Programme . ll to remembrance the good that they did not remorseful and penitent looking-back and the hope in the futureinspired Liszt, according to his commentator, Richard Pohl, to a fuguebased on a most complicated theme. After this fugue the gentlePrayer and Repentance melodies are heard. Harp chords estab-lish the rhythm of the Magnificat * (three flutes ascending in chords ofE-flat). This motive goes through sundry modulations. And now anunseen chorus of women, accompanied by harmonium, sings, Mag-nificat anima mea Dominum et exultavit spiritus meus, in Deo salutarimeo (M
Programme . ll to remembrance the good that they did not remorseful and penitent looking-back and the hope in the futureinspired Liszt, according to his commentator, Richard Pohl, to a fuguebased on a most complicated theme. After this fugue the gentlePrayer and Repentance melodies are heard. Harp chords estab-lish the rhythm of the Magnificat * (three flutes ascending in chords ofE-flat). This motive goes through sundry modulations. And now anunseen chorus of women, accompanied by harmonium, sings, Mag-nificat anima mea Dominum et exultavit spiritus meus, in Deo salutarimeo (My soul doth magnify the Lord, and my spirit hath rejoicedin God my Saviour). A solo voice, that of the Mater gloriosa, repeatsthe song. A short choral passage leads to Hosanna, Halleluja. The * The theme of the Magnificat is derived from the intonation of the Gregorian choral in the form of thesecond church tone, and was employed by Liszt in his Hunnenschlacht, Graner Mass, Legende vonder heiligen DANCING DRESSES A SPECIALTY717 BOYLSTON STREET TELEPHONE. 5818 BOSTON 1458 final harmonies are supposed to illustrate the passage in the twenty-first canto of the Paradiso:— I saw reard up,In color like to sun-illumined gold,A ladder, which my ken pursued in vain,So lofty was the summit; down whose stepsI saw the splendors in such multitudeDescending, every light in heaven, methought,Was shed thence. The Hosanna is again heard, and the symphony ends in soft har-monies (B major) with the first Magnificat theme. * * * Liszt wrote to Wagner, June 2, 1855: Then you are reading Dante?He is excellent company for you. I, on my part, shall furnish a kindof commentary to his work. For a long time I had in my head a Dantesymphony, and in the course of this year it is to be finished. Thereare to be three movements, Hell, Purgatory, and Paradise, the twofirst purely instrumental, the last with chorus. Wagner wrote in reply a long letter from London: That Hell and Purgatory will
Size: 2861px × 873px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
