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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Chapter Six
The Verbunkos Idiom in the Music of the Future
Example 6.1. Präludium und Fuge über den Namen B–A–C–H (1855
version), mm. 1–8
Example 6.2. “La Notte,” mm. 55–62. The text indicating the
verbunkos cadence is my addition.
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.3. From Beethoven’s Piano Sonata in A Major, Op. 26,
Marcia funebre (third movement): select bars represent the main
harmonic progression of the first period (mm. 1–20)
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.4. Harmonic reduction of “Il penseroso,” mm. 1–22
(main frame). Specific events are quoted in full in the outer
frames.
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.5. “La Notte”: (a) mm. 98–105, phrase repeats and a
few details from the piano score omitted; followed by (b) mm.
106–11, quoted in full
Example 6.6. “La Notte,” mm. 150–54
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.7. “La Notte”: common tones between G and F major in
mm. 150–51
Example 6.8. Missa solemnis, Credo, opening bars (reduction)
Example 6.9. Harmonic progression in the Missa solemnis, Credo,
mm. 113–70
Example 6.10. Missa solemnis, Kyrie, mm. 1–8 (reduction)
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.11. Missa solemnis, Kyrie, mm. 25–36 (orchestration
and phrase repetitions reduced) and harmonic progression in mm.
37–50
Example 6.12. (a) Chopin, Scherzo No. 1, Op. 20, mm. 9–16; (b)
Liszt, Scherzo und Marsch, mm. 1–8
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.13. “Terror” motive from the Scherzo und Marsch: (a)
m. 44; (b) m. 77, repeated in m. 83
Example 6.14. Totentanz, mm. 1–6 (reduction)
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.15. Totentanz, beginning of fifth variation, mm.
183–92
Example 6.16. Totentanz, beginning of first variation, mm. 51–55
(reduction)
Example 6.17. Totentanz, mm. 41–50
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.18. Totentanz, mm. 325–40 (reduction; repeat in mm.
337–40 omitted)
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.20. Mephisto Waltz No. 1: rhythmic pattern and
hypermeter in the opening bars
Example 6.19. (a) Totentanz, part of the cadenza at m. 590. The
basic chord and scale of each of the two phrases is represented in
(b) and (c) respectively
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.21. Mephisto Waltz No. 1, main themes: (a) Mephisto
theme; (b) amoroso theme, comprising of four phrases (m. 339ff;
given in simplified rhythm an texture); (c) scherzando theme
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.22. Mephisto Waltz No. 1, mm. 644–904 (harmonic
reduction of final part)
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Liszt’s Transcultural Modernism and the Hungarian-Gypsy
Tradition © 2011 Shay Loya
Example 6.23. Mephisto Waltz No. 1, kalindra in mm. 887–904
