekeyof
"religion",a conclusionreachedaiFter
studyingthe religiousworks, and
thosewitha programme.Later,in 1992, I wroteaboutDon Sanche3from
thisaspect,observingthatLiszt'suseofthesekeysintheearlyopera( 1825)
corresponded
to hisuseof theminhis matureworks,puttingthisforwardas
evidencethatLiszthimselfprobablycomposedthe musicratherthanhis
teachers,as hassometimesbeensuggested.To AW
andE I addedB, which
appearsonlyonceintheopera,asthemusicfora chorusandballetdepicting
the asylumof peaceandhappinesswhereloverslive for ever. Thiscorrespondsto Liszt's lateruse of thekeyin associationwithparadiseorheaven.
*TIlecontentsofthis articlewere presentedas a lecturein Finlandon 12June 1997, as partofthe Sulnlner
School tor postgl-aduate
doctoralstudentsorganizedby the SibeliusAcademyat Kallio-Kuninkala
In its presentform, it is dedicatedto the memoryof GyorgyKroo, who died on 12 November 1997
§ Kroo, Gyorgy 'La ligne interieure"- the Yearsof Transformation
andthe ' Albumd unv oyageur KStudia Mu.vicologicaAcademiaeScientiariumHus1garicae1986, pp 949 - 960
2 Merrick,Paul Revolutios1
as1dReligios1in the Musicof LisSt(Cambridge,1987) Keys are mentiolledintermittentlythroughoutthe book, butsee in palticulal pages 297-298
3 Merrick, Paul Origillalor Doubtful?Liszt's Use of Key in Supportof His Authorshipof Don Sanche
StudiuMusicologica 1992, pp 427X34
.il udia Musicologica
A cadeeniae
Ncie?liardtn l l un,¢uricae 3 9/'24. I 9'9h'>ll 3 6 7-3S'3
0039-3266/97:S
5.00 (¢ 1998 .4kademiai lsia(lo. Budapes
PazzlMer7Xick
368
In the followingdiscussionof the tonalitiesin AnneesI, I shallmakeuse
thereforeof the samethreeassumptions,namely:1. A7is associatedwith
love 2. E is associatedwith religion3. B is associatedwithheaven.This
use of key (amountingto key symbolism)is frequentin
"programmatic"
workswrittenatWeimar,whichis whenLisztproducedthef1nal''version"
I, andwithdrewtheearlierversion.4
of Albumi.e. A8nnees
his set of pieces?Arethe
Onwhatbasisdidthecomposerre-constitute
ninepiecespublishedin 1855a suiteor a cycle?Is thereanyinnercohesion
to the orderin whichthey appear(thereis no thematiccross-reference)?
of the
playedby tonalityin thef1nalorganization
What,if any,wasthe1^ole
set?Thekeysof theninepiecesof Liszt'sSnneesIare:
de G2zillaumeTell
1. C.hclpelle
tadt
2. All Iczcde Wczllens
3. Pastorale
4. A1lbordd 'ne sotlrce
5. Orage
6. Vcllleed'Oberngann
7. Eglogue
8. Le mal dzfpays
9. Lezclochezde Geneve
C
A ID
E
A;
c
e/E
A;
e
B.
waspublishedearThecyclewaspublishedinthisformin 1855.Albun1
lierin 1842,andsix piecesfromit wereincludedin the 1855set, thethree
new piecesbeingOrage,EglogueandLe maldupays. Thedatingof these
new pieces has been a subjectof dispute,5for examplein manysources
Eglogueisdatedfromthe1830s;accordingtoKroo,however,thereisno
in the 1855cycle, in whichcase its
traceof thispiecebeforeits appearance
composition,alongwithOrage,probablystemsfromthe Weimarperiod.
the 1855setfromthatof 1842is thetoOneof thefeaturesthatdistinguishes
nal sequencein whichthe pieces appear:Liszt changedthe orderof the
piecespublishedin 1842.He alsoin somecaseschangedthemusicitself,for
examplethe1842versionof Lesclochescontainsa longsectioninAb omitted
4 'Liszt regardedthis revision [i.e. Anslees 11as being synonymouswith the invalidation,or withdrawal,
of the earlierseries [i.e. Albllm]. And so thattherewould be no possibilityof performingor spreadingthe woIk,
Liszt bought back the publicationrights and the plates of the Albun1 d un lvovageur *om the work s publisher
Haslinger,in l 850. Nor did he permitthe cycle to be includedin the catalogueof his works. ' Fromthe Prefaceto
theNel1^Liszt Edition Series I volume 6, p. X.
S See Kroo, Gyorgy:Annees de PeleESinclge- Peemiere Annee: VersionsandVal iants.Sluclia Mllsicologiccr
1992, pp. 405-426.
Studic7 MvsiL01{7gicvl .4cadelo2iac SLienlic7ral*J11szr1,ffaricae39. /99d'
7tif
'
.?
*
*
Itristanue7atc
TheRole of Tonalityin the S 1pi^^
Book of Anneezde Pelerinczge
369
in 1855. Inonecase,Pastorale,hetooka piecepublishedin c. 1840vith the
titleFete villageois(andalso includedwithoutanytitleas No. 3 of Fleurs
melodiques,the secondpartof SIbum),andchangedthe key fromG to E.
Theearlyversionof Vallete
d 'Obermann,
by contrast,is inthesamekeyof e
minor/Emajoras thelaterversion,butis so differentthatit constitutesvirtuallyanotherpiece.6Obviouslya complicatedprocessof re-arrangement
andreE1nement
wasgoingon in Liszt'smind.
Oneof themosttellingprocessesof changeis thatcontainedin Le mal
dupays. The 1855versionusesa songfirstgivenby Lisztas a quotationin a
piece publishedin 1836, Fantaisieromantique
sur deuxmelodiessllisses
(S157, R9.) The song is not by Liszt, butwas publishedin 1818, entitled
Hemehlied (songof homesickness).
7 Liszt's treatment
of it in 1855, houever,diflaered
musicallyfromthatof 1836(MusicexampleA). ThissongapDewsHeins ch. _ Lollg;l!7for if orne.
Ln NOStAlgie. tL1 dU paos._ Bonragy.
molto yrosllzziuto 1s znelodta
-
co
l(zoz
Jre
ItilltsJelido
--
t
i!
les
5* e =
ctcco7ztpaqnenaenfs
gti accon*,lJayflelzlc{;
S 4 $
to7<otls
p
S
S
$ It
a
tS5<;
r
z
F
r
?
t
4
_9°
*
r
,viarto
sein,vre ,vianc
Music exampleA (i): Fantaisie romantiquesur dez{xmelodiessuisses, bars 136-15 1
6 See Kleinel-tz. Rainel-: Zul) Pl oblem des Frullwerks' bei Fl anz Liszt aln Beispiel xzon"Vallee d Obel-mann", StudiaMasicologica, 1992, pp. 251 -26S .
7 See Kroo, Annees/Versions, StadiaMusicolo,gica1992, p. 41 S.
iSttzclint.1lit.sicsZo,gicLt.4c LtJelrtinteiSKicol?tiLtl
,,
Ht,t7ga,-ic,v 3 9. / 99,S'
-S,
D
-
7()
?SjS
|9-rv
Wt
j
c>;)rcssiso
+'''S-1
-HS*
s,
<¢.;1,
--s
->
/
j
!---. -r- -.-4; _-ssg;XeLf-H-s-,
M - - 1- - 19.v>
-
'
FA==
il%s:li
,_
-O
= e-
z
j
Pazll Merrick
370
.fl\ltt--i>
t04>l- jttr-
e
eX
K
_
=g,a_'_0zp=_
=_0
=
4
j
,gk
'
'
,
'=
r
,_
JS
!_
_
2
!
S
>=^=rr_o_-X_
O O O O O O O O
dolcess
S
O D
S
_
;
Jw
t
>
I
'
O O St
S
't
D
S-S
S
S
>_
V
'
_
o^
-
_
.__
---^-gr-S--
t8' '^ O ° t'
It-
-
- '-
_
''-
S
z
°,
1
tg
°
_ =
*,f X °
°
-
=
,-
Music exampleA (ii): Le mclldelpclys,bars20-27
pearsin the middleof Lemaldt pays.The music thatopensLe malis found
in No. 2 of Fleursmelodiques,also in the key of e minor, butthere another
melody appearsat bar 18, markedAllegro Vivace, and the piece, which is
160 barslong, ends in G. The 1855 versionis exactly 70 bars long, andends
in thetonic e minor- butwith anunusualfeaturefoundhardlyanywhereelse
in Liszt's music (at least, to my knowledge):duringthe course ofthe piece,
the key signaturechangesfromone to two sharps,andrenainsfor the return
ofthe e minoropening(Music exampleB). Thus, althoughthetonalityofthe
l C>=it
R
il'_
___;
,Vs
4 P69-
P, -==:,
)X"?
o
X11
X
!
Music example B: Le n1clldu pcly.v,bars65-70
final cadenceis e minor, the tonalityof the key signatureis still the b minor
ofthe earliermusicalsection(MusicexampleC). This ambiguityis reflected
in the unusualharmonyofthe cadence, in particularthe progressionfromA#
to E in the bass - Liszt seems to be referringto the "wrong"key signature.
Whatwas Liszt's purposein retainingthe two sharps, when he frequently
changesthe key signaturein his workseven for shortpassagesoftwo or three
bars?The answer, I believe, is thathe wished to relatethe tonalendingof Le
maldtlpaysto the B majorof Lesclochesthatfollows. Liszt is implyingthat
Slildia Musit f)JoewicLJ
.4 LIdelJ)iae.ScqienliLlrltlJ)
Il#/,czricae
39. 199($'
cantocspr.
\
assal
<-
l
[
TheRoleof Tonalityin theSliss Bookof Anneesde Pelerinage
,
-
47
,\luiss
Lo
Se
-a '
|0EHW
1 sU
I
tS
,
rl tsgrhl.
!
41.>l:sl<:
4e
Wf <
*
f
,,
S
|r$ ' _L--<j mS
*
i
SS
371
.>
_,D,00DOD
A
ae ilalo
.
/t /<oRt)-<
1
'>;
!
:,:.
_rvom
.
bars47-54
Music exampleC: Le mclldzlpctysw,
the majortonalityof the9thandfinalpieceof thecycle resolvestheminor
tonalityof the 8th piece - B majoris to resolvee minor(b minor).As
"heaven",thekeywouldalsorepresentthelongedfor"home"expressedin
of thejourneythatunderpins
Lernaldupays, aswell asbeingthedestination
the wholecycle. Tonallyspeaking,B majorhereis the programmatically
"correct"resolutionof e minor,in whichcasethenormalresolutionof E,
- whichwe know-,beis "incorrect"
whichoccursattheendof Obermann,
causethatpiecedoesnothavea "happyend".
InLiszt,it is usualto progressfromtheminorto themajor.Thereare
piecesthatbeginandendintheminor?of course,butI knownonethatbegin
inthemajorandendintheminor(whichis notunknownin Romanticpiano
music,forexampleChopin'sNoctttrneOp. 32 No. 1 in B endsin b minor).
If the ninekeys of AnneesI area connectedsequence,we wouldexpecta
similarprogressfromtheminortowardthemajor.Letus see thesequence
again:
1. C 2. AN 3. E 4. Ab 5. c 6. e/E 7. AS 8. e 9. B
C is followedby c minor,andE is followedtwice
Wearedisappointed;
of
ofthe tonicminoraftertheestablishnaent
by e minor.Theseinterjections
in termsof content;optithe majorkey representa significantdisturbance
must,in termsof Liszt's
there
and
aside,
are
brushed
and
tranquillity
mism
reasonsforthisfeature.Wehaveto
be "programmatic"
tonaldramaturgy,
of e minor,and
considerwhytheE of Pastoraleis followedby appearances
by thec minorof Orage.
whytheC of Chapelleis disturbed
it uto 3(v./ 'v9A'
iScieltlictltb71Httr1yaJ
iSltdictMu.sicolozyica Ac cttlLsr7licte
372
PalulMerrick
Theonlystablekey(apartfromthesingleappearance
of B) is Ab which
appearsthreetimes.If A is the"love"key, we mustsearchfor its significancein thethreepiecesAulac de Wallenstadt,
Aubordd 'uneso2erce, and
Eglogue.
Aulac de Wallenstadt
is mentioned
by Maried'AgoultinherMemoirs:
"theshoresof the lakeof Wallenstadt
keptus fora longtime. Franzwrote
therefor me a melancholyharmony,imitativeof the sighof thewavesand
thecadenceof oars,whichThaveneverbeenabletohearwithoutweeping."8
Thebeautyof the pieceis remarkable,
andthisreferenceby Marieis evidencethatthe key of A; in thispieceis associatedwithher. Therearetwo
manuscripts
whichaddfurthersupportforthistonalconnection.Thefirstis
anunpublished
Waltz
a MarieinAbincludedaspartof a letterLisztehroteto
herin 1842;9thesecondis a 12barfragmentin A; mentionedby Adrienne
Kaczmarczyk
in herarticleon Liszt'ssketchesfor a plannedcycle entitled
Marie!Poeme.'°Threepieces of music in AS directlyrelatedto Marie
d'Agoultis enoughto confirmtheassociationhereatworkof as thekey of
love. Acceptingthis,we areleftto ponderthewaterconnection- twoof the
AS piecesinAnneesI arewaterpieces(significantlyLisztnumberedthem
togetherinAlb2om
as 2a and2b).Knowing,aswe do, thereligiouscontentof
theendofthecycle,thenhereatthe2ndpiecewe areentitledto looklorsimilarreligiousassociations
- in thiscasethoseof loveandwater.A directexpressionof thisrelationship
is foundin BaptismafromSeptemSacramenta
(S52/R530,1878).In the sacramentof baptism,waterandthe love of the
Holy Spiritarecombined.Thisis probablywhy Lisztmodulatesfromthe
tonicC majorto Al whenhe setstheword"baptizeris",
andwhy A; also
reappears
atthewords"quidatusestnobis"in thesection"CaritasDei diffiusaest in cordibusnostrisperSpiritumsanctum,quidatusestnobis"(The
loveof Godis diffusedintoourheartsthroughtheHolySpirit,who is given
to us) (MusicexampleD). [Inthissectiontheproximityof B andA;is again
8 This quotationfrom the Menloiles, 1833-54 of Marie d'Agoult ("Daniel Stern"), ed. Daniel Ollivier,
Paris 1927 is foundin English in Searle, Hulllphrey:T/leMusicof Lisell,New York 1966, p. 26.
9 The Valsea Marieis reproducedin Gut, Serge: Nouvelle approchedes premieresoeuvres de FranzLiszt
d'apreslacorrespondanceLiszt-d'Agoult,kSkudiaMusicologica
1986, pp. 243-244.
l°See Kaczmarczyk,Adrienne:Liszt: Marie,Poeme (A PlannedPianoCycle), .JAL.N
[.Joure1al
of theAsnerican LisLtSociet!;]Volume 41, January-Ju1le1997*pp. 88-101. The authorquotesfrom a letterof Liszt to Marie
d'Agoultdated8 February,1843:i Next sumlllerwe aregoing to bindAlbumsnarioti4ue.I am very muchdelighted
with this ideaof yours." She adds:iiThe piece referredto in the sketchbook.a tezelve-barsequence in 4 4 and Ab
majorinscribedAlbll/11
nlariotiqlle would probablyhave been includedhere.' (p. 94)
.Slt,JiL,Mtisitoloeicc
4CredewIicze.Scientir7rulJl11zd11,e,aricze
3'). 199S'
(
tt
a.,
l
jl
l
-
-
X5{s
<
l
.
=
! 1 <e 5-
<
Jaw
-
r,}
-
---*
E.
z
w
.s
_._!_
tz
-m--a-ll
_
a
-t
-r
wv
>-
373
TheRole of Tonalityin the Sw1i.ss
Book of Annees de Pelerinage
st},tt
t
derellOf
-
i
M.
^
" tJ
bu-
pti
gg
Sgl'
- f",
1
.
rt
s
A
'
tew
'-.,
.
S
,
Xa
1
-
u
^
.
-
-
bl,
ri,,
-
*ft{.
-
' ffi
I
,,
-
p-j
z
Lc
6t
I
- tu
*
.
I
r)s,
/
K- n
-
s
5 {1
r^s,
Jc
t
*
b . pt i . ; c
S
.
I 1
.
4
A
X
r t
ris,
4
^
4, {
.
{ oi .
_
, ,i§,
b^.
5n_
.
. pe^.
ge.
. zc .
, rau .
-
.
.
. t.s,
,s,
.
'
RWg
_*
}
C ti O R
_J
rc*cs
w
-
-
*
;
I
r
-l
-
[] r .
r,_1
|
h
'
'>
-.>_
>
t 1#
i> r
,,
! 1eo
sel 6¢ ! Zaz
j
b;X.ptl
r]
.-
>
na,
ft,
ba . pt X
c . ,=
si gc ! Za14.
|
CHO/
I
i.e,tWs;t_s t
tva ptz
5cz 6 * .
ze
tn
S
.
.
. ris,
- /t/
;?
i
!):
,7,
. ,,
\
-
ba.pli
2c.
ns,
'-
Nl
. ze.
,
;
bu.pli
ses
gc
.
tnu.
.
,
J
Obeno (SchlXorer/Z. & snd r:. raterio
ttX- r t
| .- R
-$y
-
t'-2
.
. ris.
z
ll
JcZ
!
2G/,
.
{teso.
l
Wiifj fRt
d')
t
trs
f
1.
C
t
-
;
t
T
X
,
S
w
H
i 1 32=j7j5-
Music exampleD (i): Baptisma(>o. 1 of SeptemSacran1enta),
bars 17-36
Music example D (ii): Baptisma,bars60-74
.WlzazSiu
Mu.sicologis a .4ca(Je>sniuc}
Scies2tius tzel2Hzlwul-icue 3 9. / t99.S'
374
PatzlMerrick
an associationof heaven and love. ] The evidence is enoughto infer thatfor
Liszt the presenceof watergave music in ANa religiousaspect. If this associationoperatesalso in S u bordd 'uneso2lrce,
thendramaturgically
thediflerence between the two pieces - thatthe f1rstis still water,the second MC)Ving
water- canbe seen to affecttheprogressofthe cycle, especiallyif we associate movementwith life, or spirit.Thisdifferenceis mirroredby the epigraphs
thatheadthe score of each:Au lac de Wallenstadt
has the inscription:
... thy contrastedlake,
Withthe wild world I dwell in, is a thing
Whichwarllsme, with its stillness, to forsake
Earth'stroubledwatersfor a pul-erspring.
(Byron)
while Au bordd 'unesourcehas:
In SauselnderKuhle
Beginnendie Spiele
Derj ungenN atur.
(Schiller)
The key words are "stillness"in the f1rstepigraph,and "Beginnen"in
the second, since Wallenstadt
is partofthe musical"scenery",andsollrceis
follosvedby musical"action"(Orage).
The thirdpiece in AS,Eglogue,hasbeensurroundedby some contradictory infornzation.The questionof its datehas alreadybeen mentioned.Regardingits contentwe are told, for examplein the Prefaceto the New Liszt
EditionSeries I Volume 6, thatit "is an arrangementof a Swiss shepherd's
song". Accordingto Kroo, however, this is not the case. 1l My own opinion
is thatthe main thematicmate1^ial
of Eglogueappearsfirst in bar 6, and is a
very clear statementof what in my book I call Liszt's Cross motive.12This
motive, which occurs throughoutLiszt's careeras a composer, butwith increased intensityduringthe Weimarperiod, is given special mention in a
noteatthe endofthe score ofthe oratorioTheLegend
ofSt.Elizabeth(Music
0] See Kroo: Annees/Versions, Studia Musicologiccl1992, p. 412. In a footnote Kroo quotes tlom W.
Rusch, F. Lis-t'sAs7neesde Peleris1age,Bellinsona1934, p. 17: "Das Allegro final aus dem Troi.s4irvKSui.s.se.s
erscheint wieder ill 'Egloguet' . Kl oo adds: '*The similarity, however, concerns only the begilmillg of Eglog2lealldit
is too general. It would be quite wrong to suggest that Eglogue was a version of this work. '
12See Mel rick: Relpollltiosl/Lis7t, pp. 284-287, where examples are given of Liszt's hal monization ofthc
motive e.g. C'rX-fidelisin the symphonic poem Hus7Z7eslsc17klcht.
The sequence of chords used there (1! Vl, IV) is
found ot'ten - inciudillg 11erein Eglog2le.
iSzudit7
Musitolt9seictl
XttlLltw2liae^Stienlilrulal
Ilitlt,gariz
t7e3). 1')9N'
fiU gebraucht ist:
zunl Reispiel
us
dem i,
..
---
;
a, d,Zl ji)rnllus
i?
>
. | otc._
TheRoleof Tonalityin theSiss Bookof Anneesde Pelerinage
375
exampleE (i),(ii). It appears10timesin Eglogue,in thekeysof Ab andC,
thusfiulfilling
theroleof a bridgebetweenthosekeys(e.g. betweenCl?upelle
andWallenstadt).
Itsappearance
inSnneesI in Abafterandbeforemusicin
e minor(Obermann
andLe mal dupays) is paralleledfor examplein Les
Morts,the firstof the TroisOdesFunebres(S112/R429,1860),wherethe
firstof fourappearances
of theCrossmotiveis in Ab (in a piecein e minor)
atthewords"HeureuxlesMorts,quimeurentdansle Seigneur!" (MusicexampleE (iii)). TheByronicepigraphto Egloguesays:
The mornis up again, the dewy morn,
Withbreathall incense, aladwith cheek all bloom,
Laughillgthe clouds away with playfulscorn,
And living as if earthcontainedno tomb, - . . .
Sthttsssliclxsci ]\0e)1bl llwerktd:lis elie Ir.lollatloltS
';
'
e;t
* f4'
1-1 iln g-ra8torlulllschen
GCWSUD,,^
schr hau-
Cout
(^t
[l . dc
.
tj
Der CorTponistdieses \NerS;cshalt die niihfr.liche'rnnfolge meErm.alb
ervendel_
anter andern in der
Fu¢e des G3orias
der Craller hIessc; im Schlu>schorder Dantc Sinfouic, und
in dPr s! s!lphorlischexl
I)ichlul ,,Die Hunluen.Sehl3cht." _ Sie bildet, in der oUlie;gczldenCompositioll
ler Leende der heiliDen Elisabeth, gleithcaln a1; to1listhts Sx subol d¢s lire:uzes, das lIrtup(laotif
des Chors der )^;reuzriter(ti') 1Jl a) Utli des Dens ¢.Stancbo (.5° E d)
f,,rum
.s4iCto
.xf)l'r8{2
fJ
Music example E (i): Note referringto the "tonischesSymbol des Kreuzes"
fowld at the end of the full score of the oratorioTheLegendfvfSt.Eli-aheth
(§
t
;
cogl
'
i.
;
tsoto
<
2L,b (g >_
ttv --!
Xb'
Allebrclto
'
s
J 0 l a)23
=Fk
-°
<' =,-r
;} -
e-
-<z!
;-o
8
=:-
L
E
l
J a
P-¢2>'<--S--L
;
g
E
y#-=51;<
R_'2
Music example E (ii): Openingbarsof Eglogzze
.VttlC/iCt
Mt2.sis olvgis ct .4c ctclevenicte
.Sctesitlic/ ttt Httltsctr tt ctev3 9. 1 99,S'
i3[lt->-.
2
Hp
5-
g
i
tk
4
Parll Merrick
376
(L<nto 3szil
(
(_Sf
tIcu
dotr0ssrtnw
rcux
Ct-}-II
f
les
NJ>^
w_
Slorts,
--L;
-4
_r
ntenuto
qui
mcur
ent
_ t__
X
xr
_
daru
t
te
Scigrour!
>,
4
-s
-
_
t
_
_
_
{
-
Music example E (iii): Les Mortss(piano score), bars22-27
To give thesewordsa religiousinterpretationis not difficult;thereis the
presence of'iincense" and the earththat "contain'dno tomb". Whatis the
"morn"that"contain'dno to1nb''- if not Easter?This surelyis the religious
contentof the piece (redemption,resurrection),whose finction is to act as
the catalystfor the whole cycle, makingthe song quotedin Le n1aldupays,
which follows Eglogue, the psychologicalturning-pointwhere Liszt identifies the "home", andmoves away from E to B. We see here how the whole
of Annees I, in its new organization,has been derived by Liszt from this
song, since before composing Orage and Eglogue he must have already
given the song its new interpretation.The pointat which this happenedand
whenLe n?al acquiredits pivotalrole in the cycle, vas the momentwhenS1bumbecamesuperseded,or in Liszt's terms, "invalidated".
Lenal dupayssumsupthe religioustonaldramaturgyof AnneesI. The
song quotation,both in 1&36and 1855, is in two parts)tlle first in the tonic
minor, the second in the tonic major. In the 1855 piece, the song is quoted
threetimes. Two ofthe statementspreservethe minorto majorlaormat,
thus
gXandb areeach followed by theirtonic majors.Thethirdstatementhas only
the second sectio1l,omittingwhatwould havebeen in e minor.The threemajor key sections arethereforeG#,B) and E, but as G#is enharmonical]yAb,
thenthese threestatementscover the keys of love, heavenandre]igion. The
enharmonictransformation,in the overall tonal context of AnneesI, of AS
into G#[see Ex. A (ii) bar 2 i] is such a rarityin Liszt (I know of no similar
example in Liszt - unlike in Chopin, who oficenvvritespassages in enhar1nonic"impossible"keys like E# majorforexample,insteadof F) thatit must
be symbolic. [Liszt'sno1malpracticewould havebeen to writethemajorsection in flatnotation.]Relevantto any considerationof its symbolismmay be
the factthatit appearsvithin the key signatureof five sharps,i.e. of B. Here
we shouldalso observethatthe firstnote (soundingwithoutharmony)ofthe
StzJdio1t1zes
itolo,giec1
QcudelJlirle
.S'cies1tiarallz
lltle1,¢asicae
39 199b'
TheRole of Tonalityin the S :ilss Book of Annees de Pelerinage
377
B majorcloches is againG#- as thoughLiszt wantedto carryover the reference-the tonaldramaturgyofthe whole cycle resolvingintotheenharmonic
changeof A; into G".Afterthis transformation,it is logica]thatLiszt should
omitthe A; section(in Cloches)foundin Altun. Furthermoreit illuminates
the tonalrelationshipof a thirdthatconnectsthe keys of C, Ab andE, where
eachtonic, by becomingthe mediantof the new key (e. g. C is firstdoh then
me) gives rise to the progression.In the case of Abto E, the changeto GW
is
necessary (within the plactical conifines of notation). This enharnaonic
changematchesthe key symbolism(E as religiontransfo1msASas love, the
"new"love [G0])f1guringin cloches orB as heaven).The omissionof e minor
in Le mal dupays may be explainedby the tonal functionof the whole piece
mentionedearlier- thatit resolves e minorto B major.Liszt thereforeavoids
a sectionwhere E majoris p1^eceded
by e minor,restingcontentwith the major tonality alone, and its symbolism. Is it coincidencethat the numberof
barsin this piece is just 70, in years the Biblica]lifespanof a man?
In Liszt's mind,therefore,the compositional(tona])dramaturgyof Annees I deried backwardsfromLe mal dupas following on from the contentof the quotedsong. Thus"homesickness"is precededby (i . e. produced
by) the Cross motive. The Cross motive is preceded(produced)by the despair of Vallee d Obermann.The despair of Obermannis preceded (produced)by the stormof Oage. The stormis preceded(produced)by the active waterof 24ubordd unesouszce.The activewateris preceded(produced)
by the (peasant)animationof Pastorale. The peasantanimationis preceded
(produced)by the still waterof Su lac de Wallenstadtandthe still v:ateris
preceded(produced)by Chapellede GuillaumeTell. We are now at the beginningofthe cycle.
The early version of Chapelle differs in some respects from the later
version, althoughthe tonalityis the same. The sequenceof chordsthatbegins the version in 24nneesI is rnissing.Also, the mainmelody is markedin
the earlyversion(Adagio)religioso. The openingchordsof 1855 seem to reflect the motto thatheads the score: "Eineriiir Alle - Alle fiir Einen"(One
for all andall for one), whichKro6says is a paraphraseof an idea in the New
Testament.13 The connectionwiththe Bible allows us to concludethatthecycle begins in a church,the key of C markinga naturalstartingplace lor a "to13 See Kroo's tableof mottoesin sIsaslees/Versiozls, p. 417 "A paraphraseof an idea in the New Testanaent
(Letterof Paultothe RomansV, 18-19; andthe firstLetterof PaultotheCorinthians,7, 14-15.) ' To Kroo's Bib-
,slt/2iU
Altl.sicologica16adesw1li
es^Sciel?tiurlltJl
Htle1Wuritutv
39 IQ9,S'
f
I
L
Patll Merrick
378
naljourney"(as it does in moreorthodoxcircumstances,like a set of studies,
for example). In which case the move from the C of Chapelleto the ASof
WallenstacXt,
fromchurchto water,parallelstheprogressionfromC to A S in
Baptismamentionedearlier.Aflcerthis, the arrivalof c minormarksthe first
pointof real dramain the cycle.
The openingof Orageis virtuallya quotationofthe openingof Maledictionfor piano and strings(S121/R452 c. 1840), where the themerepresents
the curse (music exampleF). [A version of this theme also opens the symphonicpoem Promethells.
] Of course, mountainstormsin Switzerlandcan
be fairly spectacular,but here we are dealingwith musicalpsychology, not
meteorology.The quotationlrom Byronthatheadsthe score reads:
Butwhere of ye, O tempests!is the goal?
Are ye like those withinthe humanbreast?
Or do ye find, at length, like eagles, some high nest?
The storm"withinthe humanbreast"accountsfor why the maintheme
Qlln.i
rtlo(tcrnto.
{ . \ i u l i ll e ll, ) r-
--
2. Violillel. t'-6_it
I3ratsehen. 4,>
v
-
f
¢ --_
m
t
'
-
--
S
L-- - _--
-
$=
_
t2Unsi moderato.
8<
W6
if
E'ianoforle.
tt
,gmaret;.tw.
(
N) S i' :- 5-
t
\'iololocll.
tt-='
5
, e
rf I
H_-
&
=M,.i=
V<
<
tn.
r -
t.1.
};ontratassel
K
j
t
+
0
-1
wt
r'
rtnerec!lw.
t3.
ot
t
'
-
_.
g
V
l
o
-
-
-I
@
;
-X
<
Quaci moderato.
Music exampleF (i): Openingbarsof Malediction
lical referencesI would add anotherverse from St Paul, I Cor.l9:l) "Justas a humanbody, thouo,hit is made
up of many parts, is a single Ullitbecause all these palts, though many, make one body, so it is vVithChrist.9'
From here it is but a short step to the motto chosen by Liszt for the oratorio Chtistus (Ephesians 4:15). It
verse 16 is added, a text emerges that is rooted in the motto of C/apelle, but can be applied to the whole
Snnees I cycle: "If we live by the tmth and ill love, we shall grow completely into Christ, who is the head
bv whom the whole body is fitted andjoined together,every joint adding its own strength,for each individual
part to >ork accordingto its function. So the body grows until it has built itself up in love."
SttldioMt/sitolo,gicLl
.4t ude9tl)iac
.Scienliurl/tl //l/11eatit ae 3 9. 199S'
Bookof Anneesde Pelerinage
TheRoleof Tonalityin theSmJiss
Allerfo
379
IllOttO
Music example F (ii): Openingbarsof Orage
of Oragebelongsto thetypefoundofteninthesymphonicpoems,including
also in the Faust Symphonyandthe Piano Sonata in B n1inor.Likemany
worksof theWeimarperiod,thedramaofthispiececanbe viewedin terms
Relevant
(thecursebeingaparalleltotheFallinChristianity).
of redemption
tothisis thefactthatitbeginsonaunisonoctaveA; - changedfromthetonic
of c minor.Lisztevidentlywishedto carryover
of source to thesubmediant
thesymbolismof thekey to a merenote. Thisis nottheonlyinstanceinyInnees I of suchcondensedthinking,nevermindthe countlessexamplesin
otherworks,especiallythelateones.A moredetailedtonalanalysisthanthe
withina singlepiececlearly
presentonewouldrevealthekey relationships
to thesameassociationsseenhereoperatingon a largerscaleas
conforming
of A; andE (withoutchangeof
basictonalities- forexamplethealternation
keysignature)in Wallenstadt.Anyattemptto getbehindthenoiseof Orage
thekeysusedby Liszt.
to finda seriouspurposemusttakeintoconsideration
The piece oscillatesbetweenc minorandF#,betweenkey signaturesof 3
flatsand6 sharps.It cannotbe withoutrelevancethatthereare manyinstancesin hisworkswhereLisztassociatesF#withthedivine(intheByronic
epigraphtheeaglesandthe"highnest").
to the
Sucha movefromsceneryto psychology,fromthepicturesque
dramatic,leadspointedlytothecentralpieceofthecycle, Obern1ann,andits
by theE tonalityof Pastorale.
of thepeasantjollityrepresented
shattering
Thatthef1rstpiecein E shouldbe calledPastorale is strange,because
Lisztchosethekey of F forpastoralassociations,perhapsin reveryoiScen
sponseto theinfluenceof Beethovenin his 6thsymphony.[Anexampleis
Paysagefromthe TranscendentalStudies.] Lisztchangedboththe key and
thetitlewhenhe includedPastorale in the 1855cycle. Thechoiceof E here
is a conspicuousone, matchinghis choiceof A;fora waterpiececomposed
forMaried'Agoult:thekeyitselfhadsomethingto contribute.If E is there.sttiCliCZ
MI#.S;COII)g;CgJ
.4
caclezniacX,SceSlltial-zzillHze17guicrIc}39 t99.S'
*
380
r
Pzll DIerrick
ligiouskey)thentheinferencewouldbe thatwe arewitnessesto a religious
scene an animatedone matchingthe occasionreflectedin the earliertitle
Fete Villageois.Perhapsin 1855themusicof 1842was meantto portraya
villagesaint'sday,or churchfestival(theFele of thefirsttitle)andthenew
titlePastoralereflectssimplytlle ruralsetting- its pictorialquality.This
wouldexplaintheapparent
disparitybetweentitleandcontent:herethetitle
givenbyLisztputsthetonality(andwhatitsymbolizes)intoa context,rather
thantheotherwayround(wherethetonalityreflectsthetitle).Thecomposer
seemshereto be watchingthedancingpeasantsas anoutsider,perhapsbecausetheyarehappy.IntheObermann
sense,theyarenotrealpeople,only
partof thescenery.RealitystartswithOrage.
Valleed 'Obermann
is the only piece of the cycle to containthematic
transformation,
thee minorthemeofthe openingappearing
transfigured
in
E at the end. Whenit was publishedin 1855Lisztexplainedin a letterto
Schottthathe includedthe piecebecausethe noveltakesplacein Swtitzerland,butthatits interestis notscenic,butpsychological.He tookexception
to thepictureof a mountainlandscapeon thetitlepage,saying';thereis no
placeforgunsandhunters"14 Inthesameletterhesaidthepiece"relerssimplyandsolelyto Senancour's
Frenchnovel,Obermann,
theactionof wthich
is formedby the developmentof a particularstateof mind..." Liszttoid
Gollerich:"Obermann
ist das Monochordder unerbittlichen
Einsamkeit
menschlicher
Schmerzen.
"t5[WeshouldrecallherethatLisztgavehis late
arrangement
forpianotrioofthepiecethetitleTristia.] AlthoughObermann
endsinthetonicmajor,thusrestoringthelostE of Pastorale,a sharpdissonanceattheendtellsus theattempthasfailed,as it plungesthemusicback
intodespairto makea bittercadence.Itis atthispointthattheCrossappears
n eglogzwe.
WhenLisztmovedLesclochesde Genevefromitspositionas thethird
pieceinSIbumto beingtheculmination
of SnneesI, he alsoalteredthemusic, puttingthewholepieceintoBnzajor,andaddinga newthemeforthesecondhalf.ThesubtitleNocturnestandsattheheadof thescore,andthereare
noepigraphs.Theearlierversion,howevel-,hadtwoepigraphs,oneFrench,
14Letter to Schott [Dr. Edgar Istel: Elf ungedruckteBriefe an Schott, Die Musik, Bertin und Leipzig,
1905-1906, JahrgangV Volume XIX, Booklet 13*p. 47] quotedin the Prefice to the Nels} Li.s-tEdition2
Series I
Volume 6 p. XI.
15Quoted in Malggrat; Woltoang: Eine Klavieltrio-Bealbeitungdes iiVallee d'Obermann"aus Liszt's
Spatzeit,StadiaMllsicologica, 1986, pp. 995 302. TakenFom AugustGollerich:Fsan Lis7t,Budapest1908.
StudiuMositoZogica.4cadeluliaevScienfiurum
fll8zgaricac39. 199N'
TheRoleof Tonalityin the5)1tissBookof Anneesde Pelerinage
381
one English,plus the dedication"a Blandine",the daughterof Lisztand
Maried'Agoultbornin Genevain 1835.TheFrenchepigraphreads:
... Minuitdormait;le lac
etaittranquille,les cieux etoiles...
nous voguissons loin du bord.
TheEnglishby Byronreads:
I live not in myself, but become
Portionof thataroundme;. . .
The 1855 subtitleNocturnepreservesthe 1842 Frenchreferenceto
night,butwhatof theByron,whichseemsto referto theexperienceof becominga father?ThenewthemeoiT1855 is radiantlybeautiful,andbearsa
to partof theMarchof the ThreeKingsin the oratorio
familyresemblance
Christus(MusicexampleG). TheLatintextfromMatthew'sgospelin the
scoreof themarchatthispointreads:"Eteccestella,quamviderantin Orieos, usql1edumvenitens,staretsupra,ubi eratPuer."
ente, antecedebat
(Andsuddenlythestartheyhadseenrisingwentforwardandhaltedoverthe
placewherethechildwas.Matthew2,9) Herewe havethestar,thenightand
Liszt's useof theB mathebirthof a child- theNativitysceneof Christmas.
ofthecycle
withheavenasthedestination
jormusicin Clochesinassociation
in l 855ledhimto omittheASsectionfoundintheearlyversionof thepiece.
Doubtlessas a celebrationof thebirth,thetwo keysB andAS againrepresentedheavenandlove- Lisztwasnotthefirstfatherto feelhis childto be a
gift of God. [One of his very earliestsongs, Angiolindel biondocrin
(S269,1/R593aLittleangelwithgoldenhair)was composedin 1839as a
of AnneesIthe
programme
16] Inthereligious
lullabyforhisyoungdaughter.
bells,however,founda naturalplace.Elsewherein Liszttheyarea symbol
of heaven01thechurch,forexamplethelatesongIhrGlockenvonMarling
(S328/R621, 1874)which,althoughthemaintonalityis E, hasa sectioninB
(withoutchangeof key signature)in whichthe poet, addressingthe bells,
denWeltlichenKlang"(a
says"einheil'gerGesangumwalletwie schutzend
holy songfloatsas if protectingfromthe world'sclamour);thepoetadds:
"behutetmichgut"(watchoverme well). In ClochesLisztaddedwithout
commenta newthemeto continuethetonalityof B, itsjubilantmoodbeing
left, as it were,to speakforitself.
Leipzig, 1880-1894,
IG SeeRamann, Lina:FraszzLi,ctalsKLinstlerZzdMensch,
,4 c C}2e'11l
,Sludibl
Mt.vic()l)gicBc}
i4t'
volumeI, p. 535.
Sc ievl 11icorl l lwl
Ht1 11gC}riL'C}(!3 9
1 990
j
tu=S,=<fS
S
*
; _
!
_I
oi
382
s
s
s
#
t
.
l
I
-{
1
I
a
!
fX
tf=
Pazll Merrick
ws,,;,liut#.
J
i
!*'
fr(XS-)=t
I
IT ceun
soli nra
[
r)acs,o+le
$:
-J
&,
f <
_- ! !=!
X
_;41
_ fl
<
)>S,AsF
l
|.
8
r^ I
,
°
*-,
b
l
l
= >:
|
';
4
5
}
0?"
>S
,
7-}
d=^:
'-
v
MusicexampleG (i): Lesclochesde Geneve,bars108-123
¢t
2
()
;>
[
r
,T£z¢
s:(93=
f
)t
5
F
hE5
ir r
] z;
gj
L J
Ara
2
1L =
r
i,
-
¢ s s I_;iR
>
5 C
*
ta=.Hg
MusicexampleG (ii):Die heiligendreiKonigefromtheoratorioChristus(pianoscore)
bars334-345
.SludiaMl(sitole)fwiccl
4caJde>l1iae
.SciewnliarulJt
11tl?,earicue
3tH.19'9.N'
TheRole of Tonalityin the S 1tissBook of Annees de PelesAinage
383
A journeyhastwo aspects,externalandinternal,the sceneryandthe
purpose.Thedictionarydefinesa pilgrimageas "ajourneyto a holyplace".
WhenLisztcomposedSIbum,he describedthescenery,butwhenhe wrote
journey,hencehe calledit "PeleAnneesI, hewantedto expressaninternal
pictorial
piecesalreadyin existence,
to the
rinage".By makingalterations
andby addingothers,he couldmakethe pilgrimagea musicalone, partly
of a symbolicuse of tonality.Theninepiecescan
throughthearrangement
Man(Chapelle,
evenbe seenas threegroupsof three,groupI representing
and
Pastorale),groupIItheSoul(Source,Orage,Obermann)
Wallenstadt,
groupIIIGod(Eglogue,Le n1aldupays, Cloches).Thetonaljourneynow
looksas follows:
mantherot ideals, church
C
AN love, still water
peasantreligiousfestival
E
AN love, water, movement(spirit)
storm- in man's breast
c
e/E despair
AW love - Cross motive- redemption
longillg fbr "home"
e
heavell
B
If we omittheC of Chapelle,we see the"tonaldrama"as anattemptto
moveawayfromANtowardsa "goal"- i.e. to expressthe purposeofthe
journey.IngroupI theE remains"static"- a merepicture.In groupII the
c minorbringsmotionandagitation,the"idyllic"E of Pastorale
intervening
In groupIIIthereis no atis lost, andit cannotbe restoredby Obern1ann.
of Eglogueguidesthepilgrim
temptto restorethe"lost"E - theappearance
towardsthe"true"B. Wesee herethe"innerpath"of thecycle?a pathhiddenin thetonalorganization.
Liszt
By involvingtonalityaspartofthe languageof his"programme",
inthethenotapparent
wasabletobuildintothemusica logicaldevelopment
maticmaterialoreveninthetitles.Itis thetonalitythatcontainsthepilgrimage;we mayevensaythatforLisztthesequenceof keysin a senseformed
themusical"ligneinterieure".
Sll(ctt
jJlla8iL>Dle}giLA 4La&112it'.stit'1?liA1-z1121
£ll?gAl'iLt'
3(J
199sS