Après une Lecture de Liszt: Virtuosity and ... - Free

19THCENTURYMUSICa. MS I 76 (1845–48), denoting an early version of the passage in ex. 5b, with correlated letter designations(A–G).Tempo giusto (allegro deciso) ♭ A♭ B♭' ♭' ' ♭' ♯ ♭ ♭ ♭ ♯ ♯ ♯ ♯ ♯ ♯ ♯ ♯ ♯ ♯ ♯ ♯marcatissimo energio assai' ♭♭ ♯♭ ♭♭ ♭ ♭ ♭ ♯ ♮ ♯ ♯ ♯ ♯ ♯ ♯ ♭ ' ' ' ' tremolando' ' ' ' ♯ ♮♯♯ C' ' ♯' ♯ ♮ ♯ ♯ ♯ 'D '' ♯'♮ ♭♯ ♯ ♯ 6'' ' ♯ ♮ ♮ ' ( ) ♮ '' ♯ ♭♮ ♮ 12 'E ♭ ♯ ♯ ♭ 18 ♯♯♯ ♮ F ♯ ♭♭() G♭♭ ♭♭ ♭♭♭ ♭♭ ♭ ♭ ♭♭♭♭ ♭♭ ♭ ♭ ♭♭♭♭ Example 5 ♭♭ ♭ ♭♭♭ ♭♭♭ ♭ ♭ ♯ ♭♭♭ ♭ ♯♯ ♯♯♯♯♯ ♯♯ ♯♯♯♯ ♯ ♯ ♯ ♯ loco♯ ♯ ♯ ♯ ♮ ♯ ♮ ♯ ♮ ♯ ♮ ♯infernale♯ ing tritones of the Sonata, resolving them asperfect intervals and elaborating and extendingthe passage. The same initial harmonic motionof ex. 5a is stretched over every four measuresrather than every three (again denoted by lettersA, B, and C); the descending dotted figurefrom the Sonata’s opening again extends over afurther six measures with chromatic left-handoctaves over a tonic pedal (letters C and D);finally, the same rhythmic diminution of thewhole-tone progression begins a measure earlier(at letter F), which leads to another extensionof the descending dotted figure two measuresafter letter G before the diminished octavesreturn to those of ex. 5a and both versionsproceed alike. As with ex. 3a/b, the modestexpansion in ex. 5b of the underlying harmonicstructure present in ex. 5a suggests thatLiszt was gradually composing out an improvisation,incorporating examples of thematic sophisticationsuch as the transformation of theopening motif and left-hand references to thechromatic octaves of the principal D-minortheme. At the same time, ex. 5b can also be82