Liszt and Harmonies Poetique Et Religieuses

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    The Genesis of the Funrailles. The Connections between Liszt's "Symphonie rvolutionnaire"and the Cycle "Harmonies potiques et religieuses"Author(s): Adrienne KaczmarczykSource: Studia Musicologica Academiae Scientiarum Hungaricae, T. 35, Fasc. 4 (1993 - 1994), pp.361-398Published by: Akadmiai KiadStable URL: http://www.jstor.org/stable/902314.

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    The

    Genesis

    of

    the

    Funerailles

    The

    Connections

    Between

    Liszt's

    Symphonie

    evolutionnaire

    and

    the Cycle

    Harmonies

    oetiques

    t religieuses

    Adrienne

    ACZMARCZYK

    Budapest

    Symphoniere'volutionnairend the cycle for piano Harmonies

    poe'tiques

    t religieuses

    had

    ong

    been

    on

    Liszt's

    mind

    rom

    hebeginning

    of his

    career

    as

    a composer

    n

    the

    early

    1830s

    up

    to his

    Weimar

    ears

    n

    the 1850s.

    The

    surviving

    documents

    which

    are

    nottoo

    numerous

    n con-

    nection

    with the

    Symphonie

    eveal

    that

    during

    hose

    morethan

    twenty

    years

    composition

    on

    thesetwo

    works

    proceeded

    ither

    parallel

    or

    con-

    secutively,

    urthermore,

    hat

    he

    concept

    of

    both

    works

    underwent

    more

    or

    lessmodifications

    n

    the

    various

    phases

    of composition.

    t is probably

    ue

    to this

    parallel

    manner

    f composing

    hat

    hetwoworksappearingotally

    different

    n

    character

    t first

    sight

    display

    considerable

    arallels,

    t

    least

    the

    latest

    versions.

    Funerailles,

    the

    seventh

    movement

    of Harmonies

    poe'tiques

    s related

    with

    the

    Symphonie

    e'volutionnaire,

    articularly

    ith

    the

    Rakoczi

    t

    Dombrowski

    movement,

    oth

    in its

    concept

    andstyle.

    The

    Tristis

    st

    anima

    mea

    movement

    f

    thesymphony

    s connected

    hrough

    ts

    musical

    motifs

    withthe

    piano

    cycle

    as

    well,

    since

    the

    first,

    slow part

    of

    the movements constructedf thesametwo motifswhichwerethe un-

    derlying

    motifs,

    he

    maqam

    f the

    Harmonies

    rom

    heautumn

    f

    1847

    at

    thelatest.

    This

    study ntends

    o throw

    ight

    upon

    hisrelationship

    etween

    thesymphony

    nd

    he

    piano

    cycle

    detectable

    rom

    around

    1850

    onwards.

    In

    order

    to

    be able

    to analyze

    the

    farther

    onnections

    of the

    Sym-

    phonie

    re'volutionnaire

    heessence

    of the

    symphony

    must

    be

    clarified.

    Up

    to the

    present

    day

    Liszt's

    biographers

    ave

    disclosed,

    almost

    without

    ex-

    ception,

    only

    theconcept

    mentioned

    y

    Lina

    Ramann

    ated

    1830.l

    This

    s

    l See Lina

    Ramann,

    Franz

    Liszt.

    Als Kunstler

    undMensch.

    Vol. i (Leipzig,

    1880),

    pp. 143-150.

    Studia

    Mu.vicolngica

    Academiae

    Scientiarum

    Bungaricae

    35/4,

    1993-941

    pp. 361-398

    Akademiai

    Kiado,Budvest

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    362

    A.

    aczmarozyk:

    he

    Genesis

    of

    the

    Fune'railles

    all

    ut

    ortunate

    ince

    in

    Lina

    Ramann's

    description

    he

    elements

    of

    several

    oncepts

    by

    Liszt

    mingle

    dating

    rom

    after

    he

    1830s,

    as

    we

    shall

    seeaterntheevidence

    of

    the

    drafts

    f

    the

    symphony

    nd

    he

    writings

    n

    the

    ombination

    f

    the

    movements.

    Concerning

    omposition

    Ramann

    elated

    hat

    Liszt

    may

    have

    inter-

    woven

    he

    melody

    of

    three

    songs

    with

    his

    work:

    a

    15th-century

    ussite

    song,

    he

    chorale

    beginning

    with

    the

    words

    Ein'feste

    Burg

    and

    the

    Mar-

    seillaise.

    is

    intention

    o

    do

    so

    can

    be

    deduced

    with

    certainty

    rom

    one

    of

    the

    ocuments

    f

    the

    symphony

    nly,

    i.e.

    from

    the

    three-movement-draft

    of

    he

    o-called

    Lichnowsky

    ketchbook

    WRgs

    N8,

    p.

    10)

    which

    he

    used

    inhe irsthalfof 1840s:

    "Symphonie

    evol[utionnaire]

    Hussiten

    Lied

    /

    Choral

    e

    Luther

    Marseillaise".

    On

    the

    first

    page

    of

    the

    four-page

    ketch

    WRgs

    A21,3)

    originating

    n

    1830,

    hat

    s

    more

    han

    one

    decade

    arlier,

    here

    are

    also

    remarks

    oncern-

    ing

    he

    musical

    realization

    f

    the

    symphony

    among

    the

    lines

    reflecting

    Liszt's

    rame

    of

    mind:

    "The

    march

    of

    the

    royal

    guard

    ..

    8

    different

    arts

    ...

    March

    of

    the

    national

    guard

    6/8,

    ...

    a

    fragment

    f

    Vive

    Henry

    4

    ...

    scattered.

    o

    combine

    with

    'Allons

    nfants

    de

    la

    patrie"'.

    Accordingly,

    t

    wasiszt'sintentionat that

    time

    already

    o

    weave

    the

    Marseillaise

    nto

    the

    usic

    fabric

    whereas

    races

    of

    the

    other wosongscannotbe found n

    the

    ketch.

    Though

    he

    surviving

    our

    pages

    of

    music

    do

    not

    suffice

    to

    dare

    o

    declare

    or

    deny

    the

    concept

    of

    1830

    in

    detail,

    he

    absence

    of

    the

    two

    ongs

    as

    well

    as

    the

    presence

    of

    Vive

    Henri

    IV

    and

    Marche

    de

    la

    garde

    n

    6/8

    allow

    us

    to

    conclude

    hat

    the

    original

    dea

    had

    substantially

    differed

    rom

    what

    Ramann

    described.

    According

    o

    her

    Liszt's

    artistic

    goal

    with

    the

    symphony

    was

    to

    find

    musical

    expression

    o

    two

    ever-last-

    ingandsupranationalualities:he

    notion

    of

    revolution

    nd

    the

    longing

    for

    reedom.

    The

    three

    songs

    of

    different

    ational

    dentity achrepresent-

    ing

    a

    deviating

    world

    view

    were

    destined

    o

    carry

    his

    meaning.

    n

    con-

    trast,

    he

    sketch

    of

    1830

    reveals

    he

    plan

    of

    a

    symphony

    f

    definite

    per-

    sons

    linked

    with

    a

    particular

    ccasion

    a

    specific

    place

    and

    a

    definite

    date

    that

    still

    reminds

    s

    considerably

    f

    Beethoven's

    Battle

    Symphony

    serving

    as

    a

    model

    of

    the

    work

    and

    mentioned

    y

    Ramann

    s

    opposed

    o

    the

    plan

    of

    the

    1840s.

    Although

    everal

    movements

    r

    rather

    rrangements

    of the just described wo kinds

    of

    sketches

    and

    themes

    were

    made

    separately

    such

    as

    the

    Hussitenlied

    n

    1840,theMarseillaisen 1872

    Studicl

    Musicologiccl

    Accidemicle

    cienticirum

    ungciriccle

    5/4

    1993-94

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    SketchbookCequ

    on

    entendp. 17

    Verzeichnis

    er

    Furstin

    p. 3

    1

    Introit -?)

    Marche

    f[unebre]

    1.

    Heroide

    funebre

    2

    Fugue

    Mars.

    [Martiale?]

    2.

    Trista

    animam

    meam

    [sic ]

    3

    Tristis

    est

    animam

    meam

    [sic ]

    3.

    Rakoczy

    [sic ] et

    Dombrowski

    4

    Rakoczy-

    [sic ]

    et

    P-

    4.

    Marseillaise

    5

    Psalm?

    5. Psaume II.

    6

    (?)

    Hungaria

    A.

    Kaczmarozyk:

    The

    Genesis

    of the

    Fune'railles 363

    and

    the

    Vive

    HenriIV

    in

    the

    seventies-eighties,

    moreover,

    Ein

    feste

    Burg

    had

    already

    been

    incorporatednto

    the

    Hugenotte-phantasy

    ritten

    after

    Meyerbeer's peraback in 1836 apart romthese pianopieces no

    manuscript

    urvives

    hat

    would

    refer o

    the

    instrumentation

    nd

    the

    com-

    positionof

    the

    symphony,

    espectively.

    It

    is

    easier

    o make

    a

    clear

    notion

    of the

    last

    symphony

    oncept,

    ub-

    ject-matterf

    the

    present

    paper

    stablished

    round

    1848

    whichmust

    have

    been

    topical

    or

    its

    composer

    n the

    firsthalf

    of the

    1850s.It

    is

    known

    n

    two

    combinations

    of

    movements,

    the

    earlier

    being in

    the

    so-called

    Ce

    qu'on

    entend

    sketchbook

    WRgs

    N1,

    p. 17)

    usedfrom

    the

    late

    1840s

    to the earlyfiftieswhile the latteremerges n companyof compositions

    dating

    rom

    about

    1850

    n a

    catalogue

    f

    workskept

    by

    Princess

    Carolyne

    von

    Sayn-Wittgenstein,

    nownas

    the

    Verzeichnis

    er

    Furstin

    WRgs

    MS

    141/1).

    By

    means

    of

    some

    sketches n

    Ce

    qu'on

    entendas

    well

    as

    two

    movements,

    he

    Tristis

    st

    anima

    mea

    andan

    untitled

    draft

    which,

    by

    vir-

    tue of

    its

    content,can

    be

    substituted

    or

    Fugueand

    Marseillaise

    espec-

    tively,

    the

    identityof

    the

    movements

    f the

    two

    combinationsan

    be

    es-

    tablished:

    Musically he

    movements an

    be

    divided nto

    two

    categories.

    n

    the

    firstare

    those

    which

    contain

    xcerpts

    rom

    the

    Marseillaise

    the

    move-

    ment

    Marseillaise

    and

    derivatives f

    this

    march

    Fugue

    Mars.and

    Marseillaise,

    He'roide

    unebre,

    Psaume

    11.

    (and

    Psalm?).As

    seen in

    the

    foregoing

    hisis

    the

    layer

    hat

    hadbeen

    present

    n all

    concepts

    ince

    1830.

    ThoughquotationsromtheMarseillaise anbe found n one draftof the

    last

    version

    only,

    this

    motif

    which,on

    the

    strength

    f

    rhythm

    nd

    melody

    Studicl

    Musicologiccl

    Accidemicle

    cienticirum

    ungciriccle

    5/4,

    ]993-94

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    364

    A. Kaczmarozyk:The Genesis of the Funerailles

    can be traced o the marchappeared lready n the sketchof 1830 as well

    (WRgsA21,3 p. 4):

    21 1 1. ;

    ;b$$ Y:'8t Cr 1[;;s

    1 l r i [ 1 ] :

    This motifcameto headthe fugatoas theme n the last versionof the

    symphonywhich is illustrated y the quotationbeside the Fugue in the

    combination f movements f the sketchbookCe qu'onentend:

    2

    b D [ j '

    H [ ; '

    >

    B ; } f R t t y }

    This excerpt s probably reminderwrittenout from the two drafts

    withoutdateandtitle whichcontain he entiremovement nd n which he

    Marseillaisequotations an also be found(WRgsA21,1 and 2). The first

    of the two draftsmarkedA21,1 s a score in whichLiszt crossedout the

    firstand ast pages as a matter f fact, the framesof the fugatosection.

    The otherdraftmarkedA2 l ,2 is an arrangementf the previouswritten n

    particella.Being the case that in the movementboth the Marseillaise

    quotations nd the fugato are present t can be supposed hat the titles

    Fugue in the sketchbookCe qu'on entendand Marseillaise n the Ver-

    zeichnisder Furstindenote he samemovement.Taking ntoconsideration

    the seriesof movementsn the Verzeichniss well, the only statementhat

    can be made s that he originalandthe variedmusical abricsoriginating

    in the Marseillaise elonged o one single movementn the beginning.By

    the time this combinationwas madethe fugatosectionhad alreadybeen

    built nto severalmovements. t occurs n the Heroideunebre the mid-

    Stadia Musicologica Academiae ScientiaramHangaricae 3S/4, 1993-94

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    A. Kaczmarczyk:heGenesisof theFune'railles

    365

    dle sectionto be performedmarziale, olenneof the Piu lento section n

    D flat major and the closing section of the symphonicpoem which

    Ramannmentionedn her Liszt biography2 as well as in the introduc-

    tion to Psaume11.written or tenor olo, chorusandorchestraWRgsB6).

    In this way the Marseillaisemovementmayhavebecomeempty.

    The movementswhose individual lementsbelong to the scope of

    Liszt'sHungarianssociations epresent nothermusical ayerof the sym-

    phony.They include: ntroit-Marche[unebre]andHe'roideunebre,Tri-

    stis est animamea, Ra'koczit P. and Rakoczi t Dombrowski, ungaria.

    The first documentof this layer is the draftSymphonie e'volutionnaire

    which has alreadybeen mentioned n connectionwith the Lichnowsky

    sketchbook.t emerges rom his draft hatLisztthought f elaboratinghe

    Hungarian heme in a separateHungarianNationalSymphonyat that

    time, n the early 1840s yet. He musthave ntended his work o be a wor-

    thy gift to the Hungarian ation n return or the boundless onfidence nd

    affection xperienced t his firstvisit to Hungaryn the winterof 183940

    (WrgsN8,p.10):

    3 Symphonie revol.

    HussitenLied - National UngarischeSymphonie

    Choralde Luther

    Marseillaise

    v e qS

    . . . .. . . .. . . . et marche in

    The musical quotationwhich, according o the remarkof some

    words,wouldhave been included n the firstpartor the introductoryars

    of the Ra'koczimovement s taken from item number1, volume 1 of

    MagyarDalok UngarischeNational-MelodienR. 105a).Similar o the

    HungarianNationalSymphony here s a directconnectionbetweenthe

    genesis of volumes1 and 2 of MagyarDalok (1840) andLiszt'sfirst visit

    to Hungary. hispianocycle was one of the firstreactions o Liszt'smusi-

    cal experiences n Hungary nd, at the same time, the beginningof the

    historyof the Hungarian hapsodies.

    The afterlife f the firstMagyarDal took a differenturn n thatLiszt

    arranged t in the Tristisest anima mea movementof the Symphonie

    2 L. Ramann,

    Op.

    it. Vol. iv (Leipzig, 1887), pp. 299-304.

    Stadia Masicologica Academiae ScientiaramHangancae 3S/4, 1993-94

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    366

    A.

    Kaczmarczyk:

    The

    Genesis

    of

    the

    Fune'railles

    revolutionnaire

    nd

    not

    in

    the

    Rhapsodies.

    his

    symphony

    movement

    ur-

    vives

    in

    two

    drafts

    dating

    rom

    between

    1853

    and

    18563

    WRgs

    A21,6)

    of

    which

    the

    one

    notated

    n

    compressed

    coreis complete, he draftwrittenas pianoreductionbreaks

    off

    at

    the

    beginning

    of

    the

    second

    half

    of

    the

    movement.

    The

    first

    piece

    of

    Magyar

    Dalok

    became

    one

    of

    the

    pillars

    of

    the

    thematic

    material

    n

    the

    first

    (E

    minor)

    ection

    of

    the

    movement

    while

    the

    second

    (E

    major)

    part

    s

    built

    on

    one

    of

    the

    motifs

    of

    the

    Rakoczi

    march,

    he

    same

    as

    piece

    No.

    10

    of

    the

    fourth

    series

    of

    Magyar

    Dalok

    published

    n

    1843.

    The

    marche

    in[ale]

    of

    the

    Rak6czi

    movement

    of

    the

    National

    Ungarische

    Symphonie

    would

    probably

    have

    been

    constructed

    from

    motifs

    of

    the

    Rakoczi

    march

    and,

    in thatcase,the Tristisdraft romthe1850scanbe

    considered

    s

    the

    realization

    f

    this

    idea

    of

    the

    early

    or-

    ties

    a

    decade

    ater.

    The

    set

    of

    the

    movements

    f

    the

    symphony

    riginating

    from

    around

    1850

    and

    cited

    before

    suggests

    he

    inner

    relationship

    f

    the

    two

    Magyar

    Dalok

    used

    although

    he

    two

    songs

    appear

    n

    them

    as

    two

    separate

    movements

    et,

    following

    each

    other

    n

    the

    same

    sequence

    Tri-

    stis

    est

    anima

    mea,

    Rakoczi

    et

    Dombrowski).

    he

    innumerous

    rrange-

    ments

    f

    the

    Rakoczi

    march

    rom

    1840

    onwards

    are

    as

    much

    the

    reflec-

    tions

    f

    the

    experiences

    f

    his

    stayin Hungary s theoriginal ormof thesymphonic

    oem

    Hungaria,

    he

    Heroischer

    Marsch

    n

    ungarischem

    til

    from

    840

    (R.

    53)

    intended

    o

    be

    the

    closing

    movement

    f

    the

    symphony

    originally.

    he

    funeral

    march,

    he

    first

    movement

    f

    the

    symphony

    which

    came

    o

    be

    a

    separate

    work

    under

    he

    title

    Heroide

    unebre

    belongs,

    by

    means

    f

    its

    main

    theme,

    o

    this

    range

    of

    works

    with

    Hungarian

    ssocia-

    tions.

    t

    cannot

    be

    accidental

    hat

    he

    F

    minor

    beginning

    f

    the

    Hungarian

    Rhapsody

    o.

    14

    reminding

    us

    of

    funeral

    march

    (Lento,

    quasi

    marcia

    funebre)

    ritten

    more

    orlesssimultaneously ith t andpublishedn 1853

    begins

    ith

    the

    same

    melodic

    dea

    as

    the

    main

    theme

    of

    the

    symphonic

    poem.

    It

    emerges

    from

    the

    survey

    of

    the

    latest

    version

    of

    the

    Symphonie

    re'volutionnaire

    hat

    this

    concept

    together

    with

    the

    one

    planned

    at

    the

    beginning

    f

    the

    forties

    owes

    its

    existence

    o

    the

    inspirations

    licited

    by

    iszt's

    personal

    xperiences.

    Even

    f

    he

    did

    not

    participate

    n

    the

    Hun-

    3

    See

    R.

    Charnin-Mueller's

    description

    of

    the

    paper:

    s(ca.

    1853-56)

    (365x275

    mm;

    brownish

    paper,

    astraluled, 22 staves, 8 rnmrastral)".Liszt's 'Tasso' Sketchbook:Studies in Sources and

    Revisions

    (New

    ork,

    986),

    p.

    381.

    Studia

    usicologica

    Acadenuae

    Scientiarum

    Hungaricae

    3S/4,

    1993-94

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  • 8/10/2019 Liszt and Harmonies Poetique Et Religieuses

    8/39

    A. Kaczmarczyk:

    TheGenesis

    of the Fune'railles

    367

    garian

    war

    of independence

    ought

    with outward

    nemies

    t stirred

    im at

    least

    as profoundly

    s

    the revolution

    whichbroke

    out

    in 1830in

    France

    whichpassedfor his secondhomecountry or reasonsof homepolitics

    andwhich

    he endured

    lso personally.

    His

    Hungarian-French

    nclinations

    areso much

    characteristic

    f

    this notion

    of symphony

    hateven

    thetones

    of

    despair

    andanguish

    arewoven from

    typical

    elements

    of national

    den-

    tity,

    both in the

    Tristis

    est anima

    mea movement

    and

    the introductory

    music

    to the Psalm

    11

    whichLiszt intended

    o be

    the

    movement rowning

    thewhole

    workpromising

    he

    arrival f the

    Messiahand

    raising

    helong-

    ing

    for liberation

    nto

    transcendent

    imensions.

    Seeing

    how utterly

    well

    organizedhe symphonys, the presenceof a movementwhichdisrupts

    theunity

    of the

    concept trikes

    us. I have

    in mindRakoszi

    t

    Dombrowski

    which,since

    Dombrowski

    wasa Pole,

    lies

    outsideboth

    he Hungarian

    nd

    the

    French opics.

    Liszthimself

    musthave

    felt

    it because he

    Tristisest

    anima

    mea draft

    from

    about 1853-1856

    which

    includes

    motifs

    of the

    Ra'koczi

    march n the

    secondpart

    of the

    movement efers

    o the fact

    that

    Liszt

    hadalready

    ivenup composing

    Rakoczi

    t Dombrowski

    r

    at least

    Dombrowski

    s a separate

    movement

    y that

    ime.It is

    worth

    tartingwith

    Dombrowski's ersonwhen t comesto elucidatingwhatthisplannedbut

    neverexecuted

    movement ould

    havebeen

    and

    why it got into

    theSym-

    phoniere'volutionnaire.

    Jan

    HenrykDombrowski

    r Datbrowski

    ithanother

    pelling

    1755-

    1818)fought

    at

    the sideof

    Kosciuszkon

    the 1794

    Polishuprising

    which

    broke

    out against

    heoppression

    f

    theRussians

    andwas soon

    defeated.

    Hoping

    to

    find an ally

    in Napoleon

    o liberate

    his country

    Dombrowski

    joined

    the

    Frencharmy

    andorganized

    Polishlegion

    in Northern

    taly.

    Themarchassociatedwithhis name s saidto haveoriginatedhereand

    musthave

    kindledLiszt's

    interest

    much

    as the Ra'koczi

    march

    did. The

    Mazurka

    Darbrowskiego,

    he

    presentPolish

    national

    anthem

    gainedwide

    popularity

    not

    only with the

    Poles but

    also

    with otherSlavic

    peoples

    duringthe

    l9th century

    and

    was known

    in Germany

    with the

    words

    "Noch

    st Polen

    nicht

    verloren".As

    a hymnof freedom

    t fitted

    well

    with

    the

    compositional

    lans

    of Liszt's

    symphony.

    n the

    knowledge

    of the

    Mazurka

    Dacbrowskiego

    he

    title of the movement

    Rakoczi

    t

    Dombrowski

    canbe better onstrued.Evidentlyhe composerdid nothintat themusi-

    cal

    portray f the

    two

    personsbutat

    themarches

    onnected

    withthem

    and

    StudiaMusicologica

    Acudemiae

    ScientiarumHunguricue3S/4,

    1993-94

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    368

    A.

    Kaczmarezyk:

    he

    Genesis

    of

    the

    Fune'railles

    the

    Hungarian

    nd

    Polish

    nations

    epresented

    y

    the

    marches.

    Drafting

    he

    message

    o

    the

    two

    nations

    n

    one

    common

    movement

    may

    have

    been

    us-

    tified

    by

    the

    common

    fate of the two peoples:the Hungarianndepen-dence

    seemed

    o

    be

    as

    much

    orlorn

    ince

    1849

    as

    that

    of

    the

    Polish

    nation

    since

    1831.

    Considering

    he

    fact

    that

    neither

    drafts

    nor

    sketches

    have

    emerged

    o

    far

    no

    further

    onclusions

    an

    be

    drawn

    of

    the

    Rakoczi

    et

    Dombrowski

    movement

    tself

    and

    its

    importance

    n

    the

    symphony,

    espectively.

    t

    may

    seem

    that

    all

    efforts

    to

    find

    a

    solution

    could

    be

    left

    off

    here

    because

    he

    movement

    lone

    would

    not

    deserve

    greater

    ttention.

    There

    s,

    however,

    a

    momentous

    work

    of the sameage withthis Polishmovementn Liszt's

    ceuvre

    which

    raises

    a

    similar

    question

    as

    this

    symphony

    movement

    nd

    n

    the

    understanding

    f

    which

    the

    movement

    Ra'koczi

    t

    Dombrowski

    an

    provide

    a

    clue,

    that

    s

    Fune'railles.

    he

    incentive

    o

    write

    his

    piano

    piece

    came

    also

    from

    the

    Hungarian

    ar

    of

    independence

    the

    sub-title

    being

    "October

    849"

    and

    it

    had

    to

    do

    with

    a

    Pole

    as

    well,

    namely

    with

    Chopin

    whose

    E

    major

    middle

    section

    of

    his

    Polonaise

    n

    A

    flat

    major

    served

    as

    background

    or

    or

    model

    of

    the

    stretto

    ection

    of

    the

    Lisztian

    work(bars 109-155). Whatjustifieskeepingin mind the parallelsof

    Rakoczi

    nd

    Dombrowski

    nd

    Fune'railles

    s,

    in

    addition,

    hat

    all

    traces

    which

    an

    be

    of

    any

    help

    to

    unravel

    he

    otherwise

    airly

    obscure

    history

    of

    composition

    f

    the

    Fune'railles

    eads

    us

    in

    the

    environment

    f

    the

    Sym-

    phonie

    e'volutionnaire.

    The

    genesis

    of

    Fune'railles

    s

    not

    covered

    n

    Liszt's

    correspondence,

    and

    he

    various

    phases

    of

    composition

    re

    not

    recorded

    n

    surviving

    drafts

    and

    ketches.

    Only

    one

    sketch

    of

    the

    pesante

    bass

    theme

    (bars

    24

    4

    0)is

    knownwhichcanbe readon page 19of thesketchbookCequ'onentend,

    two

    pages

    after

    the

    plan

    and

    drafts

    of

    the

    Symphonie

    e'volutionnaire,

    n

    E

    major

    nscribed

    Magyar"

    Ex.4).

    The

    appearance

    f

    the

    theme

    n

    this

    sketchbook

    s

    therefore

    urpris-

    ing

    because

    n

    it

    Liszt

    entered

    pronouncedly

    he

    ideas

    of

    his

    symphonic

    works.

    he

    context

    uggests

    hat

    Liszt

    had

    originally

    ntended

    o

    include

    t

    in

    symphonic

    work,

    more

    precisely

    n

    a

    work

    with

    Hungarian

    ssocia-

    tions,

    erhaps

    n

    one

    of

    the

    movements

    f

    the

    Hungarian

    ayer

    of

    the

    Sym-

    phoniee'volutionnaire.ince it was underthe spell of the Hungarian

    revolution

    nd

    war

    of

    independence

    f

    1848X9

    that

    Liszt

    felt

    particularly

    Stublia

    u.vicologica

    Aczlemiae

    Scientiarum

    Hungaricae

    35/4

    1'Y'93-'94

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  • 8/10/2019 Liszt and Harmonies Poetique Et Religieuses

    10/39

    A. Kaczmarczyk:

    The Genesis of the

    Funerailles

    369

    4

    Magyar

    - ._,

    se"] $ $" t +$ 1 $ S

    f

    "]:

  • 8/10/2019 Liszt and Harmonies Poetique Et Religieuses

    11/39

    370

    A. Kaczmarezyk:The Genesis of the Fune'railles

    Evidenceof the Hungarian ssociations f the piano work are not

    only the subtitle ndLiszt'sanswer o LinaRamann-"The 'Funerailles'

    point to the tragic event (1850) [sic ] in Hungary"s but its musical

    genealogyas well. It has nevercauseddifficulties or the exponents f the

    Funerailles o acknowledgets Hungarianharacter,o intexprethe sec-

    tion reminding f Chopin'sworkhas posed all the moreproblems.That

    the middle ectionof Chopin'sPolonaise n A flat major s actuallyunder-

    lying this portion s borneout beyondquestionby Liszt's words noted

    downby one of his pupils,AugustGollerich: ... At the triplet igureheld

    in the basseshe (i.e. Liszt)said: 'in reality, t is an imitation f Chopin n

    the well-knownpolonaise;only I have made t somewhatdifferent'

    ..Z6

    Being the case that this hint is very direct the view spread n Liszt's

    lifetime already hat the composerpayedhomage o the memoryof his

    frienddeceasedalso in October1849. Though his is an acceptable x-

    planation he questionremainsunansweredwhy Liszt kept silent in the

    matterwhenever he pianoworkwas mentioned lbeithe even dedicated

    book to the memory of Chopin. Ramannrefutedrepeatedly hat the

    Funerailleswas inspired y the deathof Chopin,moreover, he wentfrom

    one extreme o the otherwhen she claimed hatthe similarity f the two

    musical solutions was only outward, wellnigh accidental: "...The

    similarity f this triplet igure with the octave figure in Chopin'sA flat

    majorpolonaise ed to the assumptionhat he former mitated he latter. t

    has existed,thoughonly in the continuos romBach to our days. Liszt's

    basso continuo is rooted in the bell motif of Funerailles..."7 n my

    opinion he only way leading o a proper olution s not to examine he

    composition eparately, etached rom the musical-speculativehain of

    thoughts ncluding t too, but to approachhe Funeraillesas far as pos-

    sible fromthe side of the symphony, s an oeuvre elonging o the sphere

    of attraction f the Symphonie evolutionnaire.he meetingpointsof the

    genealogyof the pianoworkandthe symphony ot only entitleus but re-

    quire right away to take into consideration he parallelbetween the

    5 Fragezettel Ramann-Liszt No. 9 (November)

    1875.

    n: L. Ramann,Lisztiana. A. Seidl, ed. (Mainz,

    1983), p. 394.

    6 W. Jerger, Franz Liszts Klavierunterricht on 1884-1886 dargestellt an den Tagebuchaufzeichnungen

    von August G(illerich Regensburg, 1975), p. 61.

    7 Lina Ramann,Liszt-Padagogium.. p. 3.

    StuzliaMusicologica AcazlemiaeScientiarumHungyaricae 5/4. 1993-94

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    12/39

    A. Kaczmarezyk:

    The

    Genesisof the Funerailles

    371

    Rakoczi

    et Dombrowski

    movement

    and

    the Chopin

    imitation

    of the

    I,

    .

    Funerales.

    In the l9th centurythe view prevailed hat in his music Chopin

    showed

    himself

    irstof all as

    an advocate

    f his

    nationandnot

    as a

    private

    individual,

    s Carl

    Dahlhaus

    pointedout

    in great

    detail.8His

    music,par-

    ticularly

    he stylized

    olkdances

    rom

    whichthe

    musicalcharacter

    f his

    nation

    was believed

    to be

    heard,represented

    he Polishpeople

    in the

    world

    at least as

    authentic nd

    intelligibly

    s the

    MazurkaDarbrowskiego,

    the

    Polish

    hymn of

    freedom.

    The

    concept of

    Liszt's Symphonie

    revolutionnaire

    ating

    romaround

    1850

    leavesno doubt

    hatunder

    he

    titleDombrowski iszthad thissongandits associationsn mindand on

    inteipreting

    he

    referenceso

    Chopin n the

    Funerailles

    we

    must at least

    reckon

    withthe

    possibility

    of its having

    borne

    relationo the

    Poles.

    This

    assumption

    s also

    supported

    y Liszt'schoice,

    probably ot

    by chance,of

    a

    workby Chopin

    whichexpresses

    learly verbally,

    hrough

    he indica-

    tionof genre,

    with theword

    polonaise-the

    origin

    of the

    musicand its

    national

    dentity.

    f takenalso

    into

    consideration

    he parallel

    between

    he

    pianopiece

    andthe movement

    f thesymphony

    ecomes

    particularly

    ug-

    gestive hecause the musical characteristicsf the same two nations

    dominate

    n theFunerailles

    ndtheRakoczi

    tDombrowski

    movement-

    just

    think

    of thebasstheme

    and he

    Chopin

    eminiscences-and

    it

    is fur-

    ther

    enhanced

    by the

    "inscriptions":

    Magyar"

    nd "Polonaise".

    he

    ab-

    breviation

    f a

    symphony

    movement

    whichoccurs

    in the

    set of

    move-

    mentsof

    the sketchbook

    Cequ'on

    entend

    mayeventually

    e explained

    n

    this

    spirit:

    "Rakoczy-

    t P-"denotes

    probably

    Rakoczi

    t Polonais(e).

    And

    if

    Liszt'sfuneral

    marchwas

    also

    meant o commemorate

    he

    deceased

    n

    the Polishwarsof independencehere s sufficient xplanationwhy the

    composer

    did

    not speakabout

    his

    meaning. t

    wouldnot have

    been

    ad-

    visable

    for an

    employeeof

    the Court

    of Weimar

    o espouse

    openly

    the

    Polishcase

    because

    Maria

    Pavlova,the

    wife

    of CarlFriedrich,

    Grand

    Dukeof

    Sachsen-Weimar

    for thatmatter,

    Liszt's

    mostardent

    upporter

    at

    Weimar was

    theCzar's

    nfluential

    ister. n

    spiteof the

    special

    mean-

    ing provided

    with in the Funerailles

    he

    invocation

    of the

    Polonaise i1

    A

    flat majorwas

    nevertheless

    iszt's

    homage o

    Chopin,

    hemost

    beauti-

    8 C.

    Dahlhaus,"Nationalismus

    und

    Universalitat.",

    Neues Handbuch

    der Musi/cwissenschaft.

    Die Musik

    des 19. Jahrhunderts

    Wiesbaden,

    1980), pp.

    29-34.

    St"nli,M".vicoloBica

    c(l(lemiseScientiurxm

    H"nguricue3.S/4 1J93-594

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    13/39

    A. Kaczmarezyk:heGenesisof theFune'railles

    72

    ful expressionpossible of the appreciationf a contemporaw omposer

    who, by identifying he Poles with Chopin'smusic,acknowledged im as

    the advocate f his people.

    It still needs clarificationwhat incitedLiszt around1850 to take a

    stand n favourof the Poles in two of his workssimultaneously,ven if he

    madeonly hidden eferencesn Fune'raillesndfailed o writeafterall the

    more pronouncedlysupporting movement based on the Mazurka

    Dacbrowskiego.

    It is withoutanydoubt hatone of the reasons f his profoundnterest

    must have been his relationshipwith the PrincessCarolynevon Sayn-

    Wittgenstein. his autobiographical otive can also have contributedo

    the emergenceof compositionswith double, Hungarian-Polishubject

    matters,n addition o the similarity f the fate of the two peoples.This is

    how the movementDombrowski ould havebeen included n the concept

    of Symphonie e'volutionnairef around1850 prompted y motivesof his

    autography nd coupledwith movements f Hungarian-Frenchssocia-

    tions.

    Ever since 1847 when Liszt's ife becameentwinedwith that of the

    Princessup to his deathseveralworkswith Polish associationswere on

    his mind or at least plans of such works which, apart rom Rakosziet

    Dombrowski ndFune'railles, ere not outspokenly olitical n character.

    Notwithstanding,he matter ever ost its historicalopicality or him later

    on, either.This urgesus to continue ooking or the reasonsof the genesis

    of the symphonymovements nd he pianopiece elsewhere.Trying o dis-

    cover a meaning n the politicalovertoneswe should nvestigateLiszt's

    connectionswiththe Polishexiles whichgo back o his stay n Paris n the

    1830s.

    After he unsuccessful olishuprising new wave of Polishrefugees

    inundatedFrancewhich countedfor a naturalally. In the light of the

    Lisztiandocuments t seems thatone of the refugees,AdamMickiewicz

    was particularlyeerto Liszt.Born n Lithuania,he Polishwriterarrived

    in 1832 in Parisfrom wherehe directed he Polish exile movementbe-

    tween 1836 and his death n 1855. His extremely uccessful ectureson

    the Slavic anguages nd heir iterature elivered t the Collegede France

    between 1840 and 1844 were visited by the most prominent epresenta-

    tives of the Paris intellectual ife. Marie d'Agoult who attended hese

    StutliaMusicologica Acatlemiae ScientiarumHungaricae 35/4, 1 P'93-Y4

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    14/39

    A. Kaczmarezyk:he

    Genesisof theFune'railles

    373

    events

    in the companyof

    Chopinand Georges

    Sand

    kept Lisztinforrned

    of these

    lectures.9The composer

    and the poet felt mutually

    attractedo

    eachotheras a letterof Maried'Agoult o LisztdatedDecember , 1840

    bearsevidence

    of: "... I

    have ust met Mickiewicz.

    Nobodycould

    speak

    nicerof you and

    Hungary s he did ...Z10

    On

    the otherhand,Liszt's

    etter

    to Carolynevon

    Sayn-Wittgenstein

    atedSeptember

    , 1855 shows

    that

    the composer's

    nterest n

    the Polishwriter

    did not cease

    lateron, either:

    "... Is Mickiewicz

    n Paris?Make

    nquiries

    bout t andif the

    answer s

    affirmative,

    writesome lines

    in Polish

    ..."11The most

    importantign of

    Liszt's

    nterest s thatone

    of Mickiewicz's

    worksarouse

    his phantasy s a

    composer.We are nformed f the inspirationindledbyMickiewiczrom

    a volumeof around

    1848(WRgs

    B20, p. 110)

    containinghe

    manuscript

    of vocal

    workswith instrumental

    ccompaniment

    n which there

    s a list

    with

    Liszt'scompositional

    lans:

    Les 4 Elemens

    Ouverture

    Ce qu'on entend

    sur la Montagne

    Marchedu- Micki[ewicz]=

    MazeppaOuverture

    ManfredSymphonie

    Anees

    de Pelerinage

    Childe H?

    Symphoniere[volutionnaire]l2

    Moreover, n page

    12 of the

    sketchbookCe qu'on

    entend,which is

    the most

    importantource

    of the sketches

    of Funerailles

    and Symphonie

    revolutionnaire

    sketch nscribed

    Micki" analso be

    found Ex.5).

    Concerninghe workof Mickiewiczhatcouldhave nspiredLisztno

    evidence

    urvives. t may

    be surmised, owever,

    hatLes Livres

    de la Na-

    tion polonaise

    et des Pelerinspolonais

    (Ksigi narodu

    polskiego

    piel-

    9"...

    Yesterday

    I went to Mickiewicz's lecture

    with Mr G[irardin] ...);

    I found myself

    at the side of

    Madame

    Sand and Chopin .. ." January

    6, 1841. In: D. Ollivier, Correspondance

    de Liszt et de la Comtesse d'-

    Agoult(Paris,

    1934), II,p. 99.

    0D. Ollivier, op.

    cit.l II. p. 70.

    1900),p.260.

    12

    In the work mentionedR. Charnin-Muellerites the list of WRgs B20 (p. 142) and, supportedby argu-

    ments of

    papyrology, datesthe music

    manuscriptpaper

    to 184849: "259x330 mm;

    ash-blue, ruledwith rastral,

    20 staves;

    6 mm rastral".

    p. 376)

    Studia Mzasicologica

    AcademiaeScientiarumHngaricae

    35/4, 1993-94

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    s

    . t. I

    I p

    o

    I I

    .s,

    13-

    l' brb vy te

    5;

    J

    ; j

    lb

    t h P

    f

    L _

    374

    A.

    Kaczmarczyk:

    he

    Genesis f the

    Fune'railles

    -

    _

    W

    ,

    , l

    ,1

    1 1

    '9t

    i[;b]Yt i

    X l

    grzymstwa

    polskiego)

    was standing

    n

    the highest

    esteem

    with

    Liszt

    which appeared s a revelation or the composerand gave rise to the

    emergence f

    Parolesd'un

    Croyant y

    Felicitede

    Lamennais.

    This

    work

    written

    fter he

    suppression

    f the 1830

    Polish

    uprising

    n

    Dresdenand

    published n

    1832

    became he

    Bibleof

    the Polish

    exiles.

    In

    the

    first

    partentitled

    Livrede la

    Nationpolonaise

    hewriter

    describeshe

    history

    of thenation

    up to the

    point

    of

    martyrdomorwhich

    Mickiewicz

    blaimed

    Austria,Russia

    andPrussia.

    The

    secondpart,

    Livredes

    Pelerins

    polonais

    is

    addressed o the

    Polish

    refugees,

    that is the

    pilgrims

    and

    provideshemwithadvice n thespiritof SlavicMessianism.Mickiewicz

    proclaims hat

    Poland

    which,

    according o

    him,had

    always

    been

    faithful

    to the

    Christian

    deals of

    freedom

    andjustice

    which

    died now

    as the

    "Christ f the

    nations"or

    the

    sin of all but

    willrise

    again

    andwill

    realize

    the

    country f love,

    peaceand

    ustice

    upon he

    earth.

    The

    second

    part of

    the book

    which

    created

    stir

    throughoutwas

    published n

    Paris

    in 1833

    translated nd

    prefaced

    by

    Charles-Forbes-

    Rene de

    Montalembert,

    close friend

    of

    Felicite

    Lamennais,

    memberon

    the staffof L'Avenir.nFranceMickiewicz'sdea of thehistorical,more

    precisely,

    alvation

    historical

    missionof

    Polanddid not

    gain

    support,

    ay,

    his

    bias

    towards is

    ownnation

    ather

    rouse

    rudgewhich

    cameto be

    ex-

    pressed

    n the

    criticismof

    Sainte-Beuve, ne of

    the

    most

    significant riti-

    ques of

    his time.'3

    The

    religious

    devotionof the

    Slav

    Christianity

    emind-

    ingthe

    West

    of medieval

    mysticism

    houghto

    have

    been ong lost

    by the

    '3 "... Amidst

    energetic

    andsimple pieces

    of advice given

    to his

    compatriots everal

    seriouswords

    leave

    also the poet's

    mouthabout

    foreigners,

    us Frenchl too,

    who are

    accustomed to

    more praise. The

    words oreig-

    ner, enemy,idolatre which appear o be synonyms for the poet, apply to us, too, who have failed to accept the

    noble

    mission

    of the overall

    war for the cause

    of the

    people ..." Ch.-A. de

    Sainte-Beuve,

    "Adam

    Mickiewicz:

    Le

    Livre des Pelerins

    Polonais",

    Premiers lundis

    II. 8juillet 1833

    (Paris,

    187>75), p. 232.

    Stutlia

    Musicologica Acatlemiae

    ScientisrumBungaricue 3S/4.

    15s5s3-5s4

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  • 8/10/2019 Liszt and Harmonies Poetique Et Religieuses

    16/39

    A.

    Kaczmarczyk:

    he

    Genesis f

    the

    Fanerailles

    375

    19th

    century

    as

    well as

    the

    spirituality

    eady

    o

    make

    sacrifices

    brought

    the

    book

    enthousiastic

    upporters

    nd

    arouse

    sympathy

    or

    the

    Polish

    people.The poetic languageof the bookresembling iblicalprophecies

    and

    the

    Gospels

    ransmitted

    his

    deep

    religiousness

    o the

    readers.

    Lamen-

    nais

    who,by

    the

    good

    offices

    of

    Montalembert,

    ame

    to

    know

    the

    book

    of

    the

    Polish

    pilgrims

    while

    being

    translated

    wrote

    about t in

    terms

    of the

    highest

    appreciation

    o

    Marquis

    de

    Coriolison

    May

    6,

    1833

    from

    La

    Chenaie:

    "...

    There

    will

    appear

    within

    short

    a

    small

    volume

    entitled:

    he

    Book

    of the

    Polish

    Pilgrims

    by

    Mickiewitz

    sic )who

    is

    indisputablyhe

    poet

    number

    ne

    of our

    age;

    thereare

    enchanting

    hings

    n it:

    without

    dis-

    regardinghe considerable istance hatseparateshe languageof man

    fromthe

    language

    of

    God

    I

    make

    bold

    to say

    sometimest

    is as

    beautiful

    as

    the

    Gospel.

    Sucha

    lucid

    expression

    f

    Faithand

    Freedom

    ogethers a

    real

    miracle

    n

    our

    century

    of

    slavery

    and

    unbelief

    ..a14 Some

    days

    later,

    on

    May 16,

    Lamennais

    eported

    o

    Montalembert

    f

    having

    tarted

    writing

    Paroles

    d'un

    Croyant:

    Before

    having

    read

    Mickiewitz

    sic ) I

    began

    a

    short

    work of

    strongly

    analogous

    genre

    ...a15 In

    Mickiewicz's

    words

    Lamennais

    ecognized

    he

    formulationf

    his

    own

    liberal

    views

    of

    Chris-

    tianbackground.imilar o Mickiewiczhe alsocalledupagainst hepos-

    sessors

    of

    power

    considering

    reedom

    and

    respect n

    every

    fieldas

    essen-

    tial

    human

    ights.

    He

    saw

    the

    means or

    attaining is

    goal,

    establishing

    socialistic

    and

    democratic

    ociety, n

    kindling

    raternal

    ove

    and

    sympathy

    as

    well

    as

    accepting

    suffering

    with

    faith

    and

    trust

    in

    God.

    Thoughhe

    directedhis

    words

    to the

    people

    in

    general,

    o

    mankind

    nd

    not

    to one

    single

    nation

    as

    Mickiewicz

    did he

    was

    capable

    of

    identifying

    himself

    with

    the

    national

    tragedy

    of the

    Poles.

    His

    prose-poem

    Hymne

    a

    la

    Polognewhichappeared s anappendixo thefirstFrench ranslationf

    Livre

    des

    Pelerins

    polonais

    bears

    to

    his

    understandingf

    Polish

    Mes-

    slanlsm:

    ...

    Your

    dispersed

    sons

    have

    taken

    into the

    world

    the

    marvellous

    recital of

    your

    glory-.

    They

    have

    told

    that

    shaking

    off all of

    a

    sudden the

    yoke

    of

    your

    suppressorsyou

    have

    risen

    like the

    angel

    that God

    had

    sent

    armed

    with his

    glaive

    to

    punish

    those

    who make

    a

    mockery of

    justice;and

    the

    heartof

    the

    tyranshas

    trembled.

    14L.

    Le

    Guillou,

    ed.: F.

    de

    Lamennais, Correspondancegenerale. Textes reunis, classes et annotes

    (LibrarieA.

    Colin,

    1974),

    vol.

    V, July

    1831-33,

    p.

    384.

    '5F.

    de

    Lamennais,

    Correspondance

    e'ne'rale

    . . vol.

    V, p. 395

    (my

    italics).

    Studis

    Mu.vicsl sgics

    Acutlemise Sc

    ientisrum

    Atunguricue

    3S/4, 1

    5s5s3-5s4

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    376 A. Kaczmarczyk:heGenesis f theFune'railles

    [Refraine:] Sleep, my Poland, sleep in peace, in what is called your grave: yet me, I

    know that it is your craddle ...

    Lamennais'work,the Paroles d'un Croyant wes most to Mickie-

    wicz's book with respect o style.The poeticproseof Lamennais adear-

    lier been enrichedby biblicalphrasesand paraphrasess well, yet it was

    under the influence of Mickiewicz that he took over completely the

    phraseology f the Bible and expanded t over the entireParoles. His

    teachings exhortations nd parables in the spirit of the Gospels

    could only awakethe impression f a series of real biblicalscenes and

    visions n a style completelymatching hem.

    Havinggot acquaintedwith Lamennais's ook the abbotmadeclose

    friendswiththe Polishpoet, the tokenof whichwas the similarity f their

    character,n addition o their spiritualkinship.Both had an exceptional

    sense of vocation and responsibility owards their own people, traits

    which characterizedmore or less the intellectuals f the nationson the

    peripheryn the 19thcenturybut Lamennais xpected hem of the intel-

    lectual leaders,churchdignitaries nd artistseverywhere.When in the

    secondpartof his workMickiewiczdefinedhimselfandhis fellow exiles

    as pilgrims t was this socialsense of vocation hargedwithreligious en-

    timent hathe tried o instil nto his comradesn misfortune. he extraor-

    dinary mportance f the choice of name is shown by the fact that the

    second part of the Livredes Pelerinspolonais startswith giving a jus-

    tification or it:

    The soul of the Polish nation are the Polish pilgrims.

    But not every Pole on pilgrimage is called refugee because a refugee is a man

    fleeing so that he may rescue his life from the hands of the enemy.

    The Pole does not call himself exile, either, for an exile is a man banned by the

    decree of his magistrate,and it is not his magistrate hat has expulsed him.

    The Pole on pilgrimage has not even a propername but he will be given this name

    in the course of time just as Christ's confessors were given theirs n due time.

    While waiting, the Pole is called

    pilgrim

    because he takes the oaths to go on

    pilgrimage to the Holy Land, that is to the delivered Poland and to follow his route

    until he has found it . . .Ifi

    The pilgrim bears the same spiritualcontent in the Parole d'un

    Croyant s well but his figure s, becauseLamennais oes not actualize,

    16Adam Mickiewicz, Actes de la Natic)npolonaise et des Pelerins polcJnuis.T. SopliSa, trans. (Paris,

    1859). p. 75

    StudiclMusic(viogic(lAc(lclemi(le cienti(lrumAlung(lric(lf S/4, 1993-94

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    18/39

    A. Kaczmarozyk:heGenesisof theFune'railles

    377

    still more abstract

    nd his facultiesIying far beyond

    the averageman's

    potentials re evenmoreremarkable.

    amennais oesnot use the pilgrim

    to symbolize he refugees.He remembershem in the figureof the exile

    among he peopleafflictedby various

    ufferings ightbefore he closing

    chapter f his

    workdiscussing he

    transcendentaleturn ome. In his un-

    derstandinghe

    pilgrim s the symbolof the "spiritual

    eaders"of the

    society,of priests

    andartistswith a

    senseof vocation.He alone s capable

    of illuminatinghe

    averagepeople ndreams nd hereby

    onvincing hem

    of the divinewill

    and ts sole redeeming

    orce.In the Paroles t appearsn

    one single parable

    nstilling hope

    into an embittered ld man feeling

    cheatedout of everything, eprivedven of his son, convincing im of the

    truthof the divineteaching:"It s

    not the suppressed

    who suffermost but

    the oppressors"chapter xxiii). Of

    all the figuresof the

    parableshis em-

    pathyand intelligence haracterize

    nly the pilgrimandthe spirit Esprit,

    chapterxi). Lamennais

    xpresses he selectnessof these

    two personsby

    theirspeechaswell. In contrasto the

    restof the protagonists

    f the stories

    but identically

    with the abbotspeaking n the first person

    singular, hey

    are those who,

    by virtueof theirendowments,

    re capableof giving ad-

    vice, showing heway towards alvation.

    Since Lamennais

    xerteda life-long nfluenceon

    the youngLiszt by

    awakening imto his artisticvocation

    and most of all by stengtheningn

    him this beliefwe mustassume hat

    one of the inspirers f the titleAnnees

    de Pelerinage

    andprobablyhemore mportantne

    was the pilgrim

    symbol by Lamennais nd, let us

    add, because hey are inseparable, y

    Mickiewicz.The

    earliestdocument f the presence f this

    title was the let-

    ter writtenby

    Maried'Agoult o Liszt'7on October 5,

    1840 and ts first

    bearerwas thefirst versionof thebook Switzerland ublishedn 1841:l8

    lre Annee de Pelerinage,Suisse.

    As regards ontents, his work agrees

    with the firstchapter f Albumd 'un

    voyageur Haslinger, 842) n whose

    subtitleLisztretained

    he originaldesignation:mpressions

    t Poesies.Ac-

    cording o the

    other iterary xplanation

    f the titleAnneesde Pelerinage

    considered xclusively n literature

    o farLisztmadereferenceo Byron's

    epic poem,the

    ChildeHarold'sPilgrimage.

    t is mostlikely thatboth as-

    sociationsarecorrectso that we

    only have to find

    out which played a

    17

    D. Ollivier, Correspondance .. II. p. 39.

    18

    Data by GyorgyKroo in Az elso zarandokev

    The first year of pilgrimage] Budapest, 1986), p. 53.

    StuclisMu.viczJkJgicacu(lemiaeScientiurumHunguricue3S/4, 1993-94

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    19/39

    378

    A. Kaczmarczyk:heGenesis f theFunerailles

    decisiverole in the new title. As to the questionwhether t is worth ook-

    ing for a literarywork behindthe poetic piano cycles Liszt was preoc-

    cupiedwith at the time, in the 1830sand 1840s,provide nough ustifica-

    tion: their title was inspiredby a work of belletristic n each case. The

    Album d'un Voyageurechos theLettres d'un Voyageurby GeorgesSand,

    the

    Marie Poeme en 6 chants

    planned n 1835borrows ts titlefrom

    Marie

    Poeme, a collectionof elegies by AugusteBrizeux,a poet of Brittany, ot

    to speak of

    Har7noniespoetiques et religieuses

    which was inspiredby

    Lamartine'solume.

    Basedof the historyof genesisof the Swiss book of 1841 it mustbe

    surmised hatthe title

    Annees de Pelerinage

    owes its existence o the in-

    fluenceof MickiewiczandLamennais. lexanderMain19 ointedout that

    by attaching yonandPsaumededicatedo Lamennais s the openingand

    closing movements, espectively n the last phase of the compositional

    process,Liszt altered he originalconceptof the albummade up from

    Swiss pieces in a way thathe dedicated he whole seriestogetherwiththe

    two enframingmovements o the abbot.The meaningof the pianowork,

    his declaration f commitmentowardsLamennais'sdeas coincides hus

    completelywith the pilgrimage ymbolused in the sense of the Mickie-

    wicz and Lamennais.ThatLiszt setAnnees de Pelerinage, the new title

    expressing he poeticmessageof the ultimate onceptagainst he title and

    conceptof the enframingworkAlbum d'un Voyageurandnot theImpres-

    sions et Poesie was pointedout by GyorgyKroo n a studyon the history

    of genesisof theAlbumandtheFirst Yearof

    Pilgrimage.20

    It was he who

    shed ight on the meaning f the altered oncept xpressed n the title and

    the preface o the two volumes as well. To his interpretation, hich is

    based on the two prefaces and discusses the differencebetween the

    spiritualdispositionof the travellerand the pilgrim,21et me add the

    Lamennaisianxplanation f the two symbolic igureswhich must have

    influencedLiszt. In the set of symbols of Paroles the two figures are

    9"... The Impressionset poesies became, I think, a battleground or two conflicting ideas. The main

    one, of course, was that of representingSwiss landscapes.This, probablysuggested by a letter from Lamennais

    late in 1835, determined he characterof the Albumd'un voyageuron the whole. But in the autumnof 1837, as

    Liszt worked on the Impressionset poe'sies, this apparentlywas joined by anothernotion, that of reconciling,

    symbolically, the spheres of Mennaisian iberalismand art . . ." A. Main, Liszt's Lyon", l9th CenturyMusic, vol.

    iv,No.3(1981),p.241.

    20Gy Kroo op cit

    21Gy. Kroo, op. cit., pp. 57-60, 68-72.

    StucliclMusicologica AcsblemiaeScientiurumBungaricue 35/4, ISJSJ3-94

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    A. Kaczmarczyk:The

    Genesis of the Fune'railles

    379

    clearlydistinguished.While he pilgrim

    mayappear straveller,he aspect

    of travelling orming

    partof his figure,

    he opposite s simply nconceiv-

    able: he traveller'symbolicsphereof activity s narrower.WithLamen-

    nais the pilgrim ulfills a mission,

    he is destined ormorethanthe com-

    mon runof people

    andfor exactly

    heirsake. In contrast,he traveller

    is the symbolof

    the averagepeople,he explains ts meaning

    t the end of

    the parable bouthim as follows:"The

    ravellers the

    man, hejourney s

    life, the rocksare

    he myserieshe

    meetsat everystepontheroad".

    The Byron

    quotations n the Swiss book of Annees

    de Pelerinage

    leave no doubt

    that the impressionsof Childe Harold's

    Pilgrimage

    resound n thetitle as well. Moreover,he entry"A-neese Pelerinage

    Childe H?" in

    the alreadymentionedist, WRgs B20,

    makes this pos-

    sibilityof interpretation

    till moreobvious.We must

    not forget,however,

    that t was writtenn 184849, much

    ater han he emergence

    f the title

    Annees de Pelerinage

    in 1839,22 nthe otherhand, he

    questionmark ug-

    gests that this interpretation

    f thepiano work had not

    been an ultimate

    decisionon Liszt's

    partyet. To trace he titleAnnees de Pelerinage

    back o

    the Byron inspirations contradicted

    y the data of origin. How could

    anyone ustifythat a work of Byronian onception eceiveda-Byronian

    title in the aftermath

    nly when ts imagehadalready

    een determined y

    LamennaisXsoncept

    andnot by theoriginal ne.

    The title

    Annees

    de Pelerinage

    shouldbe attributed

    o the intellectual

    influenceof Lamennais

    ndMickiewicz

    n the firstandsecondplaces.At

    the same time

    it must be admittedhat these two men

    were attached o

    Byron'sworkby several ies. To illustrate

    ow closelythesethreeauthors

    may have belonged

    ogether n Liszt's

    thinking t is worthquotingan ex-

    ampleoriginatingwith Maried'Agoult,however econd-hand,omewhat

    distant t shouldbe in this case. Since

    the realand ntellectual

    rip o Swit-

    zerlandand Italywas to such an extent

    theircommonexperience t may

    be takenfor granted hat the lady's

    opinion n literary espectwill also

    shedsome ighton Liszt's or us.

    On returning

    o Paris n the autumn f 1839Marie

    d'Agoult oon fur-

    nishedherapartment

    n the streetNeuvedes Mathurins.

    mostportentous

    22 Gyorgy Kroo established that the preface to

    the Annees de Pelerinage

    which must have existed from

    1839 on, Liszt's stay in Rome at the latest "was worded

    by Liszt in the place of the

    earliersub-title as a kind of

    poetic paraphrase".Hence

    the new title can be datedto 1839.

    Op. cit., p.

    58.

    StubliaMusicologica Acablemiae cientiarumBungaricae 35/4, 1993-94

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    380

    A. Kaczmarezyk:The Genesis of the Fune'railles

    roomof this apartment as the "Boudoir uguste" ervingalso as library

    whose decorative lementsand the symbolicsense of their arrangement

    was described t great ength n one of her etters o Sainte-Beuvewritten

    in the springof 1840:

    ... As you have failed to come and see the small august boudoir. I have to describe it

    for you. By way of help, the idea would be an ideal,the serenity after the fight, the

    rainbow fter he storm.

    Well, serenity in the arts and poetry, Goethe is of course the

    God of this chapel. This is a superb type of sereliity, yet a serenity acquired after

    Werther,after Faust. As representatives f sereliity Ms Roland, Mr Ingres, follower of

    the witch Rafael should be listed and, if need be, Chateaubriands bermann, wo saints

    you can call as you want to, deputies f serenity in Christianism the others are a little

    pagan); in our arms painted on the window planes there is a wolf with the slogan

    aviduspugna avid for fight] (fight, combat); it is supportedby two angels (serenity);

    the slogan above Goethe's poem is difficult to translate iterally t sounds roughly like:

    he who remains strongly attached o his idea, his feeling the Germanword includes

    both transformsthe world or creates the world in his image or, in other tenns,

    governs his fate. My marblebust by Bartolini will be in the background.Other reliefs,

    representing ight are:Mickiewicz, Lamennais,Byron

    ..23

    The system of Marie d'Agoult supports, hough indirectly,my

    opinion establishedon the basis of the 1841 concept of

    lre

    Annee de

    Pelerinage,Suisseaccording o whichthe threeauthors, onnectedby the

    new title and message,could have been attached o each other n Liszt's

    phantasyas well. In addition, t provides urther videnceto justify the

    view thatMickiewiczmustbe taken nto considerationsnong hoseplay-

    ing a role in establishing iszt'sChristian-liberalrtistic reed.The Polish

    poet musthavearoused articularttractionn the composer's art,not so

    muchbecauseof his personand workbut rather y playingan important

    secondary ole in Liszt's 1834 acquaintancef Lamennais. ince Mickie-

    wicz belonged o the abbot's lose circleof friends t maybe assumed hat

    the authorof Livre des Pelerins polonais was present n the personal

    relationship etweenLamennais nd Liszt from the first momenton, at

    least spirituall.y.f it is true that Liszt conceived the title Annees de

    PelerinageafterJanuary 1, 1838, following the emergenceof the final

    conceptof the Swiss book dedicated o Lamennais24n which, n connec-

    23 Vte Pleunot de Langle: "loseph Delorrneet la Comtesse Marie"Revue de France 15 dEcembre1930,

    p. 705. Cited in: J. Vier, La Comtesse d'Agoult et son temps, vol. ii, 3rd part (Paris, 1959), pp. 13-14. "Petit

    Boudoir auguste"was the title of a sonnet by Sainte-Beuve.

    24

    Liszt wrote to Adolphe Pictet on January31, 1838: ". . . a small volume entitled Impressionset Poesies

    that I have finished ..." In: R. Bory, Une Retraiteromantique n Suisse

    2Paris,

    1930), p. 132.

    StudiaMu$icologicaAcademiae ScientiarumBungaricae 35/4, 1993-94

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    http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
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    A. Kaczmarezyk:

    The

    Genesis of the

    Fune'railles

    381

    tion

    withthepelerin

    symbol

    of Lamennais

    hat

    of Mickiewicz

    must

    neces-

    sarily

    havebeen

    involved, t

    should

    not be a

    mistake o assume,

    either,

    that this processof associationalso workedin the oppositedirection.

    More

    precisely,

    f Liszt'schoice

    as a composer

    ell on a subject-matter

    with

    Polishassociations

    ater n life

    eitheras

    his own

    ideaor inspired

    by Carolyne

    on

    Sayn-Wittgenstein

    then

    he

    topic tselfset

    in motiona

    chain-reaction

    n the composer's

    mind, the principal

    inks

    being

    first

    Carolyne,

    hen

    Mickiewiczand

    inally

    Lamennais.

    t canbe suspected

    hat

    sucha series

    of associations

    ies behind

    the Polish

    musical

    hintsof the

    Rakoczi

    t Dombrowski

    movement

    f the

    Symphonie

    e'volutionnaire

    nd

    the Fune'railles. hroughhis intellectual ttachmento Mickiewiczand

    Lamennais

    he

    espousalof the

    Polishcause

    meant or

    Lisztthe

    declaration

    of

    his commitment

    o the liberal

    views

    of Lamennais

    swell,

    hence

    works

    or sections

    of works

    of this

    kindmust always

    be considered

    s an hom-

    mage

    a Lamennais

    o a certain

    xtent.

    Thepossibility

    hat he

    Chopin

    m-

    itationwith

    Polishreferences

    n theFune'railles

    as

    at the

    same timean

    expression

    f respect

    owards

    he abbot

    s also borne

    evidence

    of by the

    inner

    relationships

    f

    the cycleHarlnonies

    oetiques

    t

    religieuses

    nclud-

    ingthe pianopieceas its seventhmovement swell.

    The piano

    cycle

    Har7nonies

    oetiquesreminding

    s at first sight

    of

    Lamartine's

    dentically

    called volume

    of poetryonly

    has several

    links

    with

    Lamennais

    s well.On

    the basis

    of Pense'e

    es morts, ts

    fairly

    wide-

    ly

    known ourth

    movement,

    t may

    already e guessed

    hat t

    succeeds

    not

    only the

    pianopiece

    Har7nonies

    oetiques

    published

    eparately

    n 1835

    butis, to

    a certain xtent,

    the

    instrumental

    uccessor

    of De

    profundis

    Psaume

    instrumental

    ritten o

    Lamennais. t

    is the

    De profundis

    en

    faux-bourdon)ectionof psalm(Pense'e: ars58-61) and thecodaof the

    firstpart

    n sonata orm

    (Pense'e:

    Adagio

    cantabile ssai,

    from

    bar85 to

    the

    end)thatwas

    taken

    overfrom

    the pianoconcert

    o

    the Penseoe

    move-

    mentof

    the cycle.

    Moreover,

    herearemotifs

    n

    the movement

    whichhad

    equally

    formed

    part

    of thepiano

    piece Harmonies

    ndDe

    profundis,

    o

    mention

    only

    the most conspicuous

    ones,

    the soprano

    recitative

    n the

    opening

    themes

    of the two

    works.

    Withthe title

    Lisztexpresses

    among

    others

    and here it

    is worth

    recalling

    he background

    f the title of

    Anne'es e Pe'lerinage thatthe Pense'edes morts s the descendant f

    two

    aeuvres

    roughtorth

    by a different

    ntellectualnspiration

    ach.

    The

    Studia

    Muvicologica

    AcademiaeScientiarum

    Bungaricae 35/4, 1993-94

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  • 8/10/2019 Liszt and Harmonies Poetique Et Religieuses

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    De profundis

    Jay

    Rosenblatt's

    version)

    (iSsH - t- $

    }v;XN

    t J

    >

    tr-

    C r

    S

    History of

    Crux,Table 1a:

    1833-1835

    Pense'e es morts s namelymerely hethird itle of thepoemby Lamen-

    nais n

    question.The

    composer

    musthave

    given thisvery

    titleto

    thepiano

    piece

    because he

    original itle

    hadbeen

    De

    profundis ndDe

    profundis

    u

    Pense'e

    esmorts.25

    In

    connection

    withthe

    cycle the

    most

    decisive fact is that

    extracts

    from

    Deprofundis

    an be

    foundnot

    only inthis

    movement.

    Lisztbased

    on

    the

    headmotif of

    theopening

    heme

    of thepiano

    concert, he

    crux

    motif

    passing

    or a

    visitingcard

    n his later

    religious

    ompositions theme

    each

    of severalmovements f theseriesHarmonies. hismotifbecame hereby

    one of

    the

    fundamental

    musical

    ormulas, he

    maqam f

    theworkand

    the

    piano

    cycle the

    musical-spiritual

    uccessor o De

    profundis,

    due to this

    feature

    s well as

    thequotations

    aken rom

    Pense'es

    esmorts.

    n viewof

    the role

    the

    cruxmotif

    plays in

    Har7noniests

    occurrences

    n thefirst

    ver-

    sion of

    1847/48

    consistingof twelve

    movements

    s well

    as in the

    final

    series

    of 1853

    willbe

    enumerated.See

    Table

    a-d.)

    Similar o thepianoconcertoLisztplaced hismotifto thebeginning

    of the

    Hatmoniesas well;

    theopening

    heme

    of

    Invocation s a

    melodic

    variant

    f thecrux.

    In thefinal

    version

    of the

    movementhere

    appearshe

    original orm

    of themotif

    beginningwithan

    ascending

    econd

    stepwhich

    is the

    counterpartn

    major

    f theminor

    ormpresent

    n De

    profundis.

    The

    majorormula

    mergesalso in

    themovement

    Litanie

    deMarie

    ncludedn

    the

    Harmonieseriesof

    1847

    only.

    Furthermore,t sounds

    n

    minor n the

    Et ne

    nos

    inducas n

    tentationem

    ection of

    the Pater

    nosterwhere

    the

    25A.

    de Lamatine, aN:uvres

    oeti4uesCompletes.

    Edition

    presentee, tablie

    et annoteepar

    M.-F.

    Guyclrd

    Pans, 1963),

    p. 1846.

    382

    A

    Kaczmarczyk:

    heGenesisof

    theFunerailles

    Studi(lMu.sicolo8ic(1

    c(ldemi(le

    Scienti(lrumBunguric(le35/4,

    1993-94

    This content downloaded from 131.211.208.19 on Sun, 28 Dec 2014 13:42:29 PMAll use subject to JSTOR Terms and Conditions

    http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
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    24/39

    yJ9J9J9

    iki I in

    Paternoster Bibl Nat. MS 163

    Et ne nos in- du- cas

    @ I $

    MiserereBibl Nat. MS 163

    :

    -4 L -J

    t j T G $

    # # [ X ] f C

    Invocation . . ,:>

    + # # # C 6 F

    i nten.

    ###14 r 2

    +

    - >

    23J;@$2#;jj4e

    Mi-se-re-re me- i De - us

    sp:" pW H C o

    it"f# 1 3 ' S: ' g

    C piu cresc.

    (S h# "

  • 8/10/2019 Liszt and Harmonies Poetique Et Religieuses

    25/39

    - w - -

    Et ne nos in- du- cas

    ,_. b - ^ "t- t t

    - B. jS l l J l u

    w 1ll r w r W

    l

    i

    48

    tj fS Mi- se - re- re me - i De - us

    ( so $ S1Q^t C@i o

    quasi ecitativo

    History of Crux,Table lc: 1853, Final version

    style26 nd notated,on top of it all, with erroneous art-writingbar23:

    e1-d#l-b-a-d#l, 1-d#l-el-d#l nstead)musthavecalledLiszt'sattention y

    offeringhim the crab nversion f his own cruxmotif.

    26

    Since this

    Miserere

    does not figure n the two Palestrinaomplete ditions t may well be that he

    publisher rintedt under is namepurely s a business rick.

    384

    A. Kaczmarezyk:The Genesis of the Fune'railles

    Invocation

    Invocation Paternoster

    168 A

    b # ffi J _ 39

    c, $ C,Sia

    Miserere

    Largo

    ,3 , 3

    Studl(lMusicologic(lAc(ldeml(leScienti(lrumHung(lricue3S/4, 15*Y3-Y4

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    Tristis

    est

    anima

    mea

    1

    1 . + ;

    -

    / 9

    fC

    f f

    r

    t

    History

    of

    Crux,

    Table

    ld:

    1853-1856

    Symphonie

    revolutionnaire

    A.

    Kaczmarezyk:

    The

    Genesis

    of

    the

    Fune'railles

    385

    The

    fact

    that

    Liszt

    merged

    he

    De

    profundis

    heme

    with

    that

    of

    Har-

    monies,whichhad been congenialwith it fromthe beginning,he suc-

    ceeded

    in

    solving

    his

    problems

    with

    the

    unfinished

    piano

    concert.

    He

    could

    transmit

    o the

    piano

    cycle

    the

    sections

    he

    found

    valuable

    rom

    the

    point

    of

    view

    of composition

    s

    well

    as

    the

    intellect;ual

    essage

    without

    burdening

    t

    with

    problems

    f the

    form

    of

    the

    concert.

    Besides,

    seting

    to

    music

    he

    topic

    De

    profundis

    which

    he

    had

    promised

    othe

    abbot

    who

    felt

    very

    much

    attracted

    o it

    the

    work

    came

    into

    being

    after

    all in

    form

    of

    a

    piano

    cycle,

    if

    already

    not

    asa

    concert.

    This

    means

    hat

    by

    composing

    he

    firstversionof Harmonieshereemerged nceagaina pianoserieswhich,

    similar

    o

    Album

    d'un

    voyageur

    nd

    1 Anne'es

    e

    Pe'lerinage

    uisse,

    was

    also

    corlnected

    ntellectually

    with

    Lamartine27

    nd

    Lamennais.

    While

    the

    items

    finished

    around

    1840

    were

    related

    o

    them,

    he

    spiritual

    nitiators

    f

    the

    journey,

    by

    external

    inks

    only

    Liszt

    "composed

    hem

    nto"

    he

    series

    Harmonies

    nterpreting

    he

    title,

    as

    it

    were,

    literally

    as

    Lamartineian

    nd

    Lamennaisian

    armonies.

    Liszt

    seems

    to

    have

    had

    opportunity

    o

    revise

    thetwo workswrittenaround1840andto transformhemto a realcycle

    organized

    n

    a

    higher

    evel

    right

    after

    composing

    he

    first

    version

    of the

    Harmonies.

    That

    he

    transformation

    o

    a

    cycle

    of the

    1st

    and

    2nd

    years

    of

    Anne'es

    de Pe'lerinage,

    hat

    is

    of

    the

    final

    books

    Switzerland

    nd

    Italy

    which

    appeared

    n

    1855

    and

    1857

    was

    begun

    by

    and

    arge

    between

    1849

    and

    1852,

    simultaneously

    ith

    the

    final

    elaboration

    f

    the

    Harmonies

    we

    learn

    rom

    Liszt's

    etter

    o Carl

    Czerny

    dated

    April

    19,

    1852:

    27

    A. Main listed convincing arguments

    o indicate

    that

    Liszt

    was encouraged

    to

    compose

    Album

    d'un

    voyageur

    y

    a letter

    of Lamartine

    dated

    November

    1,

    1835.

    In:

    "Liszt

    and

    Lamartine.

    Two

    early

    letters.",

    Liszt

    Studien

    Eisenstadtl

    1978)1

    vol.

    21pp.

    137-139.

    Stula

    Musicologica

    Acatlemiae

    Scientiarum

    Hungancae

    35/4,

    1993-594

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    386

    A. Kaczmarezyk:heGenesisof theFune'railles

    ... I believeI madebetteruse of these ast threeyears hanof the preceding nes;on

    the one hand,I submitted everalearlierworksof mine to a rather eriousrevising

    workandcomplete ewritingamong thers he Etudes edicatedo you andof which

    I am going to send you a copy of the definiteeditionwithinsome weeks and

    l'Albumd'un Voyagellrwhich will appearconsiderably orrected, nlargedand

    transformednder he title 'Anneesde Pelerinage,Suite de Compositionsollr le

    Piano Suisseet Italie '), on the other, continued omposing o the extentmy

    ideascameand imagine aving inallyarrived t thepointwhere hestyle s adequate

    forthethoughts.

    28

    It appears romLiszt'scorrespondenceontemporaneousiththe let-

    ter fragment hat the cycle Harmoniespoetiques circumscribedn the

    second part of the sentenceand seeminglyof great importanceor the

    composer s the firstamonghis new compositions.29ompletinghe Har-

    monies opened the road, in my opinion, to carryingout the most sig-

    nificantalteration f

    Ire

    Annee de PelerinageSuisse, wich affectedthe

    conceptof the whole work,that s discardinghe dedication f the series

    to Lamennais, ogetherwith Lyon and Psaume. As a successor o De

    profundis he Harmonies ould namelyassume he taskof the two move-

    mentsas well, attached s appendix o the 1841 Swiss book only anddis-

    ruptingts unityof contents, hat s expressingLiszt'sgratitude nd hanks

    to the abbot. By that it became possible to reorganize he Swiss (and

    Italian)Yearsof Pilgrimagen a new,eventuallyByronian pirit.

    The removalof Psaume rom the Swiss seriesdoes not requireany

    particular xplanation,due to the compositional alue of the piece, so

    muchthe more does discardingLyonwith its mysterio