Liszt: Mephisto waltz

I forgot, even if you have information about the work ok... everything is fine, just to get started and then expand the research

Thank you again

There is Piero Rattalino's monograph, it is also on google books, here is the part relating to the Mephisto waltz:

http://books.google.it/books?id=5MSLcn4Z73gC&pg=PA102&dq=liszt+o+il+giardino+di+armida&ei=TZNwSYCPLpfUzATB65DkDg#PPA102,M1

I had dealt with this matter in the past, I need to organize a few writings and then I will post; in the meantime, if you go to THE NEW GROVE, Dictionary of Music and Musicians, you will find an extensive bibliography

Furthermore, at this link, in addition to the document, you will find a precious bibliography:

http://www.eufonia.eu/universita-e-ricerca/laboratori/73-laboratorio-aa-20042005.html

I'll send you a link that I think might be useful

http://musicologia.u...Mefistofele.htm

I'll let you know in advance that initially the Mephisto waltz was titled Danza nella taverna del villaggio [Dance in the village tavern], perhaps you will find something out there under this heading as well.

Rotore wrote:

There is Piero Rattalino's monograph, it is also on Google Books, here is the part relating to the Mephisto waltz:

http://books.google....5DkDg#PPA102,M1

Thanks!

Thanks Frank

Frank wrote:

i need to fix up a few writings and then I'll post

Then I'll wait

But at least one other poetic element takes on clear relevance in the Lisztian compositional style: the fascination with the diabolical, the Mephistophelean.

Within his vast production, clear traces of this myth remain, which connects to the influence of Faust in German and Central European culture through Goethe's masterpiece.

For example, in the Faust Symphony, written in 1854, whose final movement is titled precisely Mephistopheles.

Another myth contributed to rekindling this passion: the (unfinished) Faust of the "cursed poet," singer of Weltschmerz, of universal pain: his compatriot Nikolaus Lenau.

Liszt set two episodes of his Faust to music, Night Procession and Dance at the Village Tavern, the latter known as Mephisto Waltzes. In 1861 there was an orchestral version, followed shortly after by the version for piano four hands (1862), while the pianistic version, probably dating from a few years earlier (1859-60), was nonetheless published in 1862.

In the text referring to the second episode, Lenau tells how Faust and Mephistopheles arrive at the village tavern, where a group of peasants drinks and dances in a festive atmosphere.

Mefistofele, bored by that banal music, takes up a violin to play, and using the suggestion of that orgiastic music, drags everyone present into a frenzied dance. Faust, on the other hand, sets his eyes on the most beautiful girl, goes out with her into the starry night, and attempts to win her over, aided by the seductive song of the nightingale.

Liszt recaptures the sarcastic and diabolical atmosphere of the tale, using highly refined musical means. The character of Mephistopheles is outlined from the very first motif and the main theme through technical devices: in the screeching of the right-hand arpeggio with its "diabolical" empty fifths, in the insistent rhythmic hammering in the bass, in the formidable virtuosity with repeated notes, lightning-fast runs, and wide leaps.

With the arrival of the "expressive love" (Un poco meno mosso), the figure of Faust is instead delineated: a theme with a dancing and fantastic character moves with seductive grace, then passes into another area in continuity with the previous one (Presto) with a motif that evokes fairytale and dreamy images.

Another characteristic stands out particularly: throughout the piece, the thematic material undergoes a continuous process of reworking. In addition to the frequent reprises of Mephistopheles' theme—which serves as a link between one section and another—it seems to be the "expressive" theme of Faust's episode that is chosen for the permutation play. This occurs in the ornamental variation and in the iridescent colors of the episode. Sometimes the theme appears almost unrecognizable, where it is transformed into virtuoso terms and reaches strongly heartfelt tones ("strepitoso" [resounding/stunning], as Liszt indicates), or later, presented in a grotesque guise, with its rhythmically strained efforts forcibly exhibited and breathless runs across the keyboard. Finally, marked by "ritenuto," it returns like a sweet song of farewell: Horowitz, for example, in his recording, outlines it delicately with a light and crystalline touch before tackling the vehement coda that concludes the Waltz.

The discussion can also be approached from a slightly different point of view, and perhaps some more information can be integrated.

For example, relate the piece to other works, which seems like a good idea to me, although I would reconsider the part about “Liebestraum” for a moment, in the sense that the intent is clear, but...

On “Liebestraum,” one could write numerous pages of a sociological or social history nature, as this piece has entered every home, not so much to represent an aspect of music history, but rather as a brand of chocolates or a bottle of liqueur to be given as a gift for “Father's Day.” From a musical point of view, there is very little to say.

In contrast, Mephisto Waltz No. 1 is one of the most important pieces in piano literature. Inspired by Lenau's Faust, it was written by Liszt in 1859; it was followed by the composition of other waltzes dedicated to Mephistopheles, none of which, however, reached the musical fullness of the first, which therefore remains rightly the most appreciated and loved by performers and the public.

This piece, dedicated to Mephistopheles, is indeed demonic in two different senses. Firstly, due to its reference to the waltz as a dance of the devil—a diabolical and sensual dance that causes one to lose their senses. Secondly, the Mephisto Waltz is demonic in its virtuosity. In any piece where virtuosity is pushed to its most extreme consequences, the performer seems animated by superhuman, infernal forces: this actually happened in Liszt's time and even more so in Paganini's.

This piece begins with an interesting effect based on the technique of accumulation: in a rapid movement of three eighth notes, a repeated note first appears, made more incisive by some “acciaccaturas”; at the fourth measure, a second note is added at a distance of a fifth; at the ninth measure, the notes become three (always at a distance of a fifth); at the eleventh measure four, at the thirteenth five, and so on.

This initial effect of growth and diminution is repeated twice; and subsequently, the actual theme begins, in A major, the base key of the entire piece. Then a series of small variations on certain thematic ideas begins, alternating with rapid passages of scales and broken octaves, until arriving at a new exposition of the theme, more marked and triumphant. The central part of the piece is a little less agitated, carries the original indication 'espressivo amoroso,' and is in the very sweet key of D-flat major. It is the magical moment of seduction, achieved musically with a slow waltz continuously embellished by syncopations of the melody, which in our opinion very well convey Mephistopheles' alluring charm. At the end of this episode, a dizzying presto appears, made of detached and elegant notes. Then a new section begins that combines and mixes elements of previous episodes in a free form; subsequently, a light presto appears again, followed by a new exposition of the slow waltz, which gradually unfolds, moves, becomes passionate, and finally returns to propose the initial theme.

A brief series of dizzying arpeggios, a reprise of the theme, and magnificent virtuoso episodes that lead, in a whirlwind of timbres and sound effects, to the finale.

In the years 1863-1865, Liszt wrote two legends inspired by religious themes: St. Francis of Assisi and ST. FRANCIS OF PAOLA WALKING ON WATER. In the second legend, two opposing tendencies are added and superimposed: on one hand, the tendency toward a stripped-back religiosity with an almost organ-like timbre, which will characterize many compositions after 1865; on the other, what Rattalino defines as “the ideological scheme of oppression-struggle-triumph,” so dear to Liszt in the years preceding 1865. In this sense, the legend constitutes an authentic moment of transition. The disenchanted detachment from the things of this world is barely outlined in this piece, which instead reproposes the myth of the Promethean struggle with its relative and inevitable final triumph.

I would not overlook Liszt's life, which during the period in which he wrote the waltz was troubled by professional, romantic, and emotional problems; tendentially his life "reads" as follows:

Franz von Dingelstedt, director of the court theaters, began to trim the funds that Liszt required. The staging of Peter Cornelius's "Barbier von Bagdad," a pupil of Liszt, cost a lot of money, was not successful, and brought boos to the director, which was Liszt himself. On December 18, 1858, Liszt submitted his resignation.

Be that as it may, Liszt continued to live in Weimar until 1861. Having decided to leave Weimar, where he had enjoyed the protection of two grand dukes and the esteem of the late Grand Duchess mother, he was left with a problem to solve, a problem that one would not know whether to define as more serious for his conscience or for his pride. He alluded to it in the letter to the Grand Duke with which he reaffirmed his resignation: "It is clear that they want to prevent me at any cost from a marriage to which, because of my birth, I am not destined, but which I believe, I say without false modesty, I have earned."

In 1859, another burning reason was added to his desire to resolve the difficult relationship with Carolyne through marriage. Liszt's twenty-year-old son, Daniel, died of tuberculosis in Berlin on December 13, 1859, at the home of his sister Cosima, who was married to Hans von Bulow.

In this dramatic climate, a series of events related to Corolyne, Carolyne's daughter: Marie, followed, which led Liszt to leave Weimar definitively.

The city, knowing that Liszt would be leaving, offered him an opportunity for a friendly farewell: directed by Hans von Bulow, and in the presence of Wagner, who had been granted special permission, the "Faust" symphony, which Liszt had completed in 1857, was performed on September 7, 1861.

Another track could be to dig into the past; I was thinking of the following

i was thinking about Medieval sequences and in particular the “Dies irae” which had quite a lot of success throughout the centuries. Attributed to Thomas of Celano (?-ca. 1250), friend, disciple, and biographer of Saint Francis of Assisi, the melody was interpolated into the Requiem Mass (which would be the Mass for the rite of the deceased). In the Romantic era, it was symbolically associated with the concept of death and in this sense is cited in W. Goethe's Faust and in numerous musical works, especially by Liszt; see e.g., Totentanz which, along with Chopin's two concertos, Schumann's concerto, and Liszt's two concertos, represent the history of the Romantic concerto for piano and orchestra … practically only 30 years (between Chopin's first, 1829, and Brahms' first, 1859).

In fact, Liszt's second concerto, completed in 1861, would be almost "foreign" to the period considered... but how can one exclude it?

Returning to us, I don't know how much all this might have also influenced the waltz (which in turn was influenced by W. Goethe's Faust) ...

PS

For the writings, I drew from Marino Mora, Piero Rattalino, and Maurizio Carnelli

Frank..... I adore you

To me, Sogno d'amore is liked ...

Stellina wrote:

I like Dream of Love ...

I think that the person who thought of what was written perhaps simply wanted to give more prominence to the Mephisto Walzer within the context of the evolution of music history compared to "Dream of Love," which remains a masterpiece, but follows less "evolutionary" lines; however, it is certainly an interesting point of view from the perspective of research, let's say: "Good idea, but I would revise it in a different and perhaps even richer form."

I want to delude myself into thinking that these points provide only ideas or approaches; what is eventually written in the research will be the result of personal elaboration, comparison of material, etc.

At least I hope so

If it might be of interest, I have written several posts on the Faustian mixture and its relationship with music. Specifically, Liszt can be found in this:

http://beethovenedintorni.blogspot.it/2013/01/faust-nelle-mani-di-gounod-schumann-e.html

danielescarpetti wrote:

If it might be of interest, I have written several posts on the Faustian mixture and its relationship with music. Specifically, Liszt can be found in this:

http://beethovenedin...schumann-e.html

Thanks to you too Daniele, let's just say I have enough material to conduct about ten research projects