Franz Liszt's Petrarch Sonnets:
The Persistent Poetic Problem
ANDREW FOWLER
In this article the final versions of Liszt1s settings of
the Petrarch sonnet No. 47, one for piano solo and the other
for
itone voice
piano q are ex
Born out of t
same compositional seed, these two final versions are
strikingly dissimilar and yet closely related.
While
surface elements,
formal designs, and structural
voiceleading are radically altered in the 1861
baritone/piano version, subsurface rnotivic relationships
reveal a bond between both versions. The purpose of this
article is to show that these relationships, although
somet
cure, bring these two versions closer toget r
has
ously believed.
t
Alan Walkeri
Franz Liszt: The Virtuoso Years - 18111847 r states that Liszt's comprehensive involvement with
musi?al exp?~iments £f
1 kin?s led h. to revise a major
portIon of nlS work.
The varIOUS settIngs of
Petrarch
sonnets certainly belong in this "revisionist" category.
Not satisfied
th the early soprano and piano version of
sonnets 47, 104, and 123, Liszt continued to rework them
r
over two decades, resulting in the existence of four
separate versions.
In later years, Liszt wrote that his
earlier attempts were too repetitious and ornate.
The
persistence shown by his two revisions i
icates that Liszt
was concerned with the proper musical treatment of
lAlan Walker, Franz Liszt: The Virtuoso Years - 18111847, volume 1 (New York: Alfred A. Knopf, 1983); p. 306.
LISZT'S PETRARCa SONNETS
49
Petrarch's poetry, a problem which led to the drastic
alterations found in the 1861 version.
The first version came to fruition in 1838
1839,
dur ing Liszt I s Italian sojour'n
th Har ie d I Agoult.
These
early songs were quickly transcribed for piano solo. It was
the piano transcription which was first published,
1846.
The publication of
song version soon
11
1847.
szt worked on the first revision of t
sonnets during the
1850 IS, a
this revision was published as the fourth
through s th numbers of t
Ann~es de p~lerinage: Deuxi~me
Ann~es. Italie
1858. The Ann~es de P~lerinage version is
most familiar to
mus ic vlor Id.
Lis zt I s final revis ion,
for baritone
piano, was completed in
1861, though
publ ished much later in 1883.
I s
1 re r to the
different versions
the following manner: first, by
sonnet's number,{i.e. Sonnet 47, 104, or 123) and then by
its chronological order, using letters a,b,c
or d to
designate the first through fourth versions.
Only minor alterations occur between the first three
versions of 47 and 123. The first transcription faithfully
adheres to the formal and melodic designs of the earlier
songs, although pianistic figuration and minor alterations
give the transcr iption a life of its ovm.
With the first
revision, that is, t
Ann~es de p~lerinage version, many
figurational pass es are substantially simplified.
David
Neumeyer and Howard Cinnamon have written articI~s about the
first three incarnations of Sonnet 104.
l04/c is
Significantly altered from its predecessors in that it is
transposed, an opening recitative removed and a new
introduction inserted.
47/c is transposed as \vell.
The
early versions of 47/a and b in Ab major; 47/c and d in Db
major.
The 1861 works are startling in their s
ification of
surface detail, condensation of thematic and harmonic ideas,
and altered tonal schemes.
However, much of the melodic,
tonal, and formal design has been retained in each.
The
following analysiS will examine the final versions (c and d)
of Sonnet No. 47, comparing and contrasting these two
creations inspired by Petrarch's poem.
The text and its
translation are given in appendix 1.
The scores to both
47/c and 47/d are found in appendices 2 and 3 respectively.
The overall fo
tonal design of 47/c is shown
Example
1.
47/c follows a modified strophic procedure
whereby the main aria theme is presented as the antecedent;
each consequent is less tonally st Ie
melodic ly nonrepetitious.
The work opens with an out-of-key
j
2see David Neumeyer 1 "Liszt I s Sonnetto 104 del
Petrarca: The Romantic Spirit and Voiceleading," Indiana
Theory Review v.2 no. 2 (Winter 1979): 2-22, and Hmvard
Cinnamon, "Chromaticism
Tonal Coherence in Liszt's
Sonetto 104 del Petrarca," In Theory Only v. 7 no. 3 (August
1983): 3-19.
INDIANA THEORY
50
EW
introduction. The tonic (Db major) is established at m. 12.
beginni
of the aria t
coinc es
a new t
area: m. 14 in Db
or I ffi. 38 in G major i
m. 62 in E
major.
The consequent phrase of each of these three
sections receives increasi
rmal wei
,so
t
last
consequent in effect marks the beg inn ng of a new section
(m. 69).
The introduction (mm. 1-12) reveals prototypical
material for the entire piece
reviews general harmonic
procedures
ich subs
ly
uence the overall tonal
sc
A harmonic sequence
mm. 1-5, moving from
Ex
e 1: Formal and Tonal Des
..
..
1;.11·
BarS.
12-23
24-35
of 47/c
48-61
36-47.
62-68 69-77
.
Division/
Procedure
.,
Desigll
•........
Introduction
antecedent
theme 1
(aria theme)
consequent
antecedent
theme 1
consequent
(begins with
theme 1)
independent
phrase
motives a & b
A
B
A'
B'
v1I'
Torud
Structure
.VI
V7
I
V7 I
~
jjj
~
. . 14 V~9
vi Iv bn bvn V I
I VI V
'--v---'
I ~ v
.-;;iv
I
#fV
~
I.···.'···'··
.....
Form
.
78-84
85-95
antecerepetition
dent consequent of 69-77
C
A'
codetta
motive b
and
fragement
of theme 1
C
v-v
~)
~ll
)
I>
..
bill
C#9
7
V7
m.. V 7
bVl
V7
ll~ rn
V71
bVl
#IV
,
part I
partm
partn
Harmonic Outline
brackets tndlcate third relations
f
G
E
A major triad to
C# major triad, foIl
an F major
triad, and, f l y , back to the A major triad.
Immediately
following this sequence, in ffi. 6, A major is conver
into
a German sixth in the tonic key, Db major.
These two
events, one a symmetrical division
of the octave via the
I>
...
..
major third, the other a b6-5-1 linear motion, recur at
several levels throughout the work.
The major third
sequence foreshadows successive thi
relations throughout
the work.
Example Ib illustrates these toniciz
third
relations throughout the work. Various tonal regions
correspond to formal divisions in the text.
The first
quatrain begins in
major, t
s
quatrain in F minor.
The tonicization of G major coinc es with the beginning of
the sestet, and the second
rt of the sestet begins
th a
new tonal area, E major.
E major is followed by
tonic.
Third relations are, of course, typical of Liszt's
monic
language.
In 47/c large scale tonal relationships are
related to the sequential prototype, and this relationship
creates a harmonic consistency
roughout several structural
LISZT'S PE'T'RARCH SONNETS
51
levels. For ex
e, the
ic pro
project , over mm. 1-23 3
Example 2
expansion is effected through the use of the other
the b6-5-1 motion.
i
pit
class A
ides
s to Ab, dominant of Db major.
,
major is establis
in m. 12.
The same voieele ing
Ex
e 2
Pr
i
ion
al
Coi'
r
.,
~,
:7
1-
MM~
l:>
F
#~
,
LJ
:ff-e-J~~
.
7
•
...
"1'" -
-./
~
--
r
area of F
nor, in
ir integration at a
prot
rat
event
1. Anot
b
in ffi. 69,
i
coinc
th t
inn
of a new
t
tic idea.
In this
measure the diminished seventh
c
rd is supported by the pitch F in cne
Sj
ieh is
prolonged until 1Tl. 73.
At m. 73
F descends to E, t
appli
inant of the A major tri
in m. 74. The A major
triad is the flatted su
diant,
ch
ecomes a German
sIx h, resol vi
to the domi ant
major. In this
section, Liszt stresses t
b6 of
h ffi. 73 ( i t
lass F)
a d m. 74 (pitch class A) through r
etit on
str
metr ical placernent.
These stress
t
saine
itches
ich eo rise t
s
F,A,
Th ugh
A are not
nence
ifi
t
to t
re is us
30ther examples ?f prototypical expansion in Liszt's
work are discussed ~n my article "Multi-level Motivic
Projection in
ected Piano Works of Liszt,lI Journal Of The
American Liszt
,
XVI (Dec
er 1984): 20-34.
REVIE~'\T
INDIANA THEORY
52
etta., b inni
in
85, s tly reiterates
the b6-5 motive
t
s
ential
irds motive.
or enharmonic A, is given a last inflection in m.
Finally the
repenultimate F major tri
refere tial1y
bri s back t
harmonic seauence of t
ing measures.
Turning no \11 to 47/d, it has been stated by otherwr ers
that this revision creates an essenti lly new work,
sylisticallyakin
ri
Liszt ','lark
Two
rtant stylistic
ures evi
in 47/d
not present
47/c are man at
tonal
iguity arising from
rmonic
valence.
I
11 now briefly discuss largescale for
tonal contrasts between 47/c
47/d,
showing that these later s t y l i s t i c changes
f
man at
icism
tonal
ity create a new
rk out of
earlier
I
11 t
discuss
e two works
are similar,
conci
e
th a summary of t
ic
Q
dif rences
two are evi
outlines of
present
s
as in
3.
In 47/d, Liszt retai s the main aria
t
,
s only twice, rather than three t
(see mm. 10 and 33).
e tonal center
f the seco
rance of the theme is E major, not G
or, as
47/c.
Also I
C sect ion
47/ d f
inni
in In. 41, contains in
the voice part a melodic line not found in 47/c.
At a more
surface level,
re is
ous di
i
between t
tvV0
intr
uctions.
The unst
ening 0
47/c intr
ces
prototypical material
r
entire work.
tl7/d presents
prototypical mater ial as well.
Rov/ever i Liszt di
th the two prototypes of 47/c (
rical d is on f
the octave by major thirds and b6-5-1
es
t
place an unobtrus
stepwise
a fourth, stat
the outer voices lover a
prolongation.
From this
s
e stepwise motion grow all of t
significant mel ic
patterns -- for example, the relationship of t
rna
aria
theme to the prototype
(shown in Ex
Ie 4). The small
Ex
A
4
Andante un poco
MOSSO
Singstimme.
Baritan ode!
Mcnosopran.
~
upressivo
"
Klavier.
I'v.
II;~
IF if
~
..
.
4J
--
no
~
r~
~
;;;-;-...,..
--..
una corda
/
"
~
r--:?'
r--:?'
~
"\
'I.T"1
J
Sei ge • seg.net 1nun". Ud.
•
Be • 1Ie. det • to sin .7 gio ... lIo,c'{tllcse,e 1'an. no,
~-
-----
"
.;
P
1
dolce
...
'f!.!!:!.ss'illo
-
-~- ~~-
~~ ~
~
sempre
-.;'
-.;'
~
~
,...--...,
... ...
• •
7Jt'
~
~
duhoLder
t! fa sta.
--
~
~
...'
Ex
,
:c:: ~
Bars
.
1-11
Division/
Procedure
c::!t·····L·.·.·.··~.
'····.r.···.·.·;;·.l)\
62-68 69-77
48-61
24-35
Introduction
antecedent
theme 1
(ana theme)
consequent
antecedent
theme 1
consequent
(begins with
theme !)
Independent
phrase
moUvesa&b
A
B
A'
B'
I.;i~·i~~i
~l
~V! V7
I
V7
~II
I
~
~
III
ii·20~U:~
. . <.•.•.....•.••..•...•.••••.•...••
Form
36-47 . . . . .
12-23
<f
47/d
rison; 47/c
ructural
e 3:
53
SONNE~S
LISZT'S PETRARCH
J
vi Iv bn bvn V Iv
I~
repetition
antecedent consequent of 69-77
A'
I V! V
C#9
7
codetta
moUve b
and
fragement
of theme 1
C
C
bIll
1iiv'----i'
#IV
' . 14 Vt9
~
#IV
V7
~ I!.. V 7
bV! V7
II~
bVi
III V 7 1
partm
part II
part I
.. /'.•
85-95
78-84
....
Harmonic Outline
0:
........... #--- 2
f
J
Bars
ffi
62
36
~
21-32
...........
../'--
-
nb
33-40
41-61
62-79
80-92
repetition
of41-61
codetta
C
Introductory
material
reworked
Division,···
Procedure
Introduction
antecedent
theme 1
(alia theme)
consequent
antecedent
theme 1
consequen
melody
derived from
motive X
Design
Independent
phrase
motlveX
A
B
A'
C
6 \ ·..
Tonal
Structure • •·
"
V7
I
V7
I
~
III
V7 I
~
III
.
vII' 7
/V 7
I
6
III 4
6
V4
IV!
~
'----v--'
#11
vII
""'"
So-
1 "",. ~~t:
(b 0
.....
E
G
9-20
1-8
0
r
I
cr o7
I
cr o7
V
V
7
~V4 ~I~
bV!
2
bVi
~
bIll
WI
~V!
•••••••
..
Form
part II
part I
i
partm
---
Harmonic Outline
9
g:
21
~
b'5:dto
41
.--
x:
f
brackets indicate third relattons
33
E
(b 0
!
--------• :! ~.
t-
----
--...:
Sonb
I
54
I~IDIANA
THEORY REVIEW
contour alteration
to t
aria
of 47/d closely
binds this melody to its introduction.
Liszt achieves
musical cohesion through linka e t
ique, described by
Oswald Jonas as a new phrase
es "as its initial
idea the end of the i
iately preceding one and then
continues ind
1y, eiiher with the same
rmal unit or
to initiate a new section."
For example. mm. 39-40 serve as a link bet\'leen sections I
and are a continuation of the end of the phrase ending in m.
38.
This link anticipates the melodic ideas of the
following phrase.
The primary melodic material for t
second half of the song, beginning in m. 41, is but a slight
reworking of the stepwise prototype.
The relationship
between the prototype
descent from Ab4 (in m. 41) to
Eb4 (in m. 43) is obvious.
The fourth descent recurs
in
mrn. 55-57, from C1~5 to G#4. A related forrn of the prototype
is found in mm. 47-53, and again in mm. 69-74, with the
descending figure in the bass,
i
moves
omatically
down from Gb to Ci.
Here, the chromatic descent cloaks the
fu
amental descent of the fourth, from Gb to Db, or the
enharmonic C#.
The ubi
quality of the descending fourth prototype
casts a monothematiclight over
47/d version, in contrast
to 47/c,
t r
several distinct ideas into relief.
TONAL A1VlBIGUI'rY:,
In 47/c tonal regions were consistenly set up via the
Ge rman six th/dominant prog ress ion! and though occas ionally
deceptively resolving this progression, Liszt fully prepared
the listener for a new tonality. 47/d, however, eschews the
German sixth/dominant prototype,
inst
weakens
clarity in several ways at seve
structural levels.
At a
surface level Liszt weakens tonal direction ny 1) the use of
inversions at critical key-defining j
res, and 2) the
suppression of the dominant function throughout the work.
These two procedures are illustrated in mm. 29-34.
In mm. 27-28, the listener: assumes an e
r tonality.
At m. 29, the mediant G major s -four tri
still implies e
minor.
However, m. 30, with its c minor sixth triad,
efficiently erases e
nor.
Mm. 31 and 32, with respective
Ab major and C# minor triads, further dest
ilize tonal
centricity.
The entrance of the aria theme in m. 33,
following on the heels of the C# minor triad, is therefore
prepared not with a dominant, as in 47/c, but rather with a
common tone-modulat ion.
The tonic (E maj or) is finally
confirmed in m. 34.
The codetta also exemplifies the ambiguous tonal language
brought about by these procedures.
In mm. 78-79 the tonic
six-four chord is non-functional.
No dominant resolution
40swald Jonas, Introduction To The Theory of Heinrich
Schenker, translated and edi
by John Rothgeb (Nerrl York:
Longman, 1982): 7-8.
LISZT'S PETRARCH SONNETS
55
llov;s.
Inst
, a sense of closure is
by means
of a bass a
iation of the s
om
(mm. 83-85),
i
moves to the tonic.
From m. 86 to the final measure, a
tonic pedal, over primarily tonic and flatted subrnediant
triads, provide a tran
il e
i
Conspicuously
ent
from this entire f
section is
form of the
Anot er procedure employed in this work which
significantly effects tonal clarity,
i
ly,
provi
a sense of
rence, is
ation of
rmonic
classes.
ta,
t
root of t
tonic
tonic and the
iant,
icltly
illustrates
Another nstance
of this Db/C=1F
In m. 74, t
Cit
t
ass is
trans rr
to an
inner voice.
relations
the G#4
4 in t
At a
e
dual ty of lib,S of
major,
G#j 3 of E
major, creates a long-range c nnection between t
e two
tonal centers, and hel s bring about
tonal coherence.
Examples 60.
s
leg
gr
sketches
of 47/d.
rtance of
Ab/G# pit
class is event
in t
t
line.
Thr
t
various structural
leve
47/d, enharmonic equ
functions as a major
compositi
process.
Havi
discuss
contrasts
tween 47/c
d,
I
11
now' exam ne their similarities.
After the intr uctory
material of
h works, with the arrival of t
tonic, t
fundamental voicel
i
melodic material is simi
to ffi. 27 in 47/c
m. 5 in 47/d. At
s point, the works
dramatically diverge, with their next tonal goals far
removed from one another.
The voicel
ing similarities
ruptly
.
Yet I if t
G major epi
e (ms. 28-61) is
excised from 47/c, a striking correspondence to the
middl eg r ou
of 4: 7/ d sur
s.
rison of examples
6a s
, beginn
69 of 47/c, and m. 41 of
47/d, the
leground structures are essentially the
despite differences in registral placement of i
structur
tones
different me
1
Also,
es
to the foreground,
ifically
s stitution of
65-1 prototype for the linear desce
ing prot type,
sli
ly differentiate the mi
of
work.
In 47/c, the tonal rnovement to G major, #4, is
su rising, for there are no pre
ents
i
hint at
choice for a secondary, yet significant, tonal goal.
Further, Liszt
not explo
t
s #4 relationship in any
r
ring the piece. However, t
G major
is
keeping
th t
improvisatory aspect of
intr
ctian,
ightens tonal tens ion.
It is as if Lis zt IS creative
fancy inexorably 1
h
to
s
tination,
,
ng
reached a point farthest removed from tonic, this same
creativity jau
slowly b
In contrast,
7/d seems more conce
with long range
G major, a
By
choosi
E major rather
t
un!
by
of
stronger
1 connect ion
th the tonic is
VI
0'\
A.
6
ft
~I~~+-~~
l
I
I
P"~-Ji
-----~
f
I
23
12
I
•
A~J-
I
38 44
48
~, ~&+-.J ....
•
S3 63
.~
... T f
b6 -5
-#-
r +&-r
b6---5
~r
b6--------5
r
L
l.. ~
75
I
78
83
93
I
I
I
-+b6-----------5
* * * *
*----------------------------*-------*
1:3.
63
86
93
v
#IV
b6-----5
b6-5
*-------* *
ASTERISKS INDICATE SYMMETRICAL DIVISION VIA MAJOR THIRDS
38
69
.~ --~~/
vi
'r
34
bill
Example 5:
Harmonic Reduction, 47c
b6---5
b6-5
*------* *
*-------*
~
A.
MM
8
";:::::7""~
'---------
29
18
--~r---:-'-L-~::-
33
41
50
53
57
62
71
74
78
86
'-..:!Y
~~rl-.
\
•
w.4
L..
,
.I
I
•
BRACKETS INDICATE DESCENDING FOURTH LINES
B.
33
78
U1
---.]
Example 6:
Harmonic Reduction, 47/d
58
INDIANA THEORY REVIEW
the common tone Ab/G#.
As has been shown, enharmonicism
creates tonal ambiguity, and it is integrated into the
work1s structure at other structural levels.
Perhaps this
concern for tonal coherence through enharmonic means was a
factor in Liszt1s decision to delete the G major episode
from 47/d.
SUMMARY
The preceding analysis has compared and contrasted the
melodic, harmonic, and formal aspects of Liszt's final
settings of Sonnet 47.
The two versions are much like a
character in an opera who, though in disguise, is obviously
the same. While 47/c remains the most popular version, 47/d
possesses a more streamlined and focused tonal structure.
At the same time, the harmonic language of 47/d is more
ambiguous.
Another feature which distinguishes 47/d is its
monothematicism and the use of linkage technique. A similar
analytic comparison of tonal relationships and motivic
interplay between Sonnets l04/c and d and l23/c and d reveal
dramatic compositional links and, conversely, marked
contrasts.
Liszt's compositional growth compelled him to review and
rework his youthful settings, and subsequently, his mature
settings.
For Liszt, whose revisions were logical sequels
to his unfailing search for the perfect union of literary
and musical art, the Petrarch sonnets posed a persistent
problem.
Consequently, we may enjoy the romantic spirit
exemplified in them.
LISZT'S PE'rRARCH SONNETS
A: Petrar
1
59
Sonnetto 47
SONETTO XLVII
Benedetto sia '/ giorno, e 'f mese, e I'anno,
E la stagione, e '/ tempo, e tora, e 'I pun
E 'I bel paese, e 'I loco, ov'io fu giunto
Da duo begli ocelli, clle legato m'hanno.
E benedelto if primo dolce affanno,
Cll'i' ebbi ad esser con amor congiunto;
E tareo e Ie saette ond'io fu punto;
E Ie piaghe, ch'infin al cor mi vanno.
Benedette Ie voci tante, ch'io,
Chiamando il nome di mia Donna , ho sparte',
E i sospiri, e Ie lagrime, e 'I desio;
E benedette sim tutte Ie carte
01./io fama Ie acquisto,. e 'I pensier mio,
Ch'?: sol di lei, St, cll'altra non v'ha parte.
SONNET XLVII
BLEST be the year, the month, the hour, the day,
The season and the time, the point of space,
And blest the beauteous country and the place
W here first of two bright eyes I felt the sway:
Blest the sweet pain of which I was the prey,
When newly doomed Love's sovereign law to embrace,
And blest the bow and shaft to which I trace
The wound that to my inmost breast found way:
Blest be the ceaseless accents of my tongue,
Unwearied breathing my loved lady's name:
Blest my fond wishes, sighs, and tears, and pains:
Blest be the lays in which her praise I sung,
That on all sides acquired to her fair fame;
And blest my thoughts! for o'er them all she reigns.
DACRE
60
REVIE~'17
INDIANA THEORY
B: Score .. 47/c
aueen t a t 0
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61
LISZT'S PETRARCH SONNETS
B
Score, 4
c (
A
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28
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---
I
INDIANA THEORY REVIEW
62
B
Score, 47/c (cont.)
8"-R
8----·····-----·
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63
LISZT'S PETRARCH SONNETS
B: Score, 47/c (cont.)
Append
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64
INDIANA THEORY REVIEW
Appendix B: Score, 47/c (cont
..
~
43I
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f.
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LISZT'S PETRARCH SONNETS
65
C: Score, 47/d
Franz Liszt.
(Spiitere F:Jssung. veri-;[fenUioht 1883.)
Andante un poco mosso
A
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e
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LISZTiS PETRARCH SONNETS
c:
Score, 4
67
(cont
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[email protected]
,,45
Zei _ len, durch die
ov'
io
fa.
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53
ja,
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si
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rr
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iJu:::::.
f,d _
4 ___-::::----...
sempre legato
1
-----
mein
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~
J ~r
k
INDIANA THEORY REVIEW
68
Appendix C: Score, 47/d (cont.)
>-
"
lu
73
sie
sol
al
di
u
J
:
,,~~i
i
un poco rzfenuto
lein,
ja,
w"r noch sollt' es
tei •
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c!z.!ai_Ira non v'hn
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si
wer noch sollf es tei • len!
ch' a/. 1m '1011 v' ha par. Ie.
---
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r
r
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tt
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lu 86
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u
un poco rnllellt
:
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be _
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