Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Chapter Seven

Idiomatic Lateness

Figure 7.1. The overall form of the Csárdás macabre

Example 7.1. Set-classes in Sunt lacrymae rerum, mm. 109–12: (a) Different permutations of 3-3 (repetitions omitted and texture simplified); (b) Vertical set-classes

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.2. Long accented notes typical in Sturm (stormy, fast) marches: (a) Rákóczi March (RH15, 1871 version), mm. 31–33; (b) Ungarischer Sturmmarsch (1876 version), mm. 17–20; (c) Revive Szegedin!, mm. 1–8; (d) Short-long-short rhythm and bokázó figure in RH17, mm. 1–4

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.3. Ornamental and melodic types: (a) Mephisto Waltz No. 3, mm. 27–8; (b) Bagatelle ohne Tonart, mm. 1–16; (c) Mephisto Waltz No. 2, mm. 1–7

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.3 (continued). Ornamental and melodic types: (d) RH19, mm. 1–4; (e) Mephisto Waltz No. 3, mm. 1–10

Example 7.4. Equal-voice parallel sixths in Csárdás obstinée, mm. 283–314

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.5. (a) Mephisto Polka, mm. 17–47 (repeated in idiomatic variation, mm. 48–80); repeat signs replace Liszt’s written-out repeats; (b) Structural reduction of example 7.5a

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.6. Csárdás obstinée, mm. 17–24

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.7. Progressive and static (pendular) inflected repetitions in (a) Csárdás obstinée, mm. 17–76; (b) Structural reduction of example 7.7a

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.8. Pendular inflected repetition in (a) RH16, mm. 87–96; (b) La lugubre gondola II, mm. 69–76

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.9. Pendular inflected repetition in (a) Bagatelle ohne Tonart, mm. 37–60; (b) Structural reduction of example 7.9a

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.10. (a) Unstern!, mm. 21–30; (b) Reduction of Unstern!, mm. 21–72; (c) Bartók: Mikrokosmos No. 109 (1940), mm. 1–4. © Boosey & Hawkes Music Publishers Ltd. Reproduced with permission. (d) Pitch symmetry in example 7.10c

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.11. Nuages gris, mm. 1–12. Mm. 1–8 are abbreviated. All chords and dissonant clashes are derived from inner melodic movements of diatonic tones.

Example 7.12. Széchenyi István, main theme. X’s in mm. 43–54 mark the non-functional chord on VI.

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.13. Magyar gyors induló, mm. 1–46 (continued on next page)

Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition © 2011 Shay Loya

Example 7.13. Magyar gyors induló, mm. 1–46 (continued from previous page)