The Male Chorus Music of Franz

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.73-13,536
FUDGE, James.Thompson, 1925-
THE.MALE CHORUS MUSIC OF FRANZ.LISZT..
The University of Iowa, Ph.D., 1972

Music
University Microfilms, A XEROX Company, Ann Arbor, Michigan |
© 1973
James Thompson Fudge
ALL RIGHTS RESERVED
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED.

THE MALE CHORUS MUSIC
OP
\ PRANZ LISZT
\
by
James Thompson Pudge
A t h e s i s su b m itted i n p a r t i a l f u l f i l l m e n t o f th e
r e q u ir e m e n ts f o r th e d e g r e e o f D octor o f P h ilo so p h y
in th e S ch o o l o f M usic in th e G raduate C o lle g e
o f The U n iv e r s it y o f Iowa
Decem ber, 1972
T h e s is s u p e r v is o r : A s s is t a n t P r o fe s s o r R ich ard J . B lo e sc h
PLEASE NOTE:
Some pages may have
in d istin ct print.
Fil med as r e c e i v e d .
U niversity Microfilm s, A Xerox Edu cat i on Company
Graduate C o lla g e
The U n iv e r s it y o f Iowa
Iowa C ity , Iowa
CERTIFICATE OF APPROVAL
PH.D. THESIS
T h is i s t o c e r t i f y th a t th e Ph.D. t h e s i s o f
JAMES THOMPSON FUDGE
h as been approved by th e Exam ining Committee

f o r th e t h e s i s req u irem en t f o r t h e d egree o f
D octor o f P h ilo so p h y in th e S ch ool o f Music
a t th e December, 1972, g r a d u a tio n .
T h e sis Committee: >J\jOLAJL

______________
l e s i s s u p e r v iso r
Member
Mem
^
fember
ACKNOWLEDGMENTS
At th e c u lm in a tio n o f my stu d y a t The U n iv e r s it y o f

Iowa I would e s p e c i a l l y l i k e t o thank th e s u p e r v is o r o f
t h i s th e s i s , Dr. R ichard J„ B lo e s c h , f o r h i s a s t u t e and
c h e e r fu l g u id a n c e , as w e l l a s f o r h i s t a l e n t e d le a d e r s h ip
i n th e c la s sr o o m . S e c o n d ly , I c o n f e s s a profoun d dep th o f
g r a tit u d e t o D r s. W alter A tch erso n , F r e d e r ic k C rane, Fred
F e h lin g , Eugene Helm, D a n ie l Moe, P r o fe s s o r H erald S ta r k ,
and Dr. Marvin T h o sten so n f o r t h e i r e x p e r t i n s t r u c t i o n

and c o u n s e l in th e c la ssr o o m , s t u d io , and on th e podium.
L a s t ly , I e x te n d ray a p p r e c ia tio n t o M argaret M. K ie s e l
f o r h e r a id in th e f i n a l e d i t i n g o f t h i s t h e s i s , and t o
L a ird C. A d d is, S r ., f o r h i s e x p e r t is e i n ty p in g th e f i n a l
copy.
ii
TABLE OP CONTENTS
Chapter
LIST OP EXAMPLES ..................................................................
INTRODUCTION ...........................................................................
I THE GERMAN MALE CHORUS MOVEMENT .............................
P o l i t i c a l Background o f Germany:
1800-1871 ..............................................................
The Male Chorus Movement in N in e te e n th -
C entury Germany ...............................................
F r e u n d e sk r e is .........................................................
L ie d e r ta fe l , . .............................. . . . .
MHnnerchor . . . . ...............................................
D evelopm ent and C u lm in ation ........................
A L i e d e r t a f e l f e s t a t C ologn e, I 8J4.6 . . .
II MALE CHORUS LITERATURE: 181*0-181*9..........................

.*
C o m m e n ta r y ...................................... ................................
The M usic ...........................................................................
Das d e u tsc h e V a te rla n d ......................................
T rin k sp ru ch Q u artet ..........................................
Le P orgeron and A r b e ite r c h o r ........................
R h e ln w e in lle d .........................................................
S t u d e n t e n l i e d .........................................................
R e i t e r l i e d —Two V e r sio n s .................................
L ic h t mehr L ich t ....................................................
I ll MALE CHORUS LITERATURE: 1850 -1 8 6 1
Commentary .......................................................................
The M usic ...........................................................................
P a ter n o s t e r .............................................................
P e s tc h o r .......................................................................
Prom etheus Choruses ...........................................
Domine salvum f a c regem— two v e r s io n s
Te Deum I I ..................................................................
ill
TABLE OP CONTENTS ( c o n t ’ d . )
C hapter Page
S c h lu s s c h o r o f F a u st S ym p h on y............................. 135
Weimar V o l k s l i e d ..........................................................138
The P e s t g e s a n g .............................................................. 11*2
Ftir M & n n e r g e s a n g ..........................................................11*5
V e r e i n s l i e d ........................................................................11*5
S t& n d c h e n ............................................................................ 11*9
O ther C om p osition s from Fttr M finnergesang. 152
IV AN DIE KUNSTLER............................................................................ 160
C om m entary................................................................................. 160
The M u s i c ................................................................................. 161*
V MALE CHORUS LITERATURE: THE SMALL SACRED
WORKS, 1 8 6 0 -1 8 8 5 ................................................ 190
C om m entary................................................................................. 190
Sacred Chorus Music ............................................... 193
The M usic ..........................................................207
C a n tic o d e l s o l d i San F ra n cesco
d ’ A s s i s i and An den h e i l i g e n
F r a n z isk u s von P a u l a ............................ 207
Pour Sm all S acred Works (1 8 6 3 -6 5 ) . . . . 211
C om p osition from th e N in e and Twelve
C hurch-Choir Songs ..............................215
Sm all S a cred Works ( l o 6 0 - 6 5 ) ........................ 221
VI MASS FOR POUR-VO ICE MALE CHORUS AND ORGAN . . . 232
C om m en tary............................................ ................................. 232

The M u s i c ................................................................................. 21*2
K yrie and G l o r i a ..........................................................21*8
Credo . ............................................................................ 251*
S a n c t u s ............................................... 257
Agnus D e l ............................................................................ 259
iv
TABLE OP CONTENTS ( c o n t ' d . )
Chapter
V II REQUIEM FOR MALE VOICES AND ORGAN........................ 261+
C om m entary....................................................................... 261+
The M u s i c ............................ 272
Requiem a e t e r n a m ............................................... 279
D ie s I r a e .................................................................. 280
O f f e r t o r i u m ............................................................. 286
S a n ctu s and P o st E l e v a t i o n e m ................... 286
Agnus D e i .................................................................. 288
L ib era m e .................................................................. 288
V III MISCELLANEOUS SECULAR CHORAL WORKS FOR
MALE V O I C E S ............................................................. 291
C om m entary....................................................................... 291
The M u s i c ....................................................................... 297
Les M o r t s .................................................................. 297
Gaudeamus i g i t u r .......... .......................................... 303
C arl A ugust we l i t m it uns and Gruss . . 307
Das L ied der B e g e i s t e r u n g ........................... 308
IX THE MALE CHORUS P SA L M S............................................... 3H
Commentary and M u s i c ................................ 311

Psalm X V I I I ............................................................. 311
Psalm X X I I I ............................................................. 316
Psalm CXXIX............................................................. 318
CONCLUSION............................................................................ 326
APPENDIX A - REMARKS ON FOUR MALE CHORUS
W ORKS............................................................................ 332
APPENDIX B - SCORES OF FOUR MALE CHORUS
W ORKS............................................................................ 3£ o
BIBLIOGRAPHY....................................................................... 1+03
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
LIST OF EXAMPLES
E xam ple Page
1. Das D eutsche V aterland

a . Meas. 1 -3 ................................................ 52
b ., Meas. 11-13 ................................................... 52
2. Das D eutsch e V a terla n d , Meas. 60-61; . . . . 52
3. T rin kspruch Q u a rtet, Meas. 1 -3 ........................ 5k

k. T rin kspruch Q u a r tet, Meas. 12l;-126 . . . . 5k
5. Trinkspruch Q uartet
a . Meas. 3 2 -3 3 ............................................ 55
b. Meas. 1 0 1 + -1 0 9 ........................................ 55
6. Le Forgeron
a. Meas. 28-2 9 ............................................ 56
b. Meas. 1;3-1+1+............................ ... 56
7. A r b e ite r c h o r
a . / Meas. 7 - 9 .................................... 56
b . Meas. 1 9 -2 0 ............................................ 56
8. A r b e ite r c h o r , Meas. 1 -3 *......................................... 57
9. Le F o rgeron , Meas. 28-29 ...................................... 57
10. Le F orgeron, Meas. 120-122 ................................. 58
11. Le F orgeron, Meas. 270-275 ............................. • 60
12. Le F orgeron , Meas. 177-182 ................................. 60
13. Le F orgeron, Meas. 196-198 ................................. 61
Ik. A r b e ite r c h o r , Meas. Ij-U—

U6 ..................................... 62
15. A r b e ite r c h o r , Meas. 156-162 ................................. 62
16. A r b e ite r c h o r ................................................................. 63
vi
LIST OF EXAMPLES ( c o n t ' d . )
Example Page
17. Lyon, Meas. 10 -1 3 ............................................................... 65

18. Mazeppa, Meas. I4.6 jp-lj.7 i ...................................................... 65
19. R h e ln w e in lle d
a. Meas. 1 - 3 .................................................................... 66
b. Meas. 5 2 - 5 ^ ............................................................... 67
20. R h e in w e ln lle d
a. M e a s . II4.— ......................................................................... 6 7
b. Meas. 9 3 - 9 5 ............................................................... 67
21. R h e in w e ln lle d , Meas. 90-91 ...................................... 68
22. R h e in w e ln lle d , Meas. 1 0 1 4 - 1 0 7 .........................................69

23- R h e in w e ln lle d , Meas. 1 0 9 - l l l j - ........................................ 69
2 I4.. S t u d e n t e n lle d
a. Meas. 1 - 2 ....................................................................70
b. Meas. 1 0 8 - 1 1 2 ...........................................................70
2^* S t u d e n t e n l l e d , Meas. k3~h-S ■ • ........................................ 70

26. R e lt e r lle d ( f i r s t v ersio n )
a. Meas. 6 - 9 .................................................................... 71
b. Meas. 3 1 - 3 3 ............................................................... 71
27. R e l t e r l l e d ( f i r s t v e r s i o n ) , Meas. 1 -2 . . . . 72
28. R e l t e r l l e d ( f i r s t v e r s i o n ) , Meas. 5 1 -5 5 . . . 72
29. R e lte r lle d

a. ( F i r s t v e r s i o n ) , Meas. llj-1 9 . . . . 73
b. (Second v e r s i o n ) , Meas. 9-114 . . . . Tfy
30. R e lte r lle d (seco n d v e r s i o n ) , Meas. 8 2 -8 6 . . 7U
31. R e lte r lle d (se c o n d v e r s i o n ) , Meas. 3 3 -3 6 . . 76
32. R e lte r lle d (se c o n d v e r s i o n ) , Meas. I4I-I 4.8 . . 77
v ii
LIST OP EXAMPLES ( c o n t ' d . )
Example Page
33. L ic h t mehr L i c h t , Meas. 1 - 1 + .............................................79

3k• L ic h t mehr L i c h t , Meas. 21 -2 8 . . ..............................79
35. L ic h t mehr L i c h t , Meas. 9 3 -9 8 ................................ 80
38. L ic h t mehr L i c h t , Meas. 1 13-117 .............................. 81
37. P a ter n o s t e r I I
(T. Meas. 9 - 1 0 ............................................................ 10i+
b . Meas. 5 1 - 5 3 .........................................................102+
38. P a ter n o s t e r I I , Meas. 1+3-1+ 6 ........................... • 105
39. F e s t c h o r , Meas. 2 3 -2 6 ..................................................... 106
1+0. F e s t c h o r , Meas. 125 -128 ................................................ 106
l+l. F e s t c h o r , Meas. J+O-I4 . 8 ........................................................ 107

1+2. Ocean P e o p l e , Meas. 1 0 7 - 1 1 2 ..........................................109
1+3. Ocean P eop le ( c l a r i n e t s andf l u t e s ) ,
Meas. 3 6 -3 7 .................................................................. 109
1+1+. T r i t o n s , Meas. 5 1 -5 2 110
1+5. T r i t o n s , Meas. 11+1+-11+6................................................... 110
1+6. D ryads, Meas. 6 1 - 6 3 ............................................................. I l l
1+7- H a r v e s t e r ' s C horus, Meas. 3 3 -3 6 ............................. 112
1+8. The Vine Growers, Meas. 6 2 -6 9 .................................. 112

1+9. The S u b te r r a n e a n s, Meas. 6 2 -6 9 113
50. The I n v i s i b l e - O n e 3 , Meas. 1 .......................................... lll+
51. The M uses, Meas. 1 + 8 - 5 0 ................................................... 115
52. Ocean P e o p le , Meas. 1 - 2 ................................................... 115
v iii
E xam ple Page
53* The D ryads, Meas. 1 - 3 ........................................................... H 6

51;. The I n v i s i b l e - O n e s , Meas. 1 - 2 ...................................11 6
55* The V in e-G row ers, Meas. 7 5 - 7 6 ........................................ 117
56. The I n v l s i b l e - O n e s , Meas. 72-7U ............................... 117
57- The T r it o n s and the Vine-Growers
a. Meas. 1 1 0 .................................................................... 118
b. Meas. 1 .........................................................................118
^8 . The H a r v e s t e r s , Meas. 271-27U ................................... 118
59. The V ine-G row er 3 , Meas. 5 - 6 ............................................. 119
60. The V in e-G ro w ers, Meas. 102-101; . ............................... 120
61. The I n v i s i b l e - O n e s , Meas. 6 6 -6 9 .............................. 120
62. The S u b te r r a n e a n s, Meas. 16 -2 2 122
63. Domlne salvum f a c regem ( f i r s t v e r s i o n ) ,

Meas. 1+9 —^1 i • . • . . . . . ' ..............................123
61;. Domine salvum f a c regem (se c o n d v e r s i o n ) ,
Meas. 1;9-51 . . T ..................................................... 12b
65. Domine salvum fa c regem ( f i r s t v e r s i o n ) ,
Meas. 1-1; . . 125
66. Domine salvum f a c regem ( f i r s t v e r s i o n )
a. Meas. 8 - 9 ....................................................................125
b. Meas. 2 5 - 2 6 ............................................................... 126
67. Domine salvum f a c regem ( f i r s t v e r s i o n ) ,
Me’a's. 8 3 - T J 6 ........................................................................ 127
68. Domine salvum fa c regem ( f i r s t v e r s i o n ) ,
Meas. l; 6 - 5 l T~................................................................... 128
ix
E xam ple Page
69. Te Deum i n t o n a t i o n ......................................................... 130
7 0. Te Deum I I , Meas. 1 -7 ............................................... 130
71. Te Deum I I , Meas. 238-21*6 ...................................... 131
72. Te Deum I I , Meas. 255-259 ...................................... 132
7 3. Te Deum I I , Meas. 288-2 89 ...................................... 132
71*. Te Deum I I , Meas. l * l * - 5 l ........................................... 133
75. Te Deum I I , Meas. 13U-137 ...................................... 13k
76. Te Deum I I , Meas. 1 1 * 6 - 1 5 2 ...................................... 13k
77. P aust Symphony (S c h lu ssc h o r ), Meas. 1 8 -2 2 . . 137
78. P aust Symphony (S c h lu ssc h o r ), Meas. 96 . . . 137
79. Weimar V o l k s l i e d
a . Meas. l 2 - li* ( f i r s t v e r s e ) ................... 139
b. Meas. 1*2-1*1* (seco n d v e r s e ) ................... 139
80. Weimar V o l k s l ie d
a . Meas. 9 6 -9 8 (fo u r th v e r s e ) . . . . . 139
b. Meas. 6 5 -6 7 .................................................... 11*0
81. Weimar V o l k s l i e d
a . Meas. ?9-80 ( f o u r t h v e r s e ) ................... 11*1
b. Meas, 138-11*3 ( f i f t h v e r s e ) . . . . ll *2
82. F e s tg e s a n g , Meas. 1 1 6 -1 2 7 ................................. * 11*1*

CO
V e r e i n s l i e d , Meas. 1*5-1*8 ........................................... il*5

p~\
•
81*. V erein slied

a. ( F i r s t v e r s e ) , Meas. 9 -1 7 ................... 11*7
b. (Second v e r s e ) , Meas. 66 -7 6 . . . . 11*8
CO
11*8
1-A
V e r e i n s l i e d , Meas. 1 -3 ............................. . . . .
Example Page
86. Stftndchen
iu [F ir st v e r s e ), Meas. 7 - 1 7 ...............................150
b. (Third v e r s e ) , Meas. 73-83 l5 l
87. Wir s in d n ic h t Mumien, Meas. 27-28 15>2
88. Wlr s in d n i c h t Mumien, Meas. 3 6 - 3 7 ..........................153

89. S o ld a te n lie d , Meas. 67-69 ............................................ 153
90. S o l d a t e n l i e d , Meas. 1 - 2 ......................................................154
91c S a aten grlin , Meas. 3 8 - 4 3 ...................................................... 155

92. G o tte s i s t der O r i e n t , Meas. 1 —
14. ................................. 157
93• G o tte s i s t der O rient

a~. Meas. 25 -2 7 ..................................................... 157
b. Meas. 3 5 - 3 7 ...............................................................158
94. An d ie K lin stler
a. l« 5 i|,, M
18^4 <
Meas
b. 11865, Meas 1 7 - 2 3 ................................................167
8 6 5 , Meas.

a . 18^1)., Meas
b. l86^, Meas

a . ItiSk* Meas
b. 1865, Meas

a. 1854, Meas
b . 1865, Meas

a . 1854, Meas
b. 1865, Meas

a. l 854, Meas
b. 1865, Meas
xi
LIST OP EXAMPLES ( c o n t ’ d . )
Exam ple
10 0 . An d i e K lin stler
r. rssi+; Meas.1 2 9 - 1 3 1 ....................... 175
b. 1865, Meas. III 4. - H 6 ............................................. 175
101. An d i e K lin stler

' a . 1851+ , Meas. 1 5 0 - 1 5 2 ........................................... 177
b. 1 865 , Meas. 1 3 5 -1 3 7 ........................................ 178
102. An d ie K lin stle r
r . r85S7TTeas. 177-1 80 ............................................. 179
b. 1 8 6 5 , Meas. 156-161 ........................................ 180
10 3 . An d i e K lin stler
a. 1 55 4, "Meas. 22l*-228 ........................................ 182
b. 1 8 6 5 , Meas. 1 9 8 -2 0 1 ........................................ 182
101*. An d i e K li n s t l e r ,1 865, Meas. 1 - 6 ................................... 181+
105* An d i e K l i n s t l e r , 1 865, Meas. 102-105 . . . . l8Lj.

1 06. An d i e K lin stler
aT 1 8 6 5 , Meas. 1 2 l * - 1 2 5 .............................................. 185
b . 1 8 6 5 , Meas. 1 8 0 - 1 8 1 * .............................................. 186
107* An d ie K l i n s t l e r , 1865, Meas. 220-221* . . . . 187

108. D ie I d e a l e , Meas. 1 6 0 -1 6 6 ................................................. 1 8 7
109. K iin stle r -F e stu n g
a . Meas. 1 0 -1 2 . ......................................................188
b. Meas. 1 1 8 - 1 2 1 . . . 189
110. C an tico d e l s o l d i San F r a n c e sc o d ' A s s i s i ,
Meas. 168-17 5 ............................ • • • 208
111. An den h e i l i g e n F r a n z isk u s von Paula
a"! Meas. 8 -1 0 ! ! ^ ! ! ! ! 7~..........................211
b . Meas. 1 * 7 - 5 2 ............................................................... 211
112. C h r lstu s i s t geboren
su ( F i r s t v e r s i o n ) , Meas. 8-13 ........................ 212
b. (Second v e r s i o n ) , Meas. 8-12 . . . . 213
xi i
L IST OF EXAMPLES ( c o n t ’ d . )
Example Page
113. S la v in o , s la v n o , S l a v e n i i , Meas. 3^-38 . . . . 2l[(.
111).. Ave m a ris S t e l l a , Meas. 2 l | - 2 9 .....................................216
ll^ . Mihi aatem adhaerere
aTi Meas. 1 8 - 2 1 ........................................................ 216
b . Meas. l * U - l j - 8 .........................................................217
116. M ihi autem a d h a e r e r e , Meas. 33 -37 ........................ 217
117. Anlma C h r i s t ! s a n c t l f i c a me
aT ( F i r s t v e r s i o n ) , Meas. UU-32 ................... 219
b. (Second v e r s i o n ) , Meas. 88-101). . . . . 220
118. Tantum e r g o , Meas. 1)1).-I) 7 .................................................221
119. Nun danket. a l l e G o t t , Meas. 5 3 -8 1 ........................ 222
120. P o e n l t e n t l o , Meas. 1 - 8 ......................................................22)4
1 21. P o e n l t e n t l o , Meas. 6 6 -8 2 ................................................. 225

1 22. In Extrema U n c t i o , Meas. 71+-79 ................................... 226
123. Matrimonlum, Meas. 50 -5 3 ................................................. 227

121).. Ossa a r i d a , Meas. 58 . . . ............................................ 228
125- 03 sa a r i d a , Meas. 1 - 1 7 ..................................................... 230

126. M anuscript A ( 1 8 1 ) 8 ) ......................................................... 21+3
127. M an u scrip ts B & C (1853 & 1 8 7 0 ) ............................. 2 I4.3

1 28. M anuscripts B & C
a~. MS B & C (1853 & 1 8 7 0 ) ................................... 21)1)
b. MS C ( r e s e t I 87 O ) ............................................ 21)1)
129. M anuscripts A & B (181)8 & 1 8 5 3 ) ............................. 2l)i)

130. M anuscript C ( 1 8 7 0 ) .......................................................... 21)1)
x iii
Example
131. M an u scrip ts A & B
a"! MS A (181*8) . .
b . MS B (1 8 5 3 ) • .
c . MS C (1 8 7 0 ) . .
132. M an u scrip ts A & B
a 7 ms ' t t t t b p ) . .
b . MS B (1 8 5 3 ) • •
c . MS C (1 8 7 0 ) . .
133- G lo r ia
a. In to n a tio n . .
b. Meas. 1-1}. . . .
13l}. G l o r i a , Meas. 6-7 . . .
13 5 . G l o r i a , Meas. 5U-£7 . .
136. G l o r i a , Meas. 9 2 -9 £ • .
137. G l o r i a , Meas. 1 6 2 -1 6 6 .
138. G l o r i a , Meas. 215-2 19 .
13 9. Credo, Meas. 1 3 0 -133 .
ll}0. C redo, Meas. 8 9 -1 0 0 . .
li|l. S a n c t u s , Meas. 58-81}.

ll} 2 . Agnus D e l , Meas. 1-1+
11} 3. Credo
a. In to n a tio n . .
b. Meas. l } l - 5 l . .
II4.I4. . Agnus D e l , Meas. 65-6 8
ll}5» Agnus D e i , Meas. 9 7 -1 0 7

ll} 6 . O ffe r to r iu m , Meas. 1 - 7
xi v
E xam ple Page
ll+7• D ie s I r a e , Meas. 121-1 26 .............................................. 277
llj.8 . L ib e r a me, Meas. 1 0 l ; - 1 0 5 .................................................278

llj.9. Requiem aetern am , Meas. 8 5 -9 2 280
1 50. D ie s Ir a e
a . Meas. 1 -2
b. Meas. 3 6 0 -3 6 1 ............................................... 281
1$1 • D ies I r a e , Meas. I l ; 5 - l 5 1 l- ................................................ 282

152. D ie s I r a e , Meas. 189-193 ................................................ 283
1^3. D ie s I r a e , Meas. 2 1 2 - 2 1 9 ................................................. 281;
l$ b - D ie s I r a e , Meas. i;26-l;32 .............................................. 285
155. O ff e r to r iu m , Meas. 50 -6 1 .......................................... 287
1 56. P ost E le v a tio n e m , Meas. 9 8 -10 0 .................................. 288

1 57. Agnus D e l , Meas. 5 0 -5 7 ..................................................... 289
1 58. L ib e r a me, Meas. 1 0 - 1 3 ..................................................... 289
159. Les M orts, Meas. 25-30 ................................................... 298

160. L es M o rts, Meas. 1 - 7 ..........................................................299
161. Les M o rts, Meas. 19-20 .................................................. 299
162. Les M orts, Meas. 23-28 .................................................. 300
163. Les M orts, Meas. 3 1 - 3 1 ; ..................................................... 300
161;. Lea M o r ts. Meas. 5 ^ - 6 0 .....................................................301

165. Les M o r ts, Meas. 9 9 -103 . .................................... 301
16 6 . Les M o rts, Meas. 1 1 8 - 1 1 9 ................................................ 302
xv
Example Page
167. Gaudeamus i g i t u r ...................................................................30l+

168 . Gaudeamus i g i t u r
iu Meas. 6 3 —61). ( f o r mixed ch o r u s) . . . 305
b. Meas. 63-61+ ( f o r male chorus) . . . 305
169. Gaudeamus i g i t u r , Meas. 11+3-11+1+............................. 306

170. G r u ss, Meas. 1 1 -1 5 ........................................................ 308
171. Das L ied der B e g e is t e r u n g ,Meas. 31-38 . . . 309

172. Das L ied der B e g e is te r u n g
al Meas. 12 ( 1 s t v e r s e ) . . , .......................... 309
b. Meas. 1 6 -1 7 (2nd v e r s e ) ...................... 309
c. Meas. 37-1+0 (3rd v e r s e ) ...................... 310
173. Psalm CXXIX, Meas. 1 - 9 .....................................................320
174. Psalm CXXIX, Meas. 3 1-38 .......................................... 320
175. Psalm CXXIX. Meas. 7 7 -8 3 ........................................... 320

176 . Psalm CXXIX. Meas. 1 8 2-18 6 ................................... 321
17 7. Das L ied der B e g e is te r u n g

iu Meas. 11 . I ! . ................................................. 3I+I
b. Meas. 1 3 ...................................................................3l+l
178 . Psalm CXXIX
£u (No. 1 ) , Meas. 3 7 -1 + 3 .......................................3l+5
b . (No. 2, p. 1 ) , Meas. 3 7 -1 + 1 ......................... 3 I+5
179. Psalm CXXIX
r. (No. 3 ) , Meas. 1 0 -1 1 + ....................................... 3i+6
b. (No. £+) , Meas. 1 0 - 1 1 + ....................................... 346
180. Psalm CXXIX
a~. (TJo. 3 ) , Meas. 1+3, 1+5, 51+-57 . . . . 31+6
b. (No. 1+), Meas. 1+3, 1+5, 51+-57 . . . . 31+6
181 . Psalm CXXIX
iu ttfo. 1 ) , Meas. 1 - 1 + ............................................31+7
b. (No. 3) . Meas. 1 ................................................ 31+7
xvl
1
INTRODUCTION
A c l e v e r man, some tw e n ty y e a r s ago, made th e

n ot u n a p p lic a b le remark to me: ’’You h a v e , i n
r e a l i t y , t h r e e i n d i v i d u a l s to d e a l w ith i n
y o u r s e l f , and t h e y a l l run one a g a i n s t th e
o th e r ; t h e s o c i a b l e s a l o n - i n d i v i d u a l , th e
v i r t u o s o , and t h e t h o u g h t f u l l y c r e a t i v e com
p o s e r . I f you manage one o f them p r o p e r ly , you
may c o n g r a t u l a t e y o u r s e l f . " Vedrem oll
—Pranz L i s z t
One c o u ld a l s o add to Pranz L i s z t ’ s a t t r i b u t e s c l e r i c ,
r o m a n tic is e r , p a tr o n , l i t e r a t o r , r e v o lu t io n a r y , t e a c h e r ,
a r i s t o c r a t , and h u m a n ita ria n . And com poser, c e r t a i n l y ,
a lth o u g h n o t alw ays a t h o u g h t f u lly c r e a t i v e o n e . The
c o n tr o v e r s y r e g a r d in g Pranz L is z t was a b la z e in the n in e

t e e n t h c e n tu r y and sm olders s t i l l . Y et th e r e are
among th e more th an 7&0 c o m p o sitio n s l i s t e d i n G rove1s
D ic tio n a r y o f M usic and M u sician s some p ie c e s o f r e a l m e r it .
The F au st Symphony, At th e Grave o f R ichard Wagner, A nnies
de P k le r ln a g e , Album d 'u n V oyageur, H u n n en sch lach t, and
some o f the t r a n s c r ip t io n s are known fo r t h e i r w orth , but
1. Pranz L i s z t , L e t t e r s o f Franz L i s z t , 2 v o l s . , ed.

La Mara, t r a n s . C onstance Bache (New York: H a sk e ll
H ouse, 1 9 6 8 ), V o l. I I , 6 1 . H e r e a fte r r e fe r r e d to in
fo o tn o te s as L e tte r s .
2
how o fte n are th e c h o r a l works en co u n tered ? A ty p ic a l

answer m ight b e , a c c o r d in g t o R obert C o l l e t , ”1 d id n ’ t know
«2
t h e r e were a n y .” Humphrey S e a r le , in G rove’ s D ic tio n a r y
o f Music and M u s ic ia n s , l i s t s n in e t y - t h r e e c h o r a l com p osi
t i o n s which su b d iv id e in t o o n e - th ir d f o r m ixed chorus and

t w o -th ir d s f o r male v o i c e s . (The o v e r b a la n c e o f m ale
lite r a tu r e i s , a3 P e te r Raabe e x p la in s , th e r e s u l t o f a
preponderance o f m ale c h o ir s in n in e t e e n t h - c e n t u r y Roman
C a th o lic c h u r c h e s, and, i t would seem, b e c a u se o f a
f l o u r is h i n g M&nnerchor t r a d i t i o n .
One o f th e e a r l i e s t s i g n i f i c a n t works i s th e
F e s tk a n ta te o f composed f o r th e d e d ic a t io n o f th e
B eeth oven Monument a t Bonn. L is z t had a lm o st sin g le h a n d e d -
l y r a is e d th e fu n d s needed f o r th e m em orial, and had been

asked t o p repare a work t o head a program o f B e eth o v en ’ s
m u sic . I t a l l to o k p la c e on August 13» 18^5» and C h arles

H a lle , th e n in e t e e n t h - c e n t u r y B r i t i s h p i a n i s t and s c h o la r ,
d e s c r ib e s th e e v e n t . He g i v e s us a t th e same tim e an
i n t e r e s t i n g p ic t u r e o f th e alw ays s o c ia lly - a w a r e L i s z t .
2. R obert C o l l e t , "Church and Organ M u s ic ,” Franz L i s z t :

The Man and H is M usic, e a . A lan Walker (New York:
T a p iin g e r , 1$7& ), 3 1 8 .
3. P e te r Raabe, L i s z t ’ s S c h a ffe n , 2 v o l s . ( B e r lin : J . G.
G o tta ls c h e BucW mndlung, 1931)» V o l. *32.
3
The r a t h e r l e n g t h y c a n t a t a was sc o r e d f o r m ixed v o i c e s and

o r c h e s t r a , and was t o b e g in th e program. The r o y a l f a m ily
had n o t a r r i v e d a s L i s z t proceeded w i t h t h e perform ance.
Hardly had i t c o n c lu d e d and we were p r e p a r in g

to e n jo y B e e th o v e n 's m u s ic , when t h e r o y a l t i e s
e n t e r e d t h e i r b o x , and L i s z t , t o our dism ay,
began t h e w h ole c a n t a t a o v e r a g a i n , i n f l i c t i n g
i t a second tim e upon t h e in n o c e n t a u d ie n c e ,
who, i n r e s p e c t f o r t h e crowned h e a d s , had to
endure, i t , thou gh p r o b a b ly n o t ' w i t h o u t grum-
b lin g .h
The seco n d s e c t i o n o f th e c a n ta t a in c lu d e s th e Adagio

from B e e th o v e n 's T r io in B - f l a t M ajor, Op. 9 7 . Two s e t t i n g s
o f about th e same v in t a g e are H er d e r's U nchained Prometheus
C horuses and S c h i l l e r ' s An d i e K lin s tle r . The Choruses
were composed to complem ent L i s z t ' s symphonic poem,
P rom etheus. They a re sc o r e d f o r v a r io u s c o m b in a tio n s o f
v o i c e s , and were o r c h e s t r a t e d by Joachim R a ff in l 8 £ 0 .
The f i r s t perform ance o ccu rred in Weimar under L i s z t on
August 2h , 185>0. An d ie K fin stler was composed in 1853

and r e v is e d i n l8 £ 6 . I t was s e t f o r m ale chorus and
o r c h e s t r a , and had numerous p erform an ces betw een 18^3
and 1 8 7 0 .
U. C. E. and Marie H alle7, e d s . , L i f e and L e t t e r s o f S i r

C h a rle s Halle'" (London: Sm ith, E ld e r and C o ., 1 8 9 6 ),
ES~. --------
h
On August 3 1 , 1856, M lssa S o lem n ls f o r t h e c o n s e c r a
t i o n o f th e c a th e d r a l a t Oran was f i r s t p erform ed . Known

a l s o as th e Gran F e s t i v a l Mass. i t c a l l s f o r a q u a r te t o f
s o l o i s t s , m ixed c h o r u s, and o r c h e s t r a . Ralph Woodward
d e s c r ib e s i t s r e c e p t io n .
The Emperor Pranz Joseph and many o f th e A rch

dukes came to Gran e s p e c i a l l y f o r th e f e s t i v i
t i e s , and th e p r o c e e d in g s ended in a banquet
f o r s i x t y g u e s t s a t w h ich th e h e a l t h o f L i s z t
was p rop osed in cerem on ial L a tin by th e Prim ate
h i m s e l f . The r e c e p tio n o f th e Mass was v a r ie d
upon t h i s o c c a s io n , as l a t e r ; th e Emperor d i s
l i k e d i t i n t e n s e l y w h ile i t met w ith th e P r im a te 's
c o r d ia l a p p r o v a l. But i t s freedom produced th e
e f f e c t o f d is o r d e r , and i t r e c e iv e d v i o l e n t
c r i t i c i s m , n o t o n ly f o r i t s s o - c a l l e d im it a t io n
o f Wagner, but f o r i t s harmonic a u d a c i t i e s . I t
seemed t h a t a su b seq u en t perform ance i n 1866 a t
S t . E u sta ch e r e s u lt e d in a s im ila r r e a c t i o n .
B e r lio z i s s a id t o have l e f t t h e perform ance^
e a r l y , c a l l i n g th e Mass a 'n e g a tio n o f a r t . ' - 5
E a r lie r B e r lio z and L is z t were on the b e s t o f te r m s.

In f a c t , L i s z t d e d ic a te d the F au st Symphony to B e r lio z in
185^» and, a t t h e same tim e , a ttem p ted t o em u late B eeth oven 's
C horal Symphony. He added a c h o r a l e n d in g to th e F au st
Symphony i n 18^7 and sco red i t f o r te n o r s o l o , male c h o r u s,

and o r c h e s t r a . The wisdom o f t h i s d e c i s i o n i s q u e s tio n e d
by A lfr e d E i n s t e i n , who f e e l s th e chorus " sen d s the
5. R alph Woodward, The Large Sacred C horal Works o f Franz

L i s z t (Ann Arbor! U n i v e r s i t y M ic r o f ilm s , 1 9 6 4 ) , 95>-96.
5
l i s t e n e r away w ith a r e c o n c ile d im p r e s sio n , but i t i s n o t

m u s ic a lly o r g a n ic w ith the r e s t o f the work." More c o
h e s i v e , he b e l i e v e s , i s th e c o n c lu s io n f o r soprano and
ch o ru s o f a l t o s from th e 18 5 5 -5 6 Dante Symphony. The work
i s d e d ic a te d t o R ichard Wagner, and a ls o c a l l s f o r an o f f -
g
s ta g e ch oru s o f c h i l d r e n ' s v o ic e s s in g in g th e M a g n if ic a t .
L i s z t ' s f i r s t o f th r e e o r a to r io s i s the D ie Legende
von der h e i l i g e n E l iz a b e t h . I t i s s e t to the l i b r e t t o o f
O tto R oq u ette and i s f o r sop ran o, a l t o , th r e e b a r it o n e s ,
b a s s , c h o r u s, o r c h e s tr a , and organ . I t was composed b e
tw een 1857 and 1 8 6 2 , and was f i r s t perform ed on August 15,
1 8 6 5 , under L i s z t ’ s d i r e c t i o n . I t s s t o r y t e l l s o f th e l i f e
o f a H ungarian s a i n t , and was in s p ir e d by th e f r e s c o e s on
th e l i f e o f S a in t E liz a b e t h by th e German p a in te r M oritz
von S ch w in d t. R obert C o lle t th in k s th e work p r o c e e d s i n a
c o n fu s in g o rd er o f e v e n ts o v e r an e x t e n s i v e l y lo n g tim e -s p a n ,
7
but th a t i t s s tr e n g t h l i e s in th em a tic u n it y . C h r is t u s ,
L i s z t ’ s secon d o r a t o r io , i s c o n c e n tr a te d on a s e r i e s o f
e p is o d e s w h ich in c lu d e s , a c c o r d in g to C o l l e t , some o f th e
g
com poser’ s f i n e s t m u sic. I t i s based on the New Testam ent
6. A lfr e d E i n s t e i n , M usic in the Romantic Era (New York:

W. W. N orton, 191*7), 11*7.
7. C o lle t, 321.
8. C o lle t, 327.
6
B ib le and Roman C a th o lic L itu r g y , and i s , in r e a l i t y , a
sequence o f th r e e c a n t a t a s : C h ristm as, A fte r E piphany,

P a ssio n and R e s u r r e c tio n . A t h ir d o r a t o r io , S a in t
S t a n i s l a u s , b ased on th e l i f e o f a P o lis h s a i n t , rem ained

u n fin is h e d a t L i s z t ' s d e a th i n 1 8 8 6 .
The H ungarian C oron ation M ass, fo r q u a r te t o f s o l o

i s t s , c h o ru s, and o r c h e s tr a was perform ed i n Budapest on
June 6 , 1 8 6 7 , o n ly a f t e r an argument betw een th e V ien n ese
and th e H ungarian c o u r t s . Franz Joseph and Empress
E liz a b e t h o f A u s tr ia were t o be crowned King and Queen of
Hungary. The H ungarian Court i n s i s t e d , h ow ever, th a t i f
th e crown o f S a in t Step h en were t o be p la c e d on t h e head o f
a new k in g , no "German to n e s o f a V ien n ese H o fk a p e llm e is te r
w ould be a c c e p t a b le , but r a th e r th e Hungarian sounds o f

L i s z t . I n 1 8 6 9 , th e Psalm CXVI, "Laudate Domlnum," was
added t o t h e Mass as th e G radual ( o r i g i n a l l y f o r m ale
v o i c e s , i t was r e v o ic e d f o r m ixed c h o r u s ). The Requiem
Mass f o r s o l o i s t s , m ale c h o r u s, and organ (b r a ss i n s t r u
m en ts, ad l i b . ) was composed betw een 1867 and 1868, and was
f i r s t perform ed i n 1869 a t Lw6w. C o lle t c o n s id e r s i t one

o f the most ch rom atic o f L i s z t ' s c h o r a l w orks, ju s t a s he
v iew s th e M lssa c h o r a lis (1 8 6 5 ) f o r m ixed v o ic e s and organ
9. Woodward. 1 5 2 .
7
as th e most hom ogeneous. I t was a ls o perform ed In 1869

a t Lwo'w and was in te n d e d t o be su n g a c a p p e lla . A nother
work fo r m ale v o i c e s i s th e Mass f o r Male Chorus o f I 8J4.8 .
I t s t h ir d r e v i s i o n in 1869 (th e secon d o ccu rred in 1853)
1
was in f lu e n c e d , a c c o r d in g to Woodward, by th e Requiem M as3.
Prom 1855 u n t i l 1881 L i s z t f o m u la t e d s ix la r g e psalm
s e t t i n g s f o r a v a r i e t y o f v o c a l c o m b in a tio n s. H is b e s t a t
tempt was p ro b a b ly th e f i r s t , in th e 1855 v e r s io n o f Psalm

X III f o r te n o r s o l o , c h o r u s, and o r c h e s t r a . I t was i n i t i a l
l y perform ed by th e B e r lin Slngakadem le on December 6 , 1855»
under L i s z t , and was d e d ic a te d t o P e te r C o r n e liu s . In a
l e t t e r from Weimar on J u ly 2 8 , 1 8 5 5 , L i s z t s a id :
I w i l l s t a y a lo n e a t th e A lte n b e r g u n t i l t h e
f i f t h o f A u gu st. H ere, fo r f i f t e e n d a y s, I
hope to have f i n i s h e d a l i t t l e more o f th e
t h i r t e e n t h psalm . . . . I have suspended
the sc o r e o f my Prom etheus C horuses t o w r ite
th e p salm , which comes to me in abundance
from th e h e a r t .
O ther p salm s a r e : Psalm XX III fo r t e n o r s o l o , h arp ,

and organ (a secon d v e r s io n I s f o r male c h o r u s, ad l i b . ) ;
10. C o l l e t , 3U1.
11. Woodward, 17^•
12. Franz L i s z t , L i s z t s B r l e f e , 8 v o l s . , e d . La Mara
(L e ip z ig : B r e itk o p f & H ttr te l, 1 8 9 3 ), V o l. I l l , 3 7 .
H e r e a fte r r e f e r r e d to in f o o t n o t e s a s B r l e f e .
8
Psalm XVIII f o r male ch oru s and o r c h e s t r a ( d e d i c a t e d t o

P r in c e s s S a y n - W i t t g e n s t e i n ) ; Psalm CXVI (m entioned above
a s the Gradual f o r t h e C oron ation M ass) ; Psalm CXXXVII

f o r sop ra n o , women’ s c h o r u s , v i o l i n , h a r p , and org an ; and
Psalm CXXIX, MDe P r o f u n d i s , ” f o r b a r i t o n e s o l o , male c h o r u s ,
and organ (a second v e r s i o n i s f o r b a r it o n e or a l t o s o l o
and p i a n o f o r t e ) . T his psalm was added t o t h e u n f i n i s h e d
o r a to r io , S a in t S ta n is la u s .
A f i n a l work o f Im portance i s V ia c r u c i s , composed
b etw een 1878 and 1879 f o r c h o r u s, s o l o i s t s , and o r g a n .

B ecause o f i t s r e j e c t i o n by th e R egen sb erg p u b lis h e r P u ste t
i n l88i|., V ia c r u c i s , a lo n g w ith th e Seven Sacram ents and
th e R o s a r io , had to w a it u n t i l 1929 f o r i t s f i r s t perform

ance. I t c o n s i s t s o f a p r e lu d e , and f o u r t e e n s h o r t p ie c e s
d e s c r ib in g th e S t a t i o n s o f th e C r o ss . Some are f o r chorus

o r s o lo v o i c e s , and o t h e r s f o r organ a l o n e . The t e x t s were
arran ged from th e B ib le by P r in c e s s S a y n -W ittg e n s te in , and
in c lu d e th e L u th eran c h o r a le , 0 S acred Head Now Wounded. ^
A lec R o b ertso n c a l l s t h e V ia c r u c i s a 11p ro fo u n d ly m oving

w o rk ,” and f e e l s i t i s a p r iv a t e m e d it a tio n f o r t h o s e who
can e n te r I n t o th e s p i r i t o f th e c o m p o s i t i o n .^
13. C o l l e t , 3I4.2•
lij.. A lec R o b e r tso n , Requiems Music f o r Mourning and Con
s o l a t i o n (New Yorks F r e d e r i c k A. P ra e g er , 1 9 8 7 ) , 1 5 8 .
9
Prom th e F e s tk a n ta te o f l8ij.3> t o th e V ia c r u c i s o f 1 8 7 9 ,
a c u r s o r y lo o k a t L i s z t ’ s c h o r a l works p r o v id e s c o n v in c in g
e v id e n c e th a t he t r i e d h i s hand a t m ost o f th e im p ortan t
fo rm s. The M ass, req u iem , p a s s io n , o r a t o r i o , s e c u la r
c a n t a t a , psalm s e t t i n g , and c h o r a l symphony were v e h i c l e s
f o r a man r e c o g n iz e d p r i n c i p a l l y a s a com poser o f i n s t r u
m en ta l m u sic . A lthou gh L i s z t began h i s m u s ic a l l i f e

as a p i a n i s t and a sy m p h o n ist, h i s a e s t h e t i c se n s e sp ran g
from l i t e r a r y s o u r c e s . A lfr e d E i n s t e i n s a y s : nI t i s not
German R om anticism , bu t fu n d a m e n ta lly French; h i s b ack
ground i s dom inated n o t by th e f o l k so n g , N o v a lis , and
M Brike, b u t by Byron, L am artin e, L am ennais, and V ic t o r
Hugo w it h t h e i r w eltsch ra erz, t h e i r p a s s io n , and t h e i r
r h e t o r i c . " 1^ Most o f h i s in s tr u m e n ta l m usic smacks o f p ro

gram, j u s t a s r e a d il y a s i t p r e fe r s th e l e i t m o t i f o v e r
c l a s s i c a l so n a ta fo rm . Perhaps i t i s b eca u se o f th e a t
t e n t i o n t o t e x t and i t s im p lic a t io n s t h a t so much o f
L i s z t ' s c h o r a l m usic i s s k i l l f u l l y c o n c e iv e d . R obert
C o lle t ta k e s t h i s p o s i t i o n : nMy own b e l i e f i s t h a t L i s z t ' s

c h o r a l works c o n ta in some o f th e most u n d erra ted m u sic in
th e w hole l i t e r a t u r e . " ^ L i s z t would most l i k e l y sa y in
a n sw er, "Vedremoi"
15. E in s te in , 210.
16. C o l l e t , 3UI|.
10
The f o llo w in g c h a p te r s w i l l comment upon, stu d y , and
e v a lu a te th e m ale ch o ru s l i t e r a t u r e . Some o f i t w i l l
p r o b a b ly prove to be o f r e a l m u sic a l v a l u e . Some o f th e
r e s t , p a r t i c u l a r l y t h e sm all s e c u la r p i e c e s , w i l l d i s c l o s e
th e e a r ly s e l f - e d u c a t i n g p r o c e s s o f L i s z t in th e m anipula
t i o n o f m u s ic a l m a t e r i a ls . These l a t t e r works w i l l a ls o
r e f l e c t th e p o l i t i c a l n atu re o f Germany as i t s tr u g g le d
a g a in s t th e r e s i s t a n c e o f th e H oly Roman Empire and th e
b u rgeon in g o f n in e t e e n t h - c e n t u r y in d iv id u a l and s o c i a l
r e v o lu tio n . C o n seq u en tly , i t w i l l be o f i n t e r e s t to e x p lo r e
th e h i s t o r i c a l e r a b e fo r e g o in g d i r e c t l y t o th e m u sic, and
t o exam ine an im p ortan t German phenomenon whose in c e p t io n
o ccu rr ed a t about th e same tim e as th e b ir t h o f L i s z t —th e
German male chorus movement.
11
Chapter I
THE GERMAN MALE CHORUS MOVEMENT ■
P o l i t i c a l Background o f Germany; 1800-1871
D uring th e F rench o c c u p a tio n o f Germany in th e e a r ly

n in e te e n th c e n tu r y , a b o o k - s e ll e r named John Palm r e c e iv e d
a shipm ent o f m erchandise which c o n ta in e d , unknown to him ,
th e a n ti-F r e n c h pamphlet D eu tsch la n d in s e in e r t l e f s t e n
E rn ied rig u n g (Germany i n h e r d e e p e s t shame) . 1 In th e c o u r se
o f a r o u tin e s a l e , t h e book found i t s way in t o th e home o f

a l o c a l p a s to r where i t was d is c o v e r e d by F rench o f f i c i a l s .
On June 6 , 1 8 0 6 , N apoleon ordered Palm’ s a r r e s t , co u rt
m a r t ia l, and e x e c u t io n . A fte r two sh o rt h e a r in g s a t Braumau
(200 m ile s from Nurem berg), th e b o o k - s e lle r was r e tu r n e d to
2
h is c e l l. A lthough he had hoped t o be r e le a s e d f o r h i s
o b v io u s in n o c e n c e , he was t o l d th e d ea th se n te n c e had been
in v o k ed . H ardly h a v in g tim e t o put h i s a f f a i r s in o r d e r ,
h e was e x e c u te d on August 2 2 , 1 8 0 6 . -3 Soon a f t e r t h i s t e r s e

and u n ju st co u rt m a r t i a l , ”th e s to r y o f John Palm’ s
1. P o u ltn e y B ig elo w , H is to r y o f th e German S tr u g g le f o r

L ib e r t y , V o l. I (New York: Harper & B r o th e r s , 18B6 ) , 1 .
2. I b id . , 2 .
3. I b id ., 3.
12
e x e c u tio n went from mouth t o mouth a l l over Germany

k in d lin g in t o p a t r i o t i c f i r e th e sm o ld erin g embers o f
German n a t i o n a l i t y . ”^
T h is and o th e r s i m i la r in c id e n t s encouraged a grow ing
German n a tio n a lis m w h ich had been in s p ir e d by th e e a r l i e r
F rench R e v o lu tio n (1 7 8 9 -1 7 9 9 ). Germans, d e sc e n d in g from

e a r ly Germanic t r i b e s , th rou gh Charlemagne, and t h e T h ir ty
Years War, were r u le d by h e r e d it a r y p r in c e s under s a n c tio n
o f t h e H oly Roman E m pire. With u p r is in g s i n P a r is and th e

d e a th o f L o u is XVI, Europeans to o k a hard lo o k a t them
s e lv e s . George Peabody Gooch w rote th a t th e H oly Roman
Empire ”was n o t b u r ie d t i l l 1806 / t h e co n q u est o f P r u s s ia
by N a p o le o n /, but i t was s l a i n by th e R e v o lu tio n . It
p e r is h e d unw ept, unhonored, unsung, and i t s g h o st had to
be l a i d b e fo r e Germany c o u ld be r eb o rn . ^ Johann W olfgang

G oeth e, th e Weimar p h ilo s o p h e r , d i s l i k e d th e v io le n c e and
ch aos o f th e R e v o lu tio n , but d id n o t condone th e s e l f i s h
m o tiv e s o f t h e a r is t o c r a c y . He a b so lv e d th e French p e o p le
o f p e r p e tr a tin g th e o u tb re a k and f e l t t h a t a j u s t and v i g i
la n t government sh o u ld n ev er have to f e a r f o r i t s e x i s t e n c e .
F urtherm ore, he s a id : ”A11 p rem ed ita ted r e v o lu t io n s are
4. I b i d . , I*.
9. George Peabody Gooch, Germany and th e French Re v o lu t io n
(London: Longman’ s , Green & Co. , 1 9 2 0 ), *>!&.
13
u n s u c c e s s f u l, f o r t h e y are w ith o u t God, who sta n d s a lo o f
from such b u n g lin g .

The F rench R e v o lu tio n , a c c o r d in g t o G oeth e, was "w ith
God." I t d id spawn, how ever, a N apoleon who, i n th e name
o f F rench c o n q u e st, to o k ad van tage o f the weak P r u ssia n
r u l e r , F r ie d r ic h W ilhelm I I I , d e f e a te d h is army a t Jena in
1 8 0 6 , and fo r c e d th e T r ea ty o f T i l s i t i n 1 8 0 7 .^ By t h i s
v ery l o s s , a d i s s o l u t e , a r i s t o c r a t i c German la n d - g e n tr y
was exp osed a s d ecad en t and i r r e s p o n s i b l e — p a r a d o x ic a lly
p la n t in g th e se e d o f a new n a t io n a lis m . The anger and
f r u s t r a t i o n , caused by th e d e f e a t o f what had been F r e d e r ic k

th e G r e a t's o n c e -v a u n te d f o r c e , c a l l e d f o r t h a r e s o l v e
t h a t alw ays seemed t o be a t t h e b a se o f th e German p s y c h e .
The German p o e t S c h i l l e r e x p r e ss e d t h i s s tr e n g th as "a
m oral g r e a tn e s s . . . w hich i s in d ep en d en t o f i t s v i c i s s i
tu d es. E very p e o p le h a s i t s d ay, but the day o f the German
g
i s t h e h a r v e st o f th e w hole span o f tim e ."
N apoleon h i m s e l f , from t h i s "span of tim e ," s e l e c t e d
a man, Baron von S t e i n , o f m oral g r e a tn e s s and a d escen d a n t
6. I b id . , 205.
7. James M ilto n Brinkman, The German Male Chorus; I t s
R ole and S ig n if ic a n c e from 1 8 0 0 -1 8 5 0 (Ann Arbor:
U n iv e r s it y M ic r o film s , 1 9 6 6 ) , £9 .
8. Gooch, 2 2 9 .
iu
o f th e m ed ie v a l Im p e r ia l K n igh ts as German m in is t e r . The

F rench b e lie v e d t h a t , b e c a u se c e r t a i n la n d h o ld in g s were
c l o s e t o t h e i r b o r d e r , Baron von S t e i n would r e p r e se n t t h e ir
9
ca u se. On t h e c o n tr a r y , th e baron began a plan f o r th e
n ex t c o n f l i c t a s w e ll a s f o r t h e econom ic and e d u c a tio n a l
10
b e tte r m e n t o f the P r u ssia n s t a t e . As i n t e l l e c t u a l s l ik e
Johann G o t t li e b F ic h te a d d ressed th e n a tio n i n 1 8 0 7 -0 8 on

m a tte r s c o n c e r n in g d u ty to one a n o th e r , n a t io n a l e d u c a tio n ,
a u n ite d em p ire, and a c o n s t i t u t i o n (a th r ea d ru n n in g from
1800 t o 1 8 7 1 ), Baron von S t e i n was r e a l i s t i c a l l y d e a lin g

11
w it h German p ro b lem s. As a r e s u l t , serfdom and fo r c e d
s e r v i c e were a b o lis h e d , g iv in g th e common man a chance to
12
r e a l i z e a c h o ic e o f t r a d e s . Bram stedt comments upon the
refo rm s:
I t s i g n i f i e d . . . th e end o f th e s o c i e t y ban
on s t a t u s , s in c e I t removed two e s s e n t i a l ch a r
a c t e r i s t i c s : th e r e s t r i c t i o n o f th e St&nde
( a r i s t o c r a c y ) to f i x e d p r o f e s s i o n s , and th e
9. Hajo H olb orn , A H is to r y o f Modern Germany (New York:

A lfr e d A. K nopf, 19 61*), I I , 3 9 5 .
10. B ig elo w , 95*
11. Brinkman, 6 0 .
12. E rn st Kohn B ram sted t, A r is to c r a c y and th e M iddle-
C la s s e s i n Germany (London: B. S . King & Son,
1 9 3 7 ), W .
15
I n t e r v e n t io n o f th e s t a t e i n m u n icip a l admin
i s t r a t i o n . The d i v i s i o n of th e p eo p le in to
th r e e h e r e d it a r y e s t a t e s o f a r is t o c r a c y , m id d le -
c l a s s , and p e a sa n tr y was d e str o y e d . . . *13
These s o c i a l and econom ic advances p a r a l le l e d th e a c t i v e

s p i r i t o f r e b e l l i o n a g a in s t t h e F rench, and u n ite d th e
German p e o p le enough to b r in g about th e 1813 War o f

L ib e r a t io n .
The p u b lic h e r o e s o f the war were n o t members o f th e
main P r u ssia n army, b u t were o f G eneral A d o lf von Liltzow’ s
R oyal P r u ssia n F ree C orps. Numbering l,ij.0 0 in fa n tr y and

3i|.0 horsem en, th e y v o lu n te e r e d from a l l p a r t s o f th e
f a th e r la n d and "spoke o f Germany, n o t P r u s s i a ." ^ The
F ree Corps h e a d q u a r ter s were in B r e s la u a t th e G olden

S c e p tr e Tavern and t h e i r c h i e f spokesman and p o e t was
Theodor Ktirner, a form er d r a m a tist o f th e V ien n ese c o u r t.
W hile on th e m arch, t h i s young l i b e r a l co m p iled p a t r i o t i c

p o e t r y , an exam ple o f w h ich i s h i s M&nner und Buben, It
i s s e t to th e m usic o f K arl M aria von Weber:
13. B ig e lo w , 9 8 .
lfj.. B ig elo w , 95*
16
Men and Rogues
The p e o p le are a ro u sed , the storm h a s broken lo o s e ;

Who now h id e s cow ardly i n th e c a s t l e ?
Shame on you, r o g u e , behind th e oven
With th e p a r a s it e s and cham ber-m aids I
A g r a c e l e s s , w o r th le s s c r e a tu r e you must b e.
No German g i r l w i l l k i s s you,
No German song in s p ir e you,
No German wine enflam e you.
D rive o n , man f o r man! ^
Swing th e b a t t l e sword who can!
16
S h o r tly b e fo r e peace was d e c la r e d , Kfirner d ie d in b a t t l e .
H is rom antic s p i r i t , and th e e s s e n c e o f th e P r u ssia n ,
German, L u th eran , and T eu ton ic G e lst i s cap tu red in
P o u ltn ey B ig e lo w ’ s d e s c r ip t io n o f the Free C orps’ c o n s e
c r a t io n in th e Lutheran Church a t Rogan:
There was sung L u th e r 's hymn ’ A M ighty F o r tr e s s

i s Our God' w hich c lo s e d the n o b le cerem ony.
At th e end t h e s e w a r r io r s o f Germany gave a
th u n d erin g Hurrah . . . every b la d e sprang from
i t s scabb ard , and th e h ou se o f God was l i g h t e d
w ith m yriad s p a r k s .17
The F ree Corps rode w ith a m ale chorus in t h e i r ranks and

adopted a t r i c o l o r b la c k , w h ite , and red banner, which e v e n -
13
t u a l l y became th e o f f i c i a l f l a g o f the German Em pire.
If). C. T. B rooks, The German C la s s ic s (New York: The

German P u b lic a tio n S o c i e t y , 1 9 1 3 ), 2 0 1 .
16. B ig elo w , 88.
17. B ig elo w , 1 0 0 .
18. B ig elo w , 87 and 9 0 .
17
The French d e f e a t , th e l 8llj. Peace o f P a r is , th e r e tu r n

o f the e x i l e d N ap oleon , and th e f i n a l C ongress o f V ienna
iq
p reced ed th e fo r m a tio n o f th e D eu tsch er Bund. 7 This
lo o s e c o n fe d e r a tio n o f t h i r t y - f i v e s t a t e s and fo u r c i t i e s
was r e g u la t e d by th e " s t a le and s ta g n a n t” F ra n k fo rt
P a r lia m e n t. I t s to n e became in c r e a s in g ly c o n s e r v a t iv e —
20
n e g a tin g th e l i b e r a l o u tlo o k s e t by S t e i n and KBrner.
The a r i s t o c r a t i c Junkers su r v iv e d th e f r e e i n g o f th e
p e a sa n ts and r e i n s t a t e d t h e i r clA im o f th e o ld l a t i f u n d i a
(la n d ed e s t a t e s p r e v io u s ly a s s ig n e d t o th e Junkers d u rin g

th e d a y s o f th e H oly Roman E m pire).
, 21
In th e s p i r i t o f
M e tte r n ic h (th e r ig h t - w in g c h a n c e llo r o f A u s t r ia ) , the id e a
o f a c o n s t i t u t i o n was r e j e c t e d and a r e a r -g u a r d a c t i o n was
fo u g h t a g a in s t German u n i t y .
As t h e a r is t o c r a c y p u lle d in one d i r e c t i o n , the d e v e l

o p in g I n d u s t r ia l R e v o lu tio n was g a th e r in g momentum in
a n o th e r . The many c o n f l i c t i n g in n e r f o r c e s b a t t e r in g
19. Brinkman, 6£ .
20. E rn st F e is e and H arry S te in h a u e r , e d s . , German L i t e r a
tu r e S in c e G oethe (B o sto n : Houghton M i f f l i n , 1 9 5 ^ ), 5-
21. Theodore S . Hamerow, R e s to r a t io n , R e v o lu tio n . R e a c tio n ,
Econom ics and P o l i t i c s in Germany l b l i j - l t t t l ( Frlnce-bon:
P r in c e to n U n iv. P r e s s , lG£8 ) , 70.
22. F e is e , 6 .
18
Germany a t t h i s tim e are s u c c i n c t ly e x p la in e d by Theodore
S. Hamerow:
W ith in the l i f e t i m e o f one g e n e r a tio n Germany

was f o r c e d t o a c c e p t new form s o f p r o d u c tio n ,
new m ethods o f t r a n s p o r t a t io n , new s o c i a l
c l a s s e s , new c i v i c i d e a l s , and new dem ographic
p ressu res. I t p roved to o much f o r a b e w ild e r e d
p e o p le . The m asses in t h e i r a g i t a t i o n began
to m u tter . . . f i n a l l y th e y r o s e up in f u l l
r e v o l t a g a in s t th e e f f e c t s o f t e c h n o lo g ic a l
p r o g r e s s .23
As t h e s e p r e s s u r e s w ere a p p lie d , th e c o n s e r v a t iv e s c o u ld
not f a c e s o c i a l ch a n g e. The l i b e r a l s d e v e lo p e d a d i s t r u s t
f o r t h e lo w e r c l a s s e s and th e urban m a sses began t h e i r own

b a t t l e a g a in s t i n d u s t r i a l i s m . ^ -
A c lim a x was f i n a l l y a c h ie v e d in th e r e v o l t o f 181+8.
F r ie d r ic h W ilhelm IV r e l u c t a n t l y i n s t i t u t e d reform s in
2*5
P r u s s ia , and M e tte r n ic h was fo r c e d t o r e s i g n in A u s t r ia . ^
True p r o g r e ss d id n o t m a t e r i a li z e u n t i l the a scen d a n cy o f
W ilhelm I and th e appointm ent o f O tto von Bism arck to th e
p o s t o f C h a n c e llo r o f P r u s s ia . W ilhelm q u ic k ly a p p o in te d
a l i b e r a l c a b in e t , and B ism arck, th rou gh a d r o it d ip lo m a tic
m aneuvers, drew A u s tr ia and France in t o m i li t a r y
23. Hamerow, lij.1.

2k. I b i d . , 11*1.
25. F e is e , 6 .
19
c o n f r o n t a t io n s . With th e K B n lgsrat (K in g’ s d e c r e e ) a g a in s t
A u s t r ia and th e F r a n c o -P r u ssia n War, an improved P r u ssia n
Army b rou gh t v i c t o r y t o Germany; a s a c o n se q u en ce , France
l o s t A ls a c e -L o r r a in e and W ilhelm I was crowned Emperor o f

Germany a t V e r s a i l l e s in 1 8 7 1 . At l a s t Germany was u n ite d
a s a w o r ld n a t i o n .
The Male Chorus Movement in

! ■ 1 .I L .m iM .lJ J I *— 1 - L i. .1 1 .1 1 ...............................
N in e te e n th -C e n tu r y Germany
The h i s t o r y o f th e m ale ch oru s in G erm an-speaking

c o u n t r ie s c o in c i d e s w ith German p o l i t i c a l and s o c i a l
h i s t o r y — e s p e c i a l l y from th e l a t e 1 7 0 0 's u n t i l th e fo u n d in g
o f th e German Empire in 1 8 7 1 . B efo re t h i s t im e , any probe
in t o th e a r e a o f m ale s in g in g would be s p e c u l a t i v e . From
th e s i x t e e n t h and s e v e n te e n th c e n tu r ie s th e p h ra se Ad
v o c e s a e q u a le s (e q u a l v o i c e s ) i n d ic a t e s a lo w e r , m ale
t e x t u r e or boys a t th e h ig h e r o c t a v e . F r it z P i e r s i g be
l i e v e s th a t m e d ie v a l so n g s o f f i e l d w ork ers, m o u n ta in e e r s,
and f o r e s t e r s were meant f o r men by v ir t u e o f ob scen e t e x t s
27
and o c c u p a t io n a l t i t l e s . He a ls o sa y s t h a t
26. I b id . , 9 .
27* F r i t z P i e r s i g , "M finnerchor,!f D ie Musik in G esch ic h te

und Q egenw art, e d . F r ie d r ic h Blume, V iI I (K a s s e l:
S R r e n r e ite r , i 9 6 0 ) , c o l . ll|5 8 .
20
s e v e n te e n th -c e n tu r y op era exam ples o f male chorus s in g in g
and th e d i v i s i o n o f "high" and "low" g ro u p in g s in V en e tia n

p o ly c h o r a l works s u g g e s t s an employment o f m ale chorus
pa
v o ic in g s .
A tr u e German m ale chorus movement d id n o t b e g in , in
a s o c i a l and o r g a n iz e d s e n s e , u n t i l th e l a t t e r p a rt o f th e
e ig h t e e n t h c e n tu r y . Freem asonry and stu d e n t and h u n tin g
o r g a n iz a t io n s r e q u ir e d t h e i r own so n g s, a s e v id e n c e d in
Baron von W ild u n g's Green Book and M ozart's Freem ason
29
S o n g s. S in g in g groups i n g e n e r a l were grow ing in s i z e
and i n t e r e s t . E n g e l e q u a te s growth in c h o ir s i z e to a
n a tu r a l in c r e a s e i n group i n t e r e s t , and an in c r e a s e i n
European p o p u l a t i o n . P a r a l l e l to e le m e n ts o f s o c i a l
i n t e r e s t and p o p u la tio n in c r e a s e came the d e s ir e o f German
men to resh ap e s o c i a l , p o l i t i c a l , and econom ic a s p e c ts o f
German l i f e . Brinkman sa y s:
As German s o c i e t y changed from a c o n s e r v a t iv e ,

a r i s t o c r a t i c em pire t o a more l i b e r a l way o f
l i f e . . . c e r t a i n e le m e n ts o f t h a t s o c i e t y
emerged as dom inant f o r c e s o f th a t ch an ge. The
m ale ch oru s p la y e d a v i t a l r o l e in th e s o c i a l , ^
p o l i t i c a l , and m u sic a l l i f e o f th e German n a tio n .
28. I b i d . , c o l . 11*59.
29. I b i d . . c o l . 1^ 59.
30. Hans E n g e l, Muslk und G e s e l l s c h a f t : B a u ste in e zu e in e r
M u s lk s o z lo lo g ie ( B e r lin : Max H e sse , I 9 6 0 ) , 73.
31. Brinkman, 1 1 .
21
The male chorus movement, su p p lie d w ith s o c i a l , p o l i

t i c a l , and econom ic d i v i s i o n s , f e l l in to th r e e main c a t e
g o r ie s : F re u n d e sk r e ls ( c i r c l e o f f r i e n d s ) ; L l e d e r t a f e l
( s o n g - t a b le ) ; M&nnerchor (male c h o r u s ). E v e n tu a lly , a s the

n in e t e e n th c en tu ry approached the m id -y e a r s, th e term male
chorus embraced a l l German male s in g in g g ro u p s, and such
t i t l e s a s Mftnnerchor and L ied erkranz (w reath o f so n g s) b e
came synonymous and in te r c h a n g e a b le .
F r e u n d e sk r e ls
F re u n d e sk r e ls i s d is t in g u is h e d from M^nnerchor both
by geography and i n t e n t . The p r a c t ic e o f th e F a m llie n -

F re u n d e sk r e ls (fa m ily c i r c l e and c i r c l e of f r i e n d s ) had d e
v e lo p e d i n A u str ia d u rin g th e p e r io d o f th e E n lightenm ent
from a new t r a d i t i o n o f am ateurism c a ll e d Hausmusik (m usic
f o r th e hom e)— a movement away from th e r o y a l c o n c e r t room
33
t o th e m id d le -c la s s home. The F re u n d e sk r e ls d i v i s i o n was
a r e s u lt o f t h is p r a c tic e . An A u str ia n man and a few
f r ie n d s would meet a t th e home o f a c o ll e a g u e . In ste a d o f
a number o f men t o a p a r t, th e y p r e fe r r e d m usic flir
32. E n g e l, 1 1 .
33* Franz J o s e f Ewens, e d ., D eu tsch es L ied und d e u tsc h e r
Sang. D eutsche San gesku nst in V ergan gen h elt und
Gegenwart (K arlsru h e und bortmund: W ilhelm S c h i l l e
& C o ., 1 9 3 0 ), 11+8.
22
M ftnnerstlame (im p ly in g one, o r a few v o i c e s t o a s t a f f ) . ^

Franz J o s e f Ewens c a t e g o r iz e s th e m ale ch oru s c o m p o sitio n s
o f Schu b ert and M ichael Haydn as c h i e f l y f o r a male q u a r t e t ,
and c o n c lu d e s th e y began a p r a c t ic e nt h a t was t o become th e
bud o f th e new male chorus so n g ."
»35
M ich ael Haydn w rote f o u r t e e n p i e c e s ftir M&nnerstimme

w h ich were p o s s i b l y sung In th e "Haydn S tlib le in " (little
Haydn apartm en t) a t S t . P e t e r ’ s M onastery C e lla r i n S a lzb u rg
(where a plaque i s lo c a t e d h o n o rin g members o f th e Vienna
nZ
Male C h o ru s). From a b io g r a p h ic a l s k e tc h , composed by a
group o f Haydn’ s f r i e n d s , Ewens e x t r a c t s th e q u o ta tio n :

"The e s s e n t i a l ad van tage o f th e s e son gs I s th a t t h e y are
n ot composed f o r th e u s u a l (m ixed) fo u r s in g in g v o ic e s
(w hich a r e n ’ t a lw a y s to be h a d ), but r a th e r f o r th e same
v o ic e s . . . t h a t I s f o r men’ s o r women’ s v o i c e s ." D e s p ite
v o i c e - c r o s s i n g s , t h e s k e tc h c o n t in u e s , i t must be remem
bered th e to p v o ic e h o ld s t h e m elody; "the ground b a s s , how
e v e r , must n e v e r be a llo w ed t o be underm ined." The t e x t s
o f t h e s e son gs are o f n a tu r e , jo y o f l i f e , and a cup o f
" O b ersu lzer wine" or " b a rley j u i c e .
3U. I b i d . , 75*
35. I b i d . , 75-
36. I b i d . , 11*8.
37. I b i d . , 11*9.
23
B eeth oven w rote o n ly a few works s p e c i f i c a l l y f o r m ale

v o ic e s . In l 8llj. h is good f r i e n d and guardian o f h i s nephew,
M a g is tr a ts r a t M a tth a is T u sch er , r e q u e ste d an A b sc h led g e 3ang
( f a r e w e ll- s o n g ) f o r a Dr. L eopold W e iss. I t was s e t to a

t e x t by R i t t e r Ignaz von S i e g f r i e d and e n t i t l e d D ie Stunde
n a h t, w lr m&S3en s c h e ld e n , a humorous song f o r th r e e male

v o ic e s . A nother d e d ic a to r y c o m p o sitio n o f th e same kind
was w r it t e n f o r B e eth o v en ’ s o ld v i o l i n t e a c h e r , W enzel
Krumpholz. Composed in 1817 f o r th r e e m ale s i n g e r s , i t s

t e x t i s S c h i l l e r ' s "Rasch t r l t t d er Tod den Madchen an"
from W ilhelm T e l l . F r ie d r ic h B uncher’ s tr a g e d y Leonore
P roh aska, composed i n l 8l £ , c o n t a in s th e a c a p p e lla

K rleg ch o r f o r fo u r -p a r t m ale c h o r u s . One e s p e c i a l l y en
jo y ed by B eeth oven , th e op era t e l l s th e s t o r y o f a young

g i r l who d i s g u i s e s h e r s e l f as a s o l d i e r to tak e p a r t in th e
War o f L ib e r a t io n . The governm ent in V ien n a, a t t h a t tim e ,
put a ban on i t s p erfo rm a n ce. Another male ch o ru s work
i s B e e th o v e n 's T rauergesang f o r fo u r -p a r t m ale ch o ru s and
fo u r tr o m b o n e s .^
38. W illy H e ss, " B e eth o v en 's M & nnerchor-K om positionen,"

E id g e n flss la c h e s S ftn g e r b la tt XX/10 ( O c t ., 19E>6), 1 1 8 .
39. N ic o la s S lo n im sk y , " B eeth oven ," B ak er's B io g r a p h ic a l
D ic tio n a r y o f M u sic ia n s, f i f t h e d i t io n ( New Y ork:
G. S c h im ie r , 1 9 ^ 8 1 1 5 .
21+
Franz S c h u b e r t's i n c l u s i o n i n F r e u n d e sk r e ls i s
su p p orted by M aurice Brow n's e s s a y on th e m a le -v o ic e p a rt
so n g s. Brown c o n ten d s t h a t , a c c o r d in g to programs and
perform ance n o t i c e s o f th e tim e , Schu bert w rote t h e s e
p ie c e s f o r t h r e e , fo u r , and f i v e s o lo v o i c e s . He a l s o
assum es t h e i r r a is o n d ' e t r e was econ om ic.
S ch u b ert composed h i s m a le -v o ic e p a r t-s o n g s

to m eet a l i v e l y demand i n h i s d a y . M usic
f o r th e m ale v o ic e became in c r e a s i n g l y pop ular
tow ards th e end o f th e e ig h t e e n t h c e n tu r y and
i t s c u l t i v a t i o n was r a p id and w id e sp r e a d . At
th e tim e when S ch u b ert began to w r it e such
m u sic , th e male v o ic e d c h o r u s, b oth p r o f e s
s i o n a l and am ateur, was f i ir a ly e s t a b l i s h e d —
one co u ld alm ost sa y c o a g u la te d — i n Germany,
S w itz e r la n d and A u s t r ia .40
S c h u b e r t's c o m p o sitio n s f o r m ale v o i c e s began in
1813- 11+ w ith th e canons f o r th r e e e q u a l v o ic e s ( e x e r c i s e s

w r it t e n f o r S a l i e r i , S c h u b e r t’ s c o m p o s itio n t e a c h e r ) ; t r i o s
f o r two te n o r s and b ass i n l 8l £ ; unaccom panied fo u r -p a r t
p i e c e s , I 8l 5 - l 6 ; and th e unaccom panied q u a r t e ts and q u in
t e t s o f 1 8 1 7 -2 7 . Among th e more th a n s i x t y works in t h i s

g e n r e , Brown c o n s id e r s Nur wer d ie Sehnsuch kennt and
Ruhe s c h fln s te s G liick d e r Erde (1 8 1 9 ); Gesang d er G els t e r

liber den W assern (1 8 2 1 ); N a c h th e lle and Grab und Mond (1 8 2 6 )
1+0. M aurice Brown, "The P a rt-S o n g s f o r M a le -V o ic e s ,"

E ssa y s on S ch u b ert (London: M acm illan , 1 9 6 6 ), 61+.
as th e b e s t . N e v e r t h e le s s , he h o ld s m u sic a l r e s e r v a t io n s
f o r ev en th e s e s e l e c t e d s o n g s . "The id iom . . . i s mark
e d ly o f th e p e r io d , t h a t i s , i t i s harmonic w ith an alm ost
e sc h e w a l o f c o u n te r p o in t." V a r ie ty i s a c h ie v e d by b o ld
s h i f t s o f key and th e m eter i s in v a r ia b ly 2/ 1* and 6/ 8 .
"T his r e g u la r f a l l o f th e s t r e s s e s i n such m e te r s , though

in v a lu a b le in m a in ta in in g th e ch o rd in g o f th e v o i c e s , can
o f t e n be m onotonous o r t r i v i a l . I t becomes in some p a r t -

so n g s, e . g . , i n Das D ftrfch en, D. 61*1, a mere struirming w ith
v o i c e s ."^1 He c o n t in u e s : " . . . th e y have e le m e n ts o f
g r o s s n e s s in s te a d o f g r a c e , and co n ju r e up th e f u l l - t h r o a t e d
ro a r o f a German b e e r - c e l l a r r a th e r than th e e x q u i s it e
Up
f a n t a s i e s o f G o th ic c h a p e l or V e n e tia n s a lo n ." Another
p o in t o f c r i t i c i s m i s th e a l le g e d f a i l u r e o f Schu b ert to
break away from th e l a t e e ig h t e e n t h - e a r ly n in e t e e n t h -

c e n tu r y te n d e n c y ( a l s o fou n d i n some s t r i n g q u a r t e t s o f
th e tim e ) t o a llo w th e to p v o i c e — i n t h i s c a s e , th e f i r s t
te n o r - -a lw a y s t o c a r r y th e m elod y, fo r e g o in g th e oppor-
1*3
t u n i t y o f v a r ia n c e in th e low er v o i c e s .
1*1. I b id ., 61.
1*2. I b id . , 61.
1*3. I b id ., 63.
26
A lexan d er H a u sle ith n e r , i n a 1926 l e c t u r e fo r t h e
V e r e ln s b la tt d er B a s le r L l e d e r t a f e l . con ten d s th a t Schubert

w rote p a rt son gs f o r th e l a r g e r male chorus a s w e ll a s f o r
s o lo q u a r t e t s . In t h i s gen re are th e 1828 Hymn f o r s o lo
q u a r t e t , male c h o ru s, and b r a ss In str u m e n ts; K lo p fs to c k 1s

S c h l a c h t l le d , 1827» f o r two f o u r -v o ic e d male c h o r u se s; and
th e secon d s e t t i n g o f Gesang d er G e ls t e r ftber den W assern,
1 8 2 1 , f o r e ig h t - p a r t m ale chorus w ith v i o l a s , c e l l o s , and
b a ss. N e v e r t h e le s s , th e b u lk o f h i s m a le -v o ic e works seems
t o be f o r th e s m a lle r s o l o - v o i c e ensem ble o f th e F reu n d es-
k r e ia v a r i e t y . In f a c t su ch a F r e u n d e sk r e ls, i n i t i a t e d by
Schu bert and h i s f r i e n d s , i s r e p o r te d by H a u s le ith n e r
(b a sed on a l e t t e r from one o f the members, H ttlten b ren n er):
" S ch u b ert, Assm eyer, M a zo tti and I a g reed upon each Thursday
e v en in g a t th e f r ie n d ly M a zo tti* s i f one o f us sh ou ld com
pose a q u a r t e t . Once Schubert came w ith o u t on e, but wrote
i t i n ou r p r e s e n c e ." ^
The A u str ia n t r a d i t i o n o f F r e u n d e sk r e ls was e v e n tu a lly

tra n sform ed in t o a part o f th e la r g e r male chorus movement.
W hile i t l a s t e d t h i s unique Hausmuslk d ev elo p ed e c h t
M
O s t e r r e lc h ls c h e ( i n a p u r e ly A u str ia n w a y ) - - f o r th e p r i v il e g e
lUl., A lexander H a u s le ith n e r , " S ch u b ert’ s m ehrstim m ige

GesMnge ffir Mftnnerstimmen," E id g e n B s sisc h e s S&nger-
b l a t t XXIX/ 6 (Ju n e, 1 9 6 $ ), 657"^
27
o f a sm a ll group o f f r ie n d s s in g in g to g e t h e r a t one o f
t h e ir h o u ses.
L le d e r t a f e l
In 1 7 9 0 , K arl F r ie d r ic h F asch formed the fam ous B e r lin
Slngakadem le composed o f men and women s i n g e r s . Henry F.
C h orley t e l l s us th e s o c i e t y numbered about f i v e hundred
p er so n s a t th e tim e o f h i s v i s i t in 1839» and th a t F asch
had been h a r p s ic h o r d is t t o F r e d e r ic k th e G reat when C h arles
Burney made h i s l a s t t r i p to G e r m a n y T h e Sln gak ad em le,
under th e d i r e c t i o n o f F a sc h ’ s p u p il, C arl F r ie d r ic h Z e lt e r ,
became a sp rin g b o a rd f o r anoth er kind o f c h o r a l o r g a n iz a
t i o n , th e L l e d e r t a f e l . ^ S u pp osedly named a f t e r th e le g e n d
o f King Arthur and h i s Round T a b le, i t had an a ll- m a le
membership c o m p risin g tw e n ty -fo u r p o e t s , com p osers, and

1*8
s in g e r s who met a t th e E n g lis h House Tavern i n B e r lin .
In 1809 th e members s e l e c t e d Z e lt e r , " G o eth e's u n p o lish e d
1+9
and w arm -hearted f r ie n d ," to be t h e i r le a d e r . T h eir
form al c h a r te r r e a d , in p a r t:
1*5. Henry F . C h o rley , Modern German M usic, 2 v o l s . (London:

Sm ith, E ld er & C o ., 1851* ), V o l. I , 21*1.
1*6. I b id . , 235.
1*7. Brinkman, 9 5 .
1*8. I b i d . , 95-
1*9. H ein r ich von T r e it s c h e , H is to r y o f Germany i n th e
N in e te e n th C en tu ry, 13 v o l s . , t r a n s . Eden & Cedar Paul
(New York: M cBride, Nast & C o ., 1 9 1 6 ) , V o l. I I , 2 9 3 .
28
Themes o f th e F a th e rla n d and I t s g e n e r a l w e l

fa r e are recommended t o l t 3 p o e ts and co m p o sers.
The L l e d e r t a f e l c o n s id e r s i t s e l f a fo u n d a tio n
th a t c e le b r a t e s th e lo n g e d - f o r r e tu r n o f th e
R oyal H ouse; f o r i n g e n e r a l, one o f th e prim ary
item s o f b u s in e s s in th e o r g a n iz a t io n i s th e
p r a is e o f th e k i n g . 50
T h is p a t r i o t i c o b s e s s io n c o n tin u e d a f t e r th e C ongress
o f Vienna as C arl Maria von Weber s e t th e t e x t s o f K firner's

Sword Song and Ltitzows w lld e Jagd t o m usic f o r male
v o ic e s . The t e x t t o th e f i r s t t h r e e v e r s e s o f K ttrner’ s
Sword Song i s :
You sword on my l e f t s i d e , why do you gleam so h a p p ily ?

You lo o k a t me in such a f r i e n d l y way, you th e r e fo r e
have my f r i e n d s h i p 1.
Hurrah, h u rrah , hurrah!
I am c a r r ie d by a b rave t r o o p e r , t h a t i s why I am
so happy;
B ein g a weapon t o f r e e mankind b r in g s jo y to th e sword I
Hurrah, hu rrah, hurrah!
Y es, good sw ord, I am f r e e and I lo v e you very much.
You are as tr u e to me as a b e lo v e d b r id e !
H urrah, h u rrah , h u rr a h !51
W ithin th e P ru ssia n army i t s e l f , w h ich had a t r a d i t i o n
o f l u s t y s in g in g d u rin g th e War o f L ib e r a t io n , many r e g i

m ents o r g a n iz e d c h o r u se s o f t h e i r own in im it a t io n o f
50. A lfr e d E i n s t e i n , M usic in t h e Romantic Era (New York:

W. W. N orton & C o ., 1 9 4 ? ), 1 0 0 .
51. F r ie d r ic h K arl F r e ih e r r von E r la c h , D ie V o lk s lle d e r
d er D eutsch en (Mannheim: H e in r ic h Hof^, i 8 3 4 ) » U77.
29
5>2
L u tzow 's F ree C orp s. W ith a l l e le m e n ts o f s o c i e t y and
th e army as a b a s e , th e L l e d e r t a f e l in d u ced an atm osphere
o f cam arad erie and a p a t r i o t i c z e a l w h ich was t o in f lu e n c e
t h e MBnnerchor— th e d e v e lo p in g m ainstream o f th e male
chorus movement, as s e e n i n th e e f f o r t s o f Hans Georg N ftg e li.
Mflnnerchor
nTo u n d ersta n d N ftg e li, one must u n d ersta n d P e s t a l o z z i , ”

s t a t e s Howard Eber E l l i s .
Johann H e in r ic h P e s t a l o z z i s t i l l i n f l u e n c e s th e w e ste r n
w orld i n many p h a ses o f e d u c a tio n , and was one o f th e f i r s t
to i n s t i t u t e a system o f te a c h in g a c c o r d in g to the a b i l i
t i e s o f th e i n d i v i d u a l . H is l i f e t i m e was a f f e c t e d by th e
F rench R e v o lu tio n j u s t a s Z e l t e r ' s w a s, but P e s t a l o z z i was
more i n t e r e s t e d i n u p l i f t i n g th e poor p e a sa n t o f S w itz e r la n d

th an in th e r e t u r n o f th e r o y a l h o u s e . W hile o t h e r s r e
v o lt e d i n v i o l e n c e , h e c h o se t o e f f e c t a r e c o n s t r u c t io n o f
b a s ic e d u c a tio n . H is ab h orrence o f th e s t a t u s quo in 1800
i s m irrored i n h i s own th o u g h ts . The p e o p le o f S w itz e r la n d ,
he w r o te ,
52. T r e is c h e , 293-29U*
Howard Eber E l l i s , The I n flu e n c e o f P e a ta lo z z ia n is m
on I n s t r u c t i o n In M usic (Ann Arbor; tJ n iv e r s ity
t f ic r o f i lm s , 191?? J > 2.
30
l i v e d i n in d e s c r ib a b le d e g r a d a tio n more l i k e
an im als than men . . . . In th e ca n to n o f
Z u rich 5 ,0 0 0 lo r d e d i t o v er li+ 0 ,0 0 0 p e a sa n ts
who were l i t t l e more th an s e r f s . . . . every
where th e men who h e ld o f f i c e s i n church and
s t a t e were in a p o s i t i o n . . . to put an end
to t h is e v i l . . . . when I saw them l i k e co n
s p ir a t o r s u n ite d t o d e c la r e th a t th e b e a s t l y
p l i g h t o f th e p e o p le was good ., . . my sympathy
tu rn ed t o a p a s s io n a t e r e v o l t . 51+
He th o u g h t th a t man was b e in g robbed o f h i s d ig n it y and

gcr
p e r s o n a l pow er, and c o u ld o n ly be h e lp e d through t r a in in g ." ^
In 1809 P e s t a l o z z i ask ed Hans Georg N & g eli, who had
opened a s in g in g s c h o o l, to w r ite a manual on s i n g i n g . ^
T h is "most s i g n i f i c a n t com poser s in c e S e n fl" w rote fo u r

p e d a g o g ic books I n c lu d in g , in 1817, th e Mflnnerchor-
b i l d u n g s le h r e . He had form ed a m ale chorus as a s p e c i a l
d i v i s i o n o f h i s s in g in g s c h o o l, and h i s approach t o t h e i r
i n s t r u c t i o n was a s o r g a n iz e d as was P e s t a l o z z i ' s th e o r y o f
e d u c a tio n . The M & nnerchorbildungslehre i s d iv id e d in t o
two s e c t i o n s w hich in c lu d e r u l e s o f o r g a n iz a tio n , so n g s ,

and r o u n d s, and t h i r t y graded e x e r c i s e s in fo u r p a r t s .
In N t t g e li's view a good co n d u cto r sh ou ld have a good e a r ;
51+. I b i d . , 2 and 3 .
55. I b id . , 3.
56. Hermann J o s e f S c h a ttn e r , V o lk sb lld u n g durch M usiker-
z le h u n g . Leben und Werk Hans Georg N ftg e lis
(O tte r b a c h k a is e r s la u te n : A r6 o g a st7 1 9 5 6 ) , 1 8 8 .
57. I b id .. 188.
31
he sh ou ld p la y th e p ia n o a d e q u a te ly ; to be a member in th e
ch o ru s he sh ou ld have a pure v o ic e (p a s t m u ta tio n ) and some
58
know ledge o f m u s ic ia n s h ip . I f a c a n d id a te had a good
v o ic e but la ck ed m u s ic ia n s h ip , th e d e f i c i e n c y had t o be
qa
overcome th rou gh t r a i n i n g .-'7
Whereas th e A u str ia n F r e u n d e sk r e ls was in te n d ed f o r a
c l o s e l y - k n i t ensem ble and the L i e d e r t a f e l was s o c i a l l y e x

c l u s i v e , N ftg e li’ s Mflnnerchor was in te n d e d f o r th e p eo p le
o f th e m id d le c l a s s . In a P e s ta lo z z ia n d e s ir e to ed u c a te
e v e r y o n e , he d e c la r e d :
Hence our h ig h e s t a r t i s t i c w ish t h a t th e German

men sh ou ld want t o u n ite th em selv es' i n . . .
la r g e c h o r u se s; and I f a t any tim e i}.00 s i n g e r s ,
in s t e a d o f f o r t y , should w ant to perform our
s o n g s , we must n o t c a lc u l a t e a b a la n ced e f f e c t .
N R geli p r e fe r r e d th e sim p le r e p e a te d m otive o f the d i r e c t
M ftnnerchorgesang o ver th e e v e n m inor c o m p le x itie s o f th e
S c h u b e r tia n L ie d . L ik e Z e lt e r , he was i n t e r e s t e d In th e
u n it y o f th e f a th e r la n d and a p a t r i o t i c German im age.

Proud o f b e in g S w is s , but a ls o o f b e in g "a German,” he
ech oed P e s t a l o z z i ’ s b e l i e f : ”Why h a s not th e a r t o f th e
58. I b id ., 188.
59. I b id . , 189.
60. Ewens, l55«
32
a g e s ta u g h t us t o j o i n th e n u r se r y l u l l a b i e s in a s e r i e s o f
n a t io n a l s o n g s , w hich would r i s e in th e c o t t a g e s o f th e
p eo p le from th e g e n t le c r a d le song to the sublim e hymn of
61
p r a is e ? ” An apt example o f P e s t a l o z z i ' s i d e a l i s one o f
N f t g e li's own s o n g s , N a tio n ! :
N a tio n l N a tio n l How f u l l r in g s th e sound'.

To th e v a l l e y s , to th e h i l l s , th e s p i r i t sp e e d in g on
Prom th e e v e r w id en in g h e a r t!
Oh, p r e s s on t o the o n e , the g r e a t ,
The g lo r io u s roadj®^
Germans l i k e d th e s t y l e o f th e S w iss Mftnnerchor w ith

i t s p a t te r n o f p a t r i o t i c f e r v o r combined w ith p e d a g o g ic a l
e x a c t n e s s .^ P ie r s ig in h i s "Mftnnerchor" s a y s : "This
q u ic k ly became th e germ c e l l o f a b r o a d ly r a m ifie d in ca n -
t o n io n a l p r e f e r r in g to th e S w iss c a n t o n / n a tu r e , and spread

t o sou th Germany a f f e c t i n g th e Mftnnerchor as had th e
L l e d e r t a f e l , w ith Z e l t e r ' s stam p, sp read through n o r th
German la n d s . Where Z e l t e r ' s L l e d e r t a f e l had begun a s
a sm a ll n a t io n a l movement, N ftgeli to o k t h e id e a and
61. E llis , 82.

62. J . Heim, V olksgesftnge fUr den ^Mftnnerchor, L lederbuch
ftir S e h u le , ftaus und V e r e in (L e ip z ig : P. P a b st,
1 9 0 2 ), No. 1+7.
63. P i e r s i g , c o l . Ity6l .
6I4.• I b i d . , c o l . llj.60.
33
d e v e lo p ed i t i n t o a p e o p le ’ s movement th a t in c lu d e d e v e r y
one. Z e lt e r was th e m odel and N& geli th e o f f s p r i n g t h a t
m atured and became th e m ainstream o f the German m ale chorus
movement.
Developm ent and C u lm in ation

E rn st A r n d t's p a t r i o t i c poem, Das D eu tsch e V a te r la n d ,
u n d e r lin e s th e t o t a l German s p i r i t w ith in th e male ch oru s
movement:
Where i s the German's fa th e r la n d ?

Name me a t le n g t h t h a t m igh ty lan d I
Where e v e r resou n d s th e German to n g u e ,
Where e v e r th e hymns t o God are su n g.
T h is , i t sh o u ld b e . Brave German,
T h is you sh o u ld name it!°5>
Whereas o r a to r y had been th e s o c i a l a r t o f th e C in q u e ce n to ,

m usic assumed th e same p o s i t i o n i n th e n in e t e e n t h c e n tu r y ;
i t was Man in d is p e n s a b le ornament o f e v e r y German f e s t i v a l ,

a gen u in e p r id e o f th e n a t i o n . ”
66 Henry Mayhew, an E n g lis h
man, i n h i s German L if e and M anners, a r a th e r s u p e r c i li o u s
and g e n e r a lly anti-G erm an c r i t i q u e o f German l i f e , d id co n
ced e t h a t th e Germans' u n iso n s in g in g was e x q u i s i t e and

t h a t ev en am ateurs read w e l l a t s ig h t (perh aps th e r e s u l t
65. A lfr e d B a s k e r v i ll e , The P o e tr y o f Germany ( P h ila

d e lp h ia : L. K o h ler, 1661*), 156'.
66. T r e it s e h e , 29k*
3b
o f a P e s t a l o z z i a n - N i g e l i p ed a g o g ic i n f l u e n c e , s i n c e s tu d e n ts
67
w ere ta u g h t to do so in th e p u b lic s c h o o l s ) .
The f l a v o r o f th e n in e t e e n t h c e n tu r y and German c h o r a l

s in g in g i s ca p tu r ed i n Mayhew’ s d e s c r ip t io n :
W herever you go you are su re to h ea r some ch oru s

f l o a t i n g in t h e a i r ; . . . or maybe you are
aro u sed from your slum bers by the v o i c e s o f an
e n t i r e c h o ir s e r e n a d in g th e p r e s id e n t o f th e
c lu b on h i s b ir t h d a y . 60
T h is lo v e o f s in g in g and th e d e s ir e f o r a u n if ie d
Germany form ed a p a r a l l e l t h r u s t w ith two o th e r n a t io n a l

r e c r e a t io n s a t r e g io n a l and n a t io n a l f e s t i v a l s . The c i t y o f
C olb erg h a s th e d i s t i n c t i o n o f h o s t in g th e f i r s t D eu tsch e
Sin gerb u n d ( 1 8 6 2 ) , th e f i r s t S c h U tz e n fe st ( s h o o t i n g - f e s t i v a l ),
69
and th e f i r s t n a t io n a l T u m f e s t ( g y m n a s t i c - f e s t i v a l ) .
These th r e e a c t i v i t i e s w ere o f t e n under s u r v e illa n c e a s
h o tb e d s o f l i b e r a l i s m and u n i f i c a t i o n .
As e a r ly a s l81|.2, th e S w iss F e d e r a l S a n g v e r e ln was
begun; t h i s o r g a n iz a t io n e v e n t u a l ly e d it e d th e E ld g en -
f ls s l s c h e s S i n g e r b l a t t , a newspaper s e r v in g b oth French and
67. Henry Mayhew, German L if e and M anners, 2 v o l s . (London:

W illia m H. AllerTac' B o . 1861*J, V o i. 1 , 2 9 9 .
68. I b id . , 299.
69. P i e r s i g , c o l . ll|.6 l .
35
German s in g in g s o c i e t i e s . The F ra n k fo r t and Wtirzburg

F e s t i v a l s o f I 838 l i s t e d o u ts id e p a r t i c i p a t i o n and were
among th e f i r s t su ch o c c a s io n s t o w hich o th e r th a n l o c a l
groups were i n v i t e d . In 1856 th e V ie n n e se M&nnerge 3an gi
ve r e in was form ed and t h e A lsa c e Sflngerbund h e ld t h e i r
70
f i r s t known f e s t i v a l in t h a t same y e a r .
The m ale ch o ru s movement sp read g e o g r a p h ic a lly , but
i t s im pact n e v e r pushed beyond th e b o rd ers o f G erm an-speak
in g c o u n t r i e s . A lth ou gh t h e Orpheons i n France were
d e sc e n d a n ts o f t h e N fig e li in f l u e n c e , t h e i r membership ten ded
tow ard p r o f e s s i o n a l groups or s t u d e n t s . The S c a n d in a v ia n s
g r a v it a t e d m o s tly to th e perfom nance of f o l k m a t e r ia ls w it h
little in te r e s t in p o l i t i c s .
Composers o f male ch oru s l i t e r a t u r e in c lu d e d both
f i r s t - and secon d -ran k t a l e n t s . Franz A b t, B eeth oven ,

Ludwig B e rg e r, Brahms, Bruckner, F r ie d r ic h H egar, E. T. A.
Hoffman, K onradin K r e u tz e r , F r ie d r ic h K uhlau, Franz and
Ign az L ach n er, L i s z t , K arl Loewe, H e in r ic h Mar3c h n e r ,
S c h u b e r t, Schumann, Spohr, von Weber, Z e l t e r , and F r ie d r ic h
Z b lln e r a l l c o n tr ib u te d to t h i s g en re w ith e r u d ite c a n ta ta s

and M asses, p a t r i o t i c b a lla d s , and c o n v iv ia l d r in k in g
70. I b i d . , c o l . llj.62.
71. I b i d . , c o l . 1^6 2 .
36
s o n g s .^ A t e x t e x e m p lify in g t h i s l a s t d i v i s i o n o f male
ch o ru s l i t e r a t u r e i s K arl Z e l t e r ’ s D r in k in g -S o n g . I t is
t h e s o r t o f p ie c e t h a t M aurice Brown e a r l i e r a ccu sed o f
c r e a t in g th e " f u ll- t h r o a t e d r o a r o f a German b e e r - c e l l a r ."
At K lin g en b erg on th e M aine, a t Wurzburg on th e S t e in ,

To B acherach on th e R hein,
I have in my day o f t e n heard s a id
We have th e v e r y b e s t w in e .
Boy, f i l l me a g l a s s o f wine
And b r in g i t to me h e r e , a s I d e s ir e i t .
Chorus: My d ear s i r , my d e a r , d ear s i r ,
I w i l l b r in g i t and g a i l y s in g :
Cheer up, g en tlem en , up, up
The l i t t l e cask h as on i t no c o a t o f m a il!
The c lim a c t ic moment f o r a l l th e e f f o r t s o f th e male

ch oru s movement p a sse d w ith th e fo u n d in g o f the German
Empire in 1 8 7 1 . A fte r t h i s d a te some o f i t s d r iv e and
f e r v o r was l o s t . P h i li p S p i t t a summarized i t t h i s way In
1888:
The male s in g in g l i f e w as, a t t h i s t im e , g o in g

th rou gh a c r i t i c a l p e r io d . . . . I t can h a r d ly
be assumed t h a t i t s ca u se w i l l be su pp orted by
I t s f r e e and h ig h ran k , and we know w e ll th a t a
p o s s i b i l i t y o f a r e c u r r in g movement, mature in
n a tu re in i t s c h a r a c te r , cannot be c o n c e i v e d . 7 U
72. I b i d . , c o l . 11*62.
73. G. W. F in k , M u slk a llsc h e r H au ssch atz (L e ip z ig :

M u sik a lisc h e r H a u ssch a tz, n . d . ) , no” 703.
71*. Brinkman, 1 0 7 .
37
A lthou gh th e male ch o ru s movement i s s t i l l a l i v e in German
sp ea k in g c o u n t r ie s to d a y and th e E ld g e n S s s ls c h e s S ftn g erb la tt

c o n tin u e s t o p u b lis h , i t i s e v id e n t th a t once th e g o a l o f
n a t io n a l p o l i t i c a l u n it y was e s t a b l i s h e d , an im portant p art
o f i t s purpose had been l o s t .
In th e l a t e n in e te e n t h c e n tu r y , what E ngel c a l l s a
r e tr o g r a d e developm ent o ccu rred in th e fo u n d in g o f th e
A rb eitersfln gerb u n d (W orker’ s S in g in g F e d e r a t io n ) . As i n
d u s t r i a l r e v o lu t io n brought p o v e r ty to th e urban m a sses,
th e hungry 181^0 ' s r e s u lt e d in the u p r is in g o f I 8I4.8 , and as
th e m idd le c l a s s began t o break up in to o c c u p a tio n a l f a c
t i o n s , s in g in g o r g a n iz a t io n s began t o r e f l e c t t h i s tre n d by
t h e i r d i f f e r i n g t i t l e s — F a b r lk v e r e in , G esch flftsleu te e t c . ”^
Fahlen s a y s : "They sang o f freedom , e q u a l i t y , and a b e t t e r

f u t u r e . ”^
A L l e d e r t a f e l f e s t a t C ologn e, 18U6
Henry C h o rley , a l a t t e r - d a y C h arles Burney, d e s c r ib e s
an l 8ij.6 L i e d e r t a f e l f e s t at C ologne; both German and F lem ish
77
m ale ch o r u se s were p r e s e n t . ' 1 M endelssohn, w ith whom
75 . E n g e l, 7 6 .
76. Kurt P ah len , " P la u d e r e ie n tiber M usik," E ld g e n flss ls c h e s

S ftn g erb la tt XXX/9 (Septem ber, 1 9 6 5 ), 9^.
77. Henry F . C h o rley , Modern German Music (London: S m ith ,
E ld er & C o ., 1851*), I t , 327.
38
C h orley was t r a v e l i n g , had w r it t e n a s p e c i a l c o m p o sitio n

f o r th e o c c a s io n and was t o be g u e s t o f h o n o r. C h orley
t e l l s o f th e o v e r flo w in g c i t y , and o f la n d lo r d s f in d in g i t
n e c e s s a r y to p la c e p e o p le "head t o h e e l" i n the h o t e l s .

He sp eak s o f th e flo w e r -d e c k e d G ttrzenich H a ll w ith I t s low
c e i l i n g and o b s t r u c t in g c e n t r a l p i l l a r s , r e s u l t i n g in poor
a c o u s tic s .^ ® The o r c h e s tr a fo r the f e s t i v a l was fo r m id a b le .
I t numbered n in e t y In stru m en ts in c lu d in g an organ , fou r
f l u t e s , fo u r o b o e s, fo u r b a s s o o n s , e ig h t c l a r i n e t s , two
b a s s e t t h o r n s , e ig h t h o r n s , e ig h t tr u m p e ts, fo u r keyed
tru m p e ts, s i x trom b ones, one b a ss tu b a , one o p h l c l e i d e , two
p a ir o f drums, tw en ty -tw o c e l l o s , and fo u r te e n double
b a s s e s — a l l were p la c e d in back o f and above th e m assed
79
m ale c h o i r . ' 7
On th e f i r s t day a l l grou p s a tte n d in g jo in e d i n a
combined c o n c e r t . The secon d day in v o lv e d a c o n t e s t o f
in d iv id u a l c h o r u se s com peting f o r a p r i z e . C horley t e l l s

o f the g e n e r a l atm osphere a s t h e crowds g a th e re d :
There was a w holesom e, p e r s o n a l e m u la tio n .

and e x c ite m e n t i n t h i s , t o t a l l y i n harmony . . .
w ith th e p ervad in g to n e o f concord w h ich harm onized
78. I b id . , 329.
79. I b id ., 330.
39
so v a s t an assem b lage o f s c a t t e r e d m a t e r ia ls
. . . I know t h a t I t was im p o ss ib le t o a v o id
f e e l i n g h o t , e a g e r , i n t e r e s t e d (a n d . no d ou b t)
p a r t i a l , as th e e x h i b i t i o n went on.®0
The c o n t e s t , w ith i t s pomp and cerem ony, to o k p la c e in t h i s

f a s h io n :
Of c o u r se a L i e d e r t a f e l S o c i e t y w ould be
n o th in g w ith o u t i t s b a n n e r, em b roid ered by l o v
in g l a d i e s ; and as th e p a r t i e s came down se p a
r a t e l y t o e x h i b i t , t h e . . . e n s ig n o f each
s o c i e t y was brought down from th e w a ll and
p la c e d w ith a f l o u r i s h o f tru m p ets b e fo r e th e
c o n d u c to r ’ s d e sk . . . e a ch squadron g o in g
th rou gh i t s e x e r c i s e s under th e g u id a n ce o f
i t s own g e n e r a l.® ^
He th e n d e s c r ib e s th e f e s t i v a l ’ s end: nThe w h ole was
b rough t t o a c l o s e w ith th e w ell-k n o w n 'Was 1 s t d es
D eu tsch en V a te r la n d ' su n g w it h s p i r i t enough to wake th e
d e a d .” The p o l i t i c a l u n d erton e ap p ears a g a in ; C h orley
em p h a sizes i t w ith th e f o l lo w in g remark:
I t i s e a s y t o r e c o l l e c t t h a t , b e fo r e 181|6, th e r e
had been h e a d -s h a k in g s . . . on th e p a rt o f
p r in c e s t h a t t h e s e L i e d e r t a f e l S o c i e t i e s i n
v o lv e d a m eaning more d e e p ly and d i r e c t l y p o l i
t i c a l th a n th e y ought t o . . . ,®2
8°. I b id . , 332.
81. I b id ., 333.
82. I b i d . , 33U.
ho
In d e e d , th e p o l i t i c a l innuendo was alw a y s w ith th e

m ale chorus movement from Kfirner and von Weber t o Herwegh
and L i s z t . A lth ou gh a str o n g n a t i o n a l i s t i c d r iv e was an
im p ortan t p r o p e lla n t t o th e German male c h o r u s, th e in tim a c y
o f th e F r e u n d e sk r e la , th e s o c i a b i l i t y o f the L l e d e r t a f e l ,
and t h e l o f t y p e d a g o g ic aim s o f N& geli were a l s o im portant

e le m e n ts i n th e physiognomy o f t h i s n in e t e e n t h - c e n t u r y
m u s ic a l phenomenon.
kl
Chapter I I
MALE CHORUS LITERATURE* l8 ^ 0 -l8 U 9
Commentary
When C h orley and M endelssohn a tte n d e d th e L i e d e r t a f e l -

f e s t a t C o lo g n e, t h e y may have heard one o f th e f i r s t m ale
chorus c o m p o sitio n s o f Franz L i s z t . L i s z t ' s works o f t h i s
gen re were w r i t t e n betw een I 8J4.I and 18 8 5 , and are lo c a t e d
a t th e P a r is C o n s e r v a to ir e , the Hungarian N a tio n a l Museum
i n B u d ap est, and i n th e Gregg P r e ss r e p r in t o f 1966 (b a sed
on th e 1918 B r e itk o p f & H ftrtel e d i t i o n o f th e c o l l e c t e d
works o f L i s z t ) . Many o f the s e c u la r p a r t-s o n g s are housed

a t th e L ib r a ry o f C ongress in o u t - o f - p r i n t p erform ing e d i
tio n s . A ccord in g to P r o fe s s o r Hahn o f th e G o eth e- and,
S c h llle r - A r c h iv i n Weimar, E a st Germany, a l l but two of the
m ale ch oru s U r te x ts were d e str o y e d in World War I I bombing
r a id s .* The A r b e ita n c h o r , Le F orgeron and An d ie K tin stler

have been r e c e n t l y e d it e d through th e H ungarian p u b lis h in g
h ou se o f Zenemttkiado V a l l a l a t .
1. L e t t e r o f R ichard M. K o lb e t, Head, A c q u is itio n s D ep a rt

ment o f th e U n iv e r s it y L ib r a r ie s , U n iv e r s it y o f Iowa,
Iowa C it y , Iow a, t o James Pudge, March 2 3 , 1970 ( i n th e
w r i t e r ' s p e r s o n a l p a p e r s ).
Irfhy L i s z t w rote so many o f t h e s e e a r ly s e c u la r p ie c e s
i s open t o s p e c u la t io n . The M&nnerchor movement was in f u l l

flo w e r a t t h i s tim e and t h e market t o s a t i s f y i t s n eed s must
have been l u c r a t i v e . Along w ith many o th e r German com posers
he fa r e d w e l l (th rou gh th e p u b lis h in g h o u se s o f K ahnt,
S ch u b erth , L i c h t , B r e ltk o p f & H & rtel, e t c . ) in s e l l i n g
hundreds o f c o p ie s to m ale s in g in g s o c i e t i e s . As a w e l l -
t r a v e le d v ir t u o s o he perform ed i n the m ajor c i t i e s o f E urope,
and g r a d u a lly came t o know c o n d u cto r s and im p r e s a r io s l i k e
R ichard P o h l, C arl R e in e ck e, K arl R ie d e l, Hans B r o n sa r t,
and. Johann Herbeck as w e l l a s th e n a t i o n a l i s t p o e ts Herwegh

and F a ll e r s l e b e n . P e te r Raabe, th e l a t e L i s z t s c h o la r and
d i r e c t o r o f th e L i s z t Museum, f e l t th a t th e e a r l y male
c h o ru s p ie c e s se r v e d a p u r p o se . He b e l ie v e d th e young
p i a n i s t w rote a t f i r s t f o r m a le -v o ic e groups b eca u se o f a
la c k o f e x p e r t is e in o r c h e s t r a l c o m p o s itio n . Raabe comments
upon L i s z t ' s a f f i n i t y f o r m a le -v o ic e s o n o r ity :
He p o s s e s s e d u n t i l h i s d e a th a j u s t i f i e d p r e f e r
ence f o r t h e sound o f th e m ale ch oru s; in h i s
church work we m eet male c h o r u se s up in t o h i s
f i n a l l i f e s t a g e . T h is c h o ic e a l s o had a p r a c
t i c a l r e a so n h e r e , f o r many C a th o lic ch u rch es
have o n ly m ale c h o r u se s a t t h e i r d i s p o s a l . 2
2. Raabe, 1 3 2 .
Some o f th e e a r l y 3 e c u la r p ie c e s w ere w r it t e n out o f
f r ie n d s h ip f o r a p e r so n or an o r g a n iz a t io n . Das D eutsche
V aterlarid was composed in l81j.l fo r th e King o f P r u s s ia who,
in r e tu r n , d e c o r a te d L i s z t w ith th e O rder o f M erit (a second
v e r s io n was d e d ic a te d t o s tu d e n ts from B e r lin , V ien n a,
K B nigsburg, B r e s la u , H a lle , and Jen a, but was not pub-
lis h e d ). I t a l s o r e c e iv e d , l a t e r i n l 8 £ l , an i n t e r e s t i n g
p o l i t i c a l c a r ic a t u r e i n th e B e r lin w e ek ly , K la d d e ra d a tsc h ,
w h ich read :
What i s th e German fa th e r la n d ?
I s i t P r u ssia ? I s I t Swabia?
I t sh o u ld be a l l o f R u ss ia !
I n s te a d o f:
What Is th e German fa th e r la n d ?
I s i t P r u ssia ? I s i t Swabia?
I t sh o u ld be a l l o f Germany!
T h is o b scu re p o l i t i c a l b i t o f s a t i r e was r e p o r te d by L is z t
in a l e t t e r t o C arolyn S a y n -W Ittg e n s te in , i n which he quoted
a Madame P o lz o f B e r lin ( i t s humor was d o u b tle s s u n d erstood
by th e m id d le n in e t e e n t h - c e n t u r y German, but i s l o s t t o us
now)
3. B r i e f e , IV, f>3*
1*. I b i d . , 5>3*
kk
In l i k e manner t h e m ale q u a r t e t , T rin k sp ru ch , was
d e d ic a te d t o th e Munich S t u b e n v o l l g e s e l l s c h a f t in r e tu r n
£
f o r a P esta b en d g iv e n in L i s z t ’ s honor on O ctober 31» 18U 3*
Two o th e r m ale chorus p i e c e s r e f l e c t th e tu r m o il of
th e l8 l|.0 ’ s i n r e l a t i o n to t h e European i n d u s t r i a l r e v o lu t io n
and t h e g e n e r a l u n r e s t o f th e la b o r in g c l a s s . H ere, as in
S e b a s tia n R ttchl, "Ein un bekan ntes M &nnerquartett Franz

L i s z t s , " Z e l t s c h r l f t fttr Musik (June 6 , 1 9 2 9 ) , 3 3 2 -3 3 3 -
A cco rd in g t o RiJchl’ s d e s c r i p t i o n , L i s z t had
f i n i s h e d a s e r i e s o f c o n c e r ts in and about M unich, th e
f i n a l perform ance b e in g fo r c h a r it y (a u su a l g e s tu r e
o f L i s z t ' s ) . He was th e r e b y i n v i t e d to a c e le b r a t io n
i n h i s honor by th e Munich Male Chorus S o c i e t y . Karl
Rattm an, th e d i s t r i c t le a d e r , u sh ered h i s g u e s t in t o
th e d e c o r a te d h a l l , w here th e p i a n i s t was g r e e te d
warm ly.
Now f o llo w e d hou rs o f p u l s a t i n g l i f e , o f jo y

f u l n e s s and h ig h s p i r i t s — o f humor and jo k e s —
o f r a i l e r y and p ran k s— o f s in g in g and t o a s t s .
L i s z t p la y e d , th a n k in g them in storm y homage.
The h ig h p o in t o f th e e v e n in g a r r iv e d w ith a
t o r c h l i g h t m arch. About i|.00 p a r t i c i p a n t s , e a ch
w ith a ta p e r in h i s hand, g o in g f r e e l y through
th e window la u g h in g and s in g in g in s i n g l e - f i l e ,
th rou gh U n ter - and O beranger and tu r n in g back
th ro u g h an o th er window i n t o th e h a l l .
S in ce L i s z t had t o le a v e a t an e a r ly hour fo r
A ugsburg, th e f e s t i v i t i e s ended a t m id n ig h t, but
n o t u n t i l he was e s c o r t e d t o P er Schwarze A d le r ,
an in n where G oethe had once s ta y e d . A fte r a
w a it o f s e v e r a l m on th s, on January 1 9 , l8l|ij., two
m ale q u a r t e t s were r e c e iv e d and e n s c r ib e d : "For
th e g a l l a n t and e n t h u s i a s t i c m ale q u a r te t in th e
S tu b e n v o ll, a f r i e n d l y rem em brance." Weimar,
J a n .’UJj'. F .L .
U5
a lm o st e v e r y f a c e t o f h i s m u sic a l and n o n -m u sic a l l i f e ,
L i s z t p r e s e n ts a d ich o to m y . He had r e c e iv e d an e a r ly edu
c a t i o n in l i b e r a l th o u g h t th rou gh a f r ie n d s h ip w ith Abb£

F d iic ltd '-R o b e r t de Lam ennais, a famous F rench s o c i a l w r it e r
and h o ly man, but c o n tr a r y t o t h i s i n c l i n a t i o n was h is e x
c e s s i v e d e s ir e t o be a c c e p te d by a l l t h a t was a r i s t o c r a t i c .
In f a c t , th e f i r s t o f t h e s e c o m p o s itio n s , A r b e lte r c h o r
(w o r k e r s’ c h o ru s, f o r b a ss s o l o , m ale ch o ru s and p ia n o )
m ir r o r s t h i s same d ich o to m y . S e t t o th e p o e tr y o f Laraen-
n a i s , i t was t o be perform ed i n l8 1 |8 , th e y ear o f s o c i a l
r e v o lu tio n . O b v io u sly i n f e a r o f r o y a l d is a p p r o v a l, L is z t
w rote to K arl H a s lin g e r ( i n charge o f p r e p a r in g th e p r i n t
in g ) :
Dear K a r l,
S in ce th e c ir c u m sta n c e s o f t h e p e r io d a ffo r d
an e n t i r e l y abnormal commentary f o r th e la b o r
q u e s t io n , i t would th u s appear more p u rp o sa b le
t o p o stp o n e t h e p u b lic a t io n o f t h i s A r b e ito n c h o r .
I le a v e th e d e c i s i o n up to you in t h i s m a tte r .
F. L is z t6
I t i s assumed H a s lin g e r d e str o y e d t h e p l a t e s , as he d id in

t h e c a s e o f th e p ia n o c o m p o s itio n , Lyon, d e d ic a te d to
6. Franz L i s z t , A r b e lte r c h o r fftr MMnnerchor. B a s s - s o lo

und K la v le r , e d . b en es Bartlaa (B u d ap est: &enemliklad6
V a l l a l a t , 195U)* in t r o d u c t io n .
1+6
Lam ennais by L i s z t . A r b e lte r c h o r was n o t perform ed u n t i l
Anton Webern, in 1 9 3 0 , made an a d a p ta tio n f o r m ixed ch oru s

and o r c h e s t r a . Webern f i n a l l y perform ed i t on December 11,
7
1 9 3 2 , f o r a la b o r e r '.1 c e l e b r a t i o n . A work d i r e c t l y t i e d
t o A r b e ite r c h o r i s t h e symphonic poem, Mazeppa (w hich was
i t s e l f an e x p a n sio n o f th e fo u r th e x e r c i s e o f th e E tudes
d 1e x e c u tio n t r a n s c e n d e n t a le ) . I t c o n t a in s th e e n t ir e theme
o f th e c h o r a l p i e c e .
The secon d ch o ru s d e p ic t in g th e s t r u g g l e s o f th e n in e
t e e n t h c e n tu r y la b o r e r i s Le F orgeron (The B la c k sm ith ). It
was composed t o Lam ennais1 p o e tr y in L isb o n , P o r tu g a l, in

181+5, and was o r c h e s tr a te d by Conradi (one o f L i s z t ! s s e v
e r a l o r c h e s t r a t io n a s s i s t a n t s ) in 181+8. I t rem ained unpub
l i s h e d u n t i l Zenemttkiado V a l l a la t brought i t out in 1962.

I t d id r e c e i v e , h ow ever, a p r e v io u s perform ance under the
d i r e c t i o n o f L a ja s V oss w ith th e s t e e lw o r k e r s 1 ch oru s in
8
B udapest on A p r il 2 2 , 1 9 6 1 . In a l e t t e r t o Lamennais from
D ijo n on June 1 , 181+5, L is z t warns o f a to o e a r ly perform
ance on m u s ic a l g ro u n d s. He a l s o ask s Lamennais f o r "the
co m p lete s e r i e s o f t h e s e s im p le , and y e t a t th e same tim e ,
7. I b i d . , in t r o d u c t io n .
8. Pranz L i s z t , Le F o rg ero n , e d . I s tv a n S z e le n y i
(B u d ap est: Zenemukaidd V a l l a l a t , 1 9 6 2 ), p r e f a c e .
k7
su b lim e c o m p o s itio n s , o f which you a lo n e know th e s e c r e t ."

L i s z t s u g g e s ts th e prop osed c h o r u se s be c a l l e d " L ab orers,
S a i l o r s , and S o ld ie r s ." The p r o j e c t n e v e r came t o f r u i -
9
tio n .
Songs f o r s p e c i a l d e d ic a to r y o c c a s io n s com p lete th e
p ie c e s o f l8 i|.l-lj.9 . In l81p. th r e e Mftnnerchor p a rt so n g s

were composed f o r th e b e n e f i t o f th e Mozart F ou n d ation :
R h e ln w e ln lle d (H erwegh); S tu d e n te n lie d aus G o e th e 's F a u s t;
th e f i r s t and seco n d s e t t i n g o f Herwegh*s R e i t e r l i e d .
R h e ln w e ln lie d and th e f i r s t v e r s io n o f R e i t e r l i e d are a c
companied by p ia n o fo r te ; th e o th e r s are a c a p p e lla .

R h e in w e in iie d and S tu d e n te n lie d were perform ed i n Jena and
L e ip z ig , r e s p e c t i v e l y , i n 181+1, w h ile th e l a t t e r had a
h e a r in g a t P a r is i n th e same y e a r . P aula R ehberg, how ever,

cla im s t h a t , i n th e l81j.l L e ip z ig perform ance n o t o n ly th e
S tu d e n te n lie d but a ls o R h e ln w e ln lle d and Das D eu tsch e

V a terlan d were sung.*'® L a te r R h e ln w e ln lle d was o r c h e s t r a t e d .
In a l e t t e r t o K ornel von A lbrany (J u ly 1 , 1881+), i t i s
su g g e ste d th a t a C. Huber, co n d u cto r o f th e H ungarian
S in gers* U nion, o r c h e s t r a t e th e p i e c e . L is z t s a y s :
9. L e t t e r s , V o l. I , 73-
10. P aula R ehberg, Franz L i s z t , D ie G e sc h lc h te s e i n e s
L eb en s, S c h a ffe n s und W irkens (Z u rich und S t u t t g a r t :
A rtem is, 19& 1), 1 5 0 .
he
"as I have worked on th e accom panying co p y , on p ages 3 , 5 ,
7 in s te a d o f D - f l a t , G - f la t i n th e second te n o r , th e
11
He a l s o a s k s , i n a n o th e r l e t t e r , th a t Huber do th e i n s t r u
m e n ta tio n f r e e l y a c c o r d in g t o h i s own w i l l , and not t o pay
e x c e s s i v e a t t e n t i o n t o th e p ian o accom panim ent. 12
L i s z t had seco n d th o u g h ts about e a r l i e r d e t a i l s in th e

S t u d e n t e n lie d . In a l e t t e r t o Johann H erbeck, d i r e c t o r o f
th e V ienna M u sik v erein on J u ly 1 2 , 1 8 5 7 , he thanked th e co n
d u cto r f o r a c a r e f u l r e a d in g o f the p ie c e and m en tio n s o th e r
s u c c e s s f u l p erform an ces in C o lo g n e, B e r l in , and P a r is . He
a ls o sa y s:
When I p u b lis h e d i t f i f t e e n y e a r s a g o , I
d id n ot th in k much o f making a llo w a n c e s f o r any
p o s s i b l e l a x i t y i n the i n t o n a t io n o f the s in g e r s :
but to d a y when my e x p e r ie n c e h as ta u g h t me b e t t e r ,
I sh o u ld p ro b a b ly w r ite t h e somewhat s t e e p and
s lip p e r y p a ssa g e a s f o l l o w s —^3
11. L e t t e r s , V o l. I I , I4.5 1 .
12. I b id .,
13. L e t t e r s , V o l. I , 3lU«
4— A
VJitt cU Wwdiu
P rob ab ly t h i s v e r s io n w ould a l s o be more

e f f e c t i v e . . . w ith th e a l t e r a t i o n o f th e
l a s t v e r s e ( i n h on or o f p r o s o d y !) — 3-4
Care i n v o ic e le a d in g s and a con cern f o r good in t o n a t io n
i s c h a r a c te r is tic o f L is z t. James H uneker, in 1 9 1 1 , sp eak s
t o t h i s p o in t :
11*. I b id ., 315.
5o
L i s z t ' s manner o f w r it in g f o r s o lo and c h o r a l

v o i c e s i s g e n e r a l ly p r a c t i c a l and e f f e c t i v e .
The v o ic e p a r ts a re c a r e f u l l y w r i t t e n so a s
t o l e s s e n t h e d i f f i c u l t i e s o f in t o n a t io n
which to o many f a r - f e t c h e d m o d u la tio n s i n
v o l v e , and a re s k i l l f u l l y d is p o s e d in p o in t
o f s o n o r i t y . 15
w
Uher a l i e n G lp fe ln i s t Ruh' i s from Goethe *s
W anderers N a c h tlle d and was composed i n 181j.2 . In 1857

a secon d s e t t i n g w it h two h o r n s was perform ed on th e
1 0 0 th b ir th d a y c e l e b r a t i o n o f Weimar’ s C arl A u gu st. Ac
c o r d in g t o R ehberg, i t was s o w e l l done th e a p p la u se d e
manded a r e p e a te d p la y in g .* ^ U n fo r tu n a te ly th e m usic i s
not a v a ila b le . L lc h t mehr L l c h t l , f o r m ale chorus and

b r a ss in s tr u m e n ts , was w r i t t e n f o r t h e c e le b r a t io n o f
G o e th e 's b ir th d a y on August 2 8 , l8 i|.9 - The w ork, i n i t s
e n t i r e t y , appeared i n th e August 2 5 , 18Ij.9 , supplem ent

o f th e L e lp z lg e r I l l u s t r l e r t e Z e itu n g , a common p r a c tic e
i n In tr o d u c in g a new work t o n in e t e e n t h - c e n t u r y Europe.
Schu berth p u b lis h e d a r e v is e d v e r s io n I n 18 5 6 .
15. James Huneker, Franz L i s z t (Hew York: C h a rles

S c r ib n e r 's S o n s, 1 9 1 1 ), 1 9 0 .
16. R ehberg, 333*
51
The Mualc
Daa D eu tsch e V a terla n d

I t was n o t p o s s i b l e t o se c u r e a r e p r o d u c tio n o f the
f i r s t v e r s io n o f Pa3 D eu tsch e V a te r la n d , but a ph otocop y o f
th e secon d v e r s io n was procured from th e C u r tis I n s t i t u t e

17
o f M usic. 1 I t i s a m an u scrip t copy i n L i s z t ’ s hand w ith
c o r r e c t io n s and d e l e t i o n s and I s , by f a r , th e s im p le s t o f
t h e male chorus p i e c e s . However, i t i s s k i l l f u l l y con
c e iv e d 30 th a t a la r g e number o f men m ight s in g i t in th e
t r u e Mflnnerchor t r a d i t i o n o f Hans N & gell.
The m o tiv e t h a t runs th rou gh ou t Das D eutsch e V aterlan d
I s , a s i n T rln k sp ru ch , R e i t e r l l e d , R h e ln w e ln lle d , and so

many o f th e t y p i c a l p a t r i o t i c m ale chorus p a r t so n g s, b ased
on th e rhythm ic and m elo d ic s u g g e s tio n o f a trum pet c a l l

( s e e Example 1 , a and b ) .
The th r e e v e r s e s a r e alm ost e x a c t , t h e e x c e p tio n
b e in g v e r s e two which com p resses i t s E m ajor p h ra se in to

s i x m easures i n c o n t r a s t to th e conform ing e ig h t m easu res
o f one and t h r e e . Im m ed iately a f t e r t h i s p h rase i n th e
t h i r d v e r s e , L i s z t om its a n e c e s s a r y f l a t s ig n f o r th e B
o f a C7 c h o rd , le a d in g t o F m ajor (s e e Example 2 ) .
17. Franz L i s z t , Das D eu tsch e V a te r la n d , 2nd V e r sio n

d e d ic a te d t o th e s tu d e n ts o f B e r lin , V ienna, E B n igs-
b e r g , B r e s la u , H a lle and Jena (C u r tis I n s t i t u t e o f
M usics Rare M anuscript o f L i s z t , 1 9 6 9 ), t i t l e - p a g e
and f i v e p a g e s.
52
Example 1 . Das D eutaehe VfttftrlAnri

a . M eas. 1 -3
LiW ^ UiUty
M P§P=S=P=P
I
r WM W <k* OwêUtw */« M dt( ‘Ds^ricku S/c*» 4rM'*Uv\4?
i £ £ £
b. Meas. 11 -1 3
NÂAVV MM
[ f ^ V ---- 1— 1
'V----^-- 1 ■|. ■ L-
r\
A__V -V a- ^ - r ~ r ~ 9— -
.1
I
i
£ 3 ^ = f e
u 3)
V :
j*
4 ~ v —P— V -
ft ft
J
Example 2 , Das P e a t ache V a terla n d

M eas. 6 0 -0 !
PaS 4«K U f" ' >
= lp iS ife s = i = :
T>a» s«ii M So.
53
The e n t i r e work i a i n C m ajor, but changes i n t h i r d -

r e l a t i o n s h i p t o the p r e v io u s ly m entioned E m ajor and to an
E - f l a t b rid g e b etw een th e second and t h i r d v e r s e s (a g a in
a th ir d -r e la tio n s h ip ). A f te r the t h i r d v e r se an o th er
b r id g e , marked Langsam, a p p e a r s. I t i s i n t r i p l e m eter

and moves th ro u g h t o n a l i t i e s o f A m in or, A m ajor, E m ajor,
G m ajor and r e tu r n s t o th e home k ey o f C m ajor— and to a
coda made up o f p r e v io u s m a t e r i a ls . I t en d s on a C -o cta v e

u n iso n .
On th e f i n a l page o f th e m a n u sc rip t, a n o te from
L i s z t t o th e p u b lis h e r S c h le s s in g e r b ea rs out an e a r l i e r
a l l e g a t i o n t h a t p ie c e s l i k e Das D eu tsch e V a te rla n d had
d e f i n i t e econom ic v a lu e . (M aurice Brown, i n h i s e s s a y o f
S c h u b e rt’ s m a le -v o ic e p a r t so n g s , c a l l e d them ’’money-
to
s p i n n e r s .’ ) The n o te r e a d s:
P . L i s z t r e q u e s t s , i n a f r i e n d ly manner,
H. S c h le s s in g e r to o b t a in , th rou gh h i s in f lu e n c e
and work, th e g r e a t e s t p o s s i b l e d is s e m in a tio n
i n Germany th ro u g h p erform an ces, sen d in g out
co p y , s u f f i c i e n t a d v e r tise m e n t (perhaps i t would
be u s e f u l l a t e r on i f th e song appeared p r in te d
i n th e I l l u s t r l e r t e L e lp z ig e r Z e ltu n g ) . For
t h i s t h e a u th o r w ould be e s p e c i a l l y g r a t e f u l
to h im .19
18. Brown, 6 1 .
19. L i s z t , Das D eu tsch e V a te r la n d , *>.
01+
T rln k sp ru ch Q u artet
The T rln k sp ru ch q u a r t e t , composed f o r the Munich
S t u b e n v o l l g e s e l l s c h a f t In 18J^3» i s p u r e ly a tr o p h ic and i t s
u n it y and shape are a c h ie v e d by i t s m e t r ic a l 6 /8 l i l t and
a t r i a d i c t r u m p e t - c a ll m o tiv e (Example 3 ) .
Example 3 . T rln k sp ru ch Q u artet

M eas. 1 -3
These e le m e n ts , a lo n g w ith a r o o t-m o v e m e n t-b y -th ir d s t o n a l

scheme ( B - f l a t m ajor, D m ajor, P -sh a rp m ajor, E - f l a t m inor)
c a rr y th e q u a r te t to c li m a c t i c u n iso n s n ea r th e f i n a l
ca d en ce, a s se e n i n Example I)..
Example It. T rln kspruch Q u a rtet

M eas. 1 2 i + - ' 1 2 6 ----------
SiWK, iW
A c l i c h £ , u s u a l i n th e p a r t w r it in g o f t h i s era and g e n r e ,
a p p ears in m easures 32 and 10l+ (Example 5 , a and b ) —f i r s t
55
a d e s c e n d in g l i n e In the b a s s and th e n an a sc e n d in g f ig u r e
i n th e b a s s and b a r i t o n e .
Example $ . T rlriksprach Q u a rtet

a . M eas. 32-3jJ b. Meas. 10l*-109
]*+ Uftl •- v«• T‘"

|»« +t*——
-------- ,11 —
iltVstlA
' Cl;. .. ilk al - +Ih(IW*
I t i s a p a r t song t h a t o b j e c t i v e l y s a t i s f i e s i t s f u n c t io n .
I t i s a d r in k in g son g w r i t t e n f o r n in e t e e n t h - c e n t u r y ,
m i d d le - c la s s m a le s , and i s meant t o be sung w ith h ig h s p i r i t
and w ith n o t much i n t e l l e c t u a l i n t r o s p e c t i o n . I t s h ig h
t e s s i t u r a d o e s i n d i c a t e t h a t i t was w r i t t e n fo r a q u a r te t
o f t a l e n t e d a m a teu rs. Some c o n fu s io n seems t o e x i s t o v e r

I t s accom panied o r unaccom panied s t a t u s ; Humphrey S e a r le
s a y s th e m a n u scrip t fo r m e r ly i n th e L i s z t Museum had a

p ia n o f o r t e p a r t , w h ile R iJch l's copy i s unaccom panied.
Le F o rg ero n and A r b e ite r c h o r

Le F o rg ero n and A r b e ite r c h o r , composed in 181^5 and
l 8lj.8 , have s e v e r a l f e a t u r e s i n common. Both a d d r e ss them

s e l v e s to th e upcoming r e v o lu t io n of l81j.8, b oth a r e s e t
t o Lam ennais' p o e tr y , b o th were n o t p u b lish e d o r perform ed
u n t i l th e t w e n t ie t h c e n tu r y , and b o th have a s im ila r
m u s ic a l sh a p e .
56
Each ( a s in Example 6 , a and b ) b e g in s w it h c o n t r a s t

in g s e c t i o n s and w ith d i f f e r i n g t o n a l a r e a s . Le F orgeron
w ith :
Example 6 . Le F orgeron
a . M eas. 2tl-29 b. M eas.
KE-MEMY A
iowj? **i
Ke-tUMâ ! P ^ W
At
fcuETi.
*«.
m
P fcSWIftpMiufft
, cti ?ar
in E m inor and & m ajor, and A r b e lte r c h o r ( s e e Example 7,
a and b ) :
Example 7* A r b e lte r c h o r
a . M e a s .T -$ b. Meas. 19-20
4wtv*MUf
A 6i% Vt -
f g* v ifl'l' * Hi' “ Ow J***
• b it. W b ii. Umf . b n
w ith an E - f l a t m ajor t o n ic e v e n t u a lly m oving, a f t e r some

t o n a l a m b ig u ity , to i t s B - f l a t major dom inant. The s e c
t i o n s r e tu r n in a r e p e a te d second v e r s e , and b oth works
have an e x te n d ed t h ir d a r e a e n d in g i n a sh o r t co d a .
57
T h eir g e n e r a l c o h e s iv e n e s s i s , h ow erer, d i s s i m i l a r .
A r b e lte r c h o r i s u n if ie d by a com p lete theme (Example 8 ) :
Example 8 . A r b e lte r c h o r
M eas. 1 -3
and Le Forgeron by t h e m o tiv e (Example 9 ) :
Example 9 . Le F orgeron
Meas. 28-29
a v m !
t ' ffljj' I
A r b e lte rc h o r breaks i t s theme in t o two p a r t s . The p e n u l t i
mate d o tte d e ig h t h and s ix t e e n t h n o t e s , and the d esc en d in g

l i n e o f th e m id d le p i t c h e s are used through out a s b a sic
m a t e r ia l.
The b a s ic p o e t ic s t r u c t u r e s are a l s o d i s s i m i l a r . Le
F orgeron i s i n f r e e v e r s e and, a lth o u g h m u s ic a l m a te r ia l
r e t u r n s , i t s s t y l e i s n a r r a t iv e . T h is freedom a llo w s fo r
s e c t i o n s o f s o lo r e c i t a t i v e c r e a tin g added v a r ia n c e and
e x h ib it in g L i s z t ’ s m aturing t a l e n t fo r e x p r e s s iv e word
p a in t in g ( s e e Example 1 0 ) .
58
Example 1 0 . Le Forgeron
M eas. 120-125""
*1 1 ■Unu ^ V™ A*in<*f•
m m ?,
StfW,s«W <£y — * $:&toUcii-ftft^ft «fi f t - K t i* ft vii'k^kftn vivift, V\*m
HoKVtiwX f» - f t i.. p o ii.fl pa»Ui «Mf d U U,» biuv, eA-+»<yJi*m Jft fa».v«. «*.
A«c«»ffcy&*, |n u rijtiw 4i 4<h»P*
A r b e lte r e h o r t a t e x t f a l l s In to t h r e e s tr o p h e s and th e
shape o f th e m usic com plem ents th e poem. V a r ie ty I s
a c h ie v e d by a te c h n iq u e o f t e n employed by L i s z t - - t h e use
o f v a r ie d r e p e a t s . The f i r s t and secon d v e r s e s are
s i m i la r , w ith th e e x c e p tio n o f s e v e r a l u n sch ed u led

e n tr a n c e s d u rin g th e s o lo s e c t i o n i n th e second v e r s e . A
m ajor d e p a r tu r e o c c u r s i n th e t h ir d v e r s e . Ferm atas punc
t u a t e th e t e x t u r e ( d r a m a tic a lly r e t a r d in g th e rhythm ic
f l o w ) , t h e s o lo v o i c e i s more v i r t u o s i c , and b a s ic m a t e r ia l,
i n g e n e r a l, i s expand ed . W ith in t h i s h e ig h te n e d t e x t u r e
i s th e n o v e l employment o f unaocom panled s in g in g , and In
b o th Le F orgeron and A r b e lte r c h o r a c lim a x and c a d e n c e -

d r lv e i s m a n ip u la ted by th e u se o f u n iso n s i n th e upper
ra n g es. F urtherm ore, th e u se o f th e s o lo v o ic e a s Vors&nger
( le a d e r , spokesm an) v e r s u s th e ch oru s (a s th e crow d, the
l a b o r e r s , th e p e o p le ) com plem ents v e r y w e l l th e C teist o f
t h e m u s ic ’ s u n d e r ly in g a r t i s t i c and s o c i a l im p lic a t io n s .
59
L i s z t * s harm onic la n gu age in Le F orgeron i s o f t e n
in te r e s tin g . P a ssa g e s t h a t seem commonplace i n th e t w e n t i

e t h c e n tu r y were c o n sid e r e d unique i n th e lSiÔ's and 5 0 ’ s .
C la ra Schumann, a famous a r t i s t and s o p h i s t i c a t e d c r i t i c of

th e a r t s , had a c c o r d in g to W illiam W allace a n e g a tiv e r e a c
t i o n to L i s z t ' s harm onic la n g u a g es " I t was a t L e ip z ig th a t
C lara f i n a l l y made up h 9r mind t h a t L i s z t , w ith a l l h i s

20
'c h a o s o f d is so n a n c e s* made h e r shudder . . . •" The
augmented t r i a d was a d is s o n a n c e o f t e n u sed by L i s z t . An
example o c c u r s i n t h e f i n a l moments o f Le F orgeron J u st
b e fo r e th e f i n a l ca d e n c e on th e subdom inant C -sharp minor
chord ( s e e Example 1 1 ) . In t r a d i t i o n a l L i s z t ia n f a s h io n ,
th e r o o t i s lo w e r e d , and d oes not r e s o l v e u n t i l th e fe r m a ta ,
s i x b a r s b e fo r e t h e f i n a l c a d e n c e . A lan Walker speak3 t o
t h i s phenomenon:
A l l h i s whole l i f e , L i s z t had a g r e a t fo n d n e ss
f o r t h e augm ented t r i a d . One o f h i s f a v o r i t e
ways f o r u s in g t h e ch ord , e s p e c i a l l y i n h i s
younger d a y s, was a t cadence p o in t s w here i t
le d him t o c r e a t e one o f h i s m ost c h a r a c t e r
i s t i c f ir ^ e r p r in t s .2 1
20. W illia m W a lla c e, L i s z t , Wagner arid th e P r in c e s s

(London: J . Curwin St, S o n s, 1927)» 3&.
21. A lan W alker, " L is z t and th e T w en tieth C entury,"
Pranz L i s z t , The Man and H is Muslc (New York:
T a p lin g e r , 19W , 353-
60
Example 1 1 . Le F o rg ero n
M eas. 2 7 0 -2 7 5
oe \m\ J?®
fr*F-?o«S. F*f rf***
In f a c t , h i s p r e d i l e c t i o n f o r augpaented I n t e r v a l s comes
out a g a in In Le F o r g e r o n . t h i s tim e i n th e form o f an o u t

l i n e d augm ented s i x t h ch o rd on page n in e t e e n o f S z e l^ n y i's
e d i t i o n (Exam ple 1 2 ) .
Example 1 2 . Le F o rg ero n
M eas. 1 7 7 -1 8 2
L i s z t u s e s t h i s te c h n iq u e o f t e n e i t h e r a s an u n ex p ected
a g en t o f r e s o l u t i o n , o r , a s in t h i s c a s e , a m elo d ic o u t lin e
61
w ith a r e s o l u t i o n in m ind. A nother i n t e r e s t i n g moment
o c c u r s on th e t e x t nm ais l 1amour l ' a d o u c i t /b u t lo v e
s o f t e n s it 7 " (Example 1 3 ) .
Example 1 3 . Le F orgeron
198
p *»r
I t sounds v e r y much l i k e an em bryonic f o r e t a s t e o f Mahler
and R ich ard S tr a u s s in i t s p a s s in g t h i r d s m oving from th e
enharm onic A - f l a t t o B t o E m a jo r.
In a harm onic s e n s e , A r b e lte r c h o r i s p e d e s tr ia n in
com parison t o Le F o rg e ro n . I t s harm onic rhythm i s much
s lo w e r , th e r e i s l i t t l e v a r ia n c e betw een major s e c t i o n s and,
p erhaps a s a c o n se q u e n c e , I t i s l e s s c h r o m a tic . N e v e r th e
l e s s , th e r e are redeem ing f e a t u r e s . At th e end o f each
str o p h e th e r e app ears an e x c i t i n g , d r iv in g r e f r a i n (Example
I k ) and a b r i e f , i m it a t i v e six -m e a su r e ph rase o c c u r s in th e
f i n a l v e r s e ( s e e Example 1*>). I t Is o f l i t t l e su b sta n c e by
I t s e l f , b u t, h eard am id st th e c o n t in u a l homophonic t e x t u r e
o f A r b e lte r c h o r , i t p r o v id e s a moment o f m u s ic a l r e l i e f .
A lthough E i s s t o c c a s i o n a ll y used c o u n te r p o in t ( e s p e c i a l l y
in h i s l a t e r , s a c r e d male chorus w o r k s), he had str o n g
62
Example li*. A r b e lte r c h o r

Meas.
CMwtfc+O * . « . . .
rc^f ^ " t*H, vf » 5^., **| — 4*. ®

>
*T wVfcUfcf* fytU. **4 mx* • vhr 5*
«J- fco« v( - g**, naj - +fc fiA, *

#*K w*4 MX- VU" f*
^ — i_ j— ir - z = j t = ± = = ^
m
Example l £ . A r b e lte r c h o r
M eas. 15>6-l52
U* flif **o4»vta
3h
lIL
* Mi l i*MK•• d(*\-tW«fot.U4ll«i» ’w,^*", «M 4«HtM—4lH> (IM.kit. »*i^"
pa*** f(Uh<H dtix iV«*x*«{Wi|j4 i t K . C fltM w bryUM'buMj,
& *»IX» >*Xj_
4=
3 = 3 E f: f-
4u* |<lf| • *» tf«ttS Si?f e s
** f
PoWto.friMf, 14 faWft/ri i»*> &«'
Jî». . j4
J*. Eft
no
d5Hc J » 7 j t - — v-
S i
. At *•* - it* h«a. i* » ir,
VVcm f A t u u t 4u» btiinr »b***4,
f e e l i n g s on th e s u b j e c t . In a l e t t e r to Anton R u b in s te in
he s a id : " It i s th e o ld f l ip p e r y o f c o u n te r p o in t— th e o ld
u n s a lte d sau sage . . . r u b b ish t o th e r u in o f th e eye and
e a r l ”22 A gain, a s i n m o s t o f h i s w ork s, th e root-m ovem ent ■

b y - t h ir d s t o n a l tech n iq u e i s v e ry e v id e n t i n both p i e c e s .
22. L e tte r s, I , 239.
63
A c a d e n t ia l m otto u sed by L i s t z in th e f i n a l th r e e
m easures o f A r b e lte r c h o r h as become a c l i c h ^ f o r l e s s e r
com posers f o llo w in g i n th e f o o t s t e p s o f th e n in e t e e n th

c e n tu r y . The rum bling o c ta v e i n th e l e f t hand, the t o n ic
chord le a d in g to th e p e n u ltim a te m easure, and th e drop
o f two o c ta v e s t o th e lo n e E - f l a t sou n d in g o v er the c o n
t i n u in g trem o lo (s e e Example 1 6 ) . A ll th e w h ile , th e

v o i c e s h o ld th e t o n ic chord i n h ig h p o s i t i o n a t d o u b le
fo r te .
Example 1 6 . A r b e lte r c h o r
Two p erform in g e d i t i o n s o f A r b e lte r c h o r are a v a i l a b l e .

One was e d it e d in 19£>1+ by D6n es B arth a, the Budapest
s c h o la r who r e c e n t ly a s s i s t e d Edward W aters in tr a c k in g
23
down L is z t ia n a f o r th e L ib rary o f C on gress, ^ and th e oth er
23. Edward N. W aters, ”Sur l a p i s t e de L i s z t , ” N o te s ,

V o l. XXVIIA (June 1 9 7 1 ), 6 6 7 .
i s th e 1911 B r e itk o p f & H lr t e l e d i t i o n . Mr. B artha c l o s e l y
f o llo w s th e o ld e r e d i t i o n a d d in g , how ever, a H ungarian

paraph rase t o th e German t e x t (w hich i s i t s e l f a p arap h rase
o f L am ennais’ poem ). D if f e r e n c e s occu r in B a rth a * s e d i t i o n
c o n c e r n in g L i s z t ' s dynamic m a rk in g s. On page 2 o f th e
Zenemttkiado V £ l l a l a t s c o r e , a p ian o and a f o r t e marking
( i n m easu res 1 1 , 1 3 , and 15) do not appear i n t h e B r e itk o p f
& H ftr te l. A fte r th e ferm ata on page 3» m easure 1 9 , a mezzo -

p ia n o i s added, and th e term declam ando i s u sed in s t e a d o f
d e k la m le r t found i n th e 1911 e d i t i o n . At m easure 23 on
page 3 , th e term c r e sc e n d o i s added and on page Ij., a t the
c h o r a l u n iso n p a ssa g e in m easure 2 5 , th e B r e itk o p f e d i t i o n

i n d ic a t e s u n ls o n o . Bartha l e a v e s i t o u t . He d o e s mark a
m ezzo -p ia n o a t th e same p o s i t i o n as w e l l as a c r e sc e n d o in
m easure 2 6 . At m easure 28 b o th th e 1911 and th e H ungarian
e d i t i o n s mark " r f ," but B arth a In c lu d e s a d e c r e sc e n d o s ig n

as w e ll. T h is manner o f e d i t o r i a l a d ju stm en t g o e s on
th ro u g h o u t th e w ork, and makes m u sic a l s e n s e . However,
Mr. B artha d o es n o t s i g n i f y w h ich are h i s m arkings and w hich
are th o s e from an o ld e r e d i t i o n .
In th e commentary o f t h i s c h a p te r , a c o n n e c tio n
h a s b een c i t e d betw een A r b e lte r c h o r , th e p ia n o c o m p o sitio n
65
Lyon and th e sym phonic poem M azeppa. ^ The r e l a t i o n s h i p

w ith Lyon i s o n ly on t h e b a s i s o f L i s z t ' s d e d ic a t io n to
L am ennais. N e v e r t h e le s s , a m o tiv e (a s in Example 1 8 ) usu
a l l y a p p ea rin g a s o c ta v e s in th e l e f t hand h a s a s i m i l a r i t y
t o th e downward p a ssa g e found in A r b e lte r c h o r *a them e:
Example 1 7 . Lyon ( s e e Example 8 )

M eas. 1 0 -1 3
The f i n a l s e c t i o n o f M azeppa, th e A lle g r o M a r z la le , c o n -

26
t a i n s th e e n t i r e A r b e ite r c h o r theme (Example 1 8 ) .
Example 1 8 . Mazeppa ( s e e Example 8 )

M eas. lj.65-ii.7i
2lj. Pranz L i s z t , "Lyon," Franz L i s z t ' s M u slk a lisc h e tfer k e ,

II,Ij. (V estm ead: R e p r in ted by firegg f*ress L t d ., 1 9 6 6 ) , 5.
25. Pranz L i s z t , "M azeppa,” Pranz L i s z t ' s M u slk a lisc h e
Werke, 1 .3 (Westmead: R e p r in te d by Gregg P re ss L t d . ,
T9557. (ilj.5) 7 7 .
26. I b i d . , ( 7 3 ) 5 . At th e b e g in n in g o f Mazeppa, L is z t
s u g g e s t s t h a t t h e c o n d u c to r , I f he w is h e s , may d e l e t e
t h is f i n a l s e c tio n .
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission
66
J o in in g t h e v i o l i n s in a u n iso n sta te m e n t o f th e them e are
t h e b a la n c e o f th e s t r i n g s , th e trom b ones, and the h o r n s .

The f o u r p i e c e s w r it t e n by L is z t f o r b e n e f i t o f the
M ozart F ou n d ation are t y p i c a l M&nnerchor p o l i t i c a l - p a t r i o t i c
fu n son gs and are below th e q u a l i t y o f Le F orgeron and

A r b e lte r c h o r . They g e n e r a l ly employ th e s tr o p h ic r e p e a t -
v a r ia t i o n te c h n iq u e w ith a c o d e tt a e n d in g .
R h e ln w e ln lle d
R h e ln w e ln lle d h a s th r e e v e r s e s and i s u n i f ie d by a
r e c u r r in g t r u m p e t - c a ll m o tiv e ( s e e Examples 19 a and b ) ,
u s u a l l y in th e p ia n o f o r t e .
Example 1 9 . R h e ln w e in lle d
a . M eas. 1 -3
Alluft
U n ity i s a ls o a c h ie v e d by a c a d e n t i a l , s c a l e l i k e ornam ent
g e n e r a l ly found i n th e b a s s p a r t , b u t a ls o i n th e p ia n o
f o r t e and i n th e upper v o i c e s . I t i s f i r s t h ea rd in th e
p ia n o r i t o r n e l l o and ap p ears t h e r e a f t e r th ro u g h o u t (a n o th er
67
c h o r a l c l i c h ^ p e r p e tr a te d by L i s z t ) , se e n i n Example 2 0 ,
a and b .
Example 1 9 . R h e ln w e ln lle d
b . Meas. 32-Sk
fviwk »n ScWeeht, Priwh in Me hM«in
a . Meas. l£ -l!? b . Meaa. 9 3 -9 $
I
rr|MvsiUijl((W bw • *
hU J= L
few ritiMô
The o p en in g r i t o m e l l o h as a d is c u r s iv e p la n o f r o o t move
m en ts, e i t h e r th rou gh a dominant or a t h i r d r e l a t io n s h ip .
T o n a lly I t moves from B - f l a t m ajor to D m ajor; G m ajor to
C m ajor to an F7; B - f l a t m ajor to E - f l a t major to P -sh arp
68
m ajor ( t h ir d r e l a t i o n s h i p ) ; B m ajor to F -sh a rp m ajor to E - f l a t

m ajor ( t h ir d r e l a t i o n s h i p ) ; and from B - f l a t m ajor t o F-m ajor
t o A - f l a t m a jo r. I t s coda i s f i f t e e n m easu res lo n g , alm ost

a s e x t e n s iv e as th e main v e r s e s .
Growth and shape in t h i s part song i s m atured m ainly
by m o tiv ic v a r i e t y and by th e I n c r e a s in g c o m p le x ity o f th e

pian o s c o r e , a s a r e s u l t o f th e m o tiv ic a c t i v i t y . In th e
co d a, th e homophonic d r iv e o f th e "H urrahsI” (Example 21)
M eas. 9 0 -9 1
p r o p e ls t h e song t o I t s c lim a x . Here i s found a g a in

L i s z t ' s " f in g e r p r in t" —th e augmented t r i a d i n measure 107
(Example 2 2 ) . The cadence i t s e l f i s u n u su a l. In m easures
11 and 1 2 , h a l f n o te ch ord s r e s o lv e t o the t o n ic through
i t s E - f l a t dom inant and a C minor su p e r to n ic to B - f l a t
m ajor. A lth ou gh th e harm onic e f f e c t e v o k e s i n t e r e s t , th e
cadence I s a c t u a l l y a t r a d i t i o n a l V -I s in c e B - f l a t m ajor
h as been w e ll e s t a b lis h e d p r e v io u s ly . The C m inor t r i a d
69
i s o n ly a t a s t e f u l d is so n a n c e p a s s in g betw een the two
s tr o n g e r ch ord s (Example 2 3 ) .
M eas. 1 0 k -T & ?
Meas. 1 0 9 -1 1 5
S tu d e n te n lle d
In S tu d e n t e n l l e d . o v e r a l l u n ity i s a c h ie v e d th rou gh
th e m elo d ic o u t l i n i n g o f ch ord s ( i n Example 2 k a and b ) ;

a te c h n iq u e u sed i n Le F orgeron and i n many o f L i s z t ' s
c h o r a l works th rou gh ou t h i s c a r e e r .
70
Example 22).. S t u d e n t e n lle d

a . M eas. 1 - 2
6ASSI
Es v* v:*.U - 4 .}
b. Meas. 1 0 8 -1 1 2
hfl <i« ft« f Sem le h t+ e n Loch h n ste pfirft" «uf dew let-L tt/v L och
T h is d e v ic e , an e ig h t h - n o t e d r iv e , and an e ig h t-m e a su r e
p h r a se , w ith e x t e n s i o n s , d e te r m in e s th e grow th end shape o f
S t u d e n t e n lle d .
Harmonic i n t e r e s t o c c u r s i n c h o r d - o u t lin in g , in a r o o t-
b y - t h ir d s movement (D minor t o B - f l a t major and B m inor t o
G m a jo r ), and i n th e a p p earan ce of an augm ented s i x t h chord
w it h in m easures 2)3 to 2j.f> (r e p e a te d a ls o in m easures 90 to
93) a s seen in Example 2 5 .
Example 2 5 . S t u d e n t e n lle d
Meas. 2)3-2)5
U«\ Vxa..
I
71
R e ite r lle d - -T w o V e r sio n s
One o f th e two v e r s io n s o f R e i t e r l l e d Is in c o m p le te .
The f i r s t , s e t f o r m ale ch o ru s and p ia n o f o r t e , i s In a
9 -p a g e form at and i s m is s in g p ages 3 th ro u g h 6 . The p o e tr y
i s a tr o p h ic and th u s d e te r m in e s th e shape o f th e m u s ic . On
page 7 , th e o p en in g sta te m e n t r e a p p e a r s but i t i s v a r ie d
(Exam ples 26 a and b ) .
Example 2 6 . R e i t e r l l e d ( f i r s t v e r s io n )
a . M eas. 6 -9
T 6 N . Stffto v . c « p a .v t a .v U o
ftL
V**V U)K ,U »\v Is 'Vowwh v>*a A
.............................................. ..... ± 9 F
* . . .
•
b. Meas. 3 1 - 33
fct n i t - J J f f _
t / k *
‘T r - l & &- V kg.
so** Die Kugsl. sa « t « blfe te r Speer ouF In Jen Fiend wi« W .t+ er —
• f f Die Kwgd
>
P H \> l t P-f-- ~ 1
' L ) i c .— _ = i
i u h v " -
i * V — =--------------
S O -W A p r * -
v A f j R A — ^ l r i = ^ = r - ^ =
72
T h is m o tiv e i s r e s p o n s ib le f o r t h e c o h e s iv e n e s s o f
th e f i r s t v e r s io n o f R e i t e r l l e d . I t f i r s t appears i n th e
o p en in g sta tem en t o f the p ia n o fo r te and i s com prised o f
sev en n o t e s . I t s u n iq u en ess Is the I n t e r v a l o f a dim in
is h e d fo u r th ( s e e Example 2 7 ) .
Example 27* R e i t e r l l e d ( f i r s t v e r s io n )
Maq a 1 - O I ■ • i1 « *19
R e i t e r l l e d 1s accompaniment i s n o t eq u a l to i t s c o u n te rp a rt
in R h e ln w e ln lle d . H ere, w ith the e x c e p t io n o f th e openin g
s ta te m e n t, i t o n ly su p p o r ts and d o u b le s, g iv in g l i t t l e
rhythm ic v a r ie t y or e x p a n sio n t o the shape o f th e p i e c e .
At th e f i n a l ca d en ce, how ever, an o u t lin e d d im in ish ed
se v en th chord (I n Example 28) b r in g s i n t e r e s t to an o t h e r
w ise d u l l part son g.
Meas. £1-55
73
The secon d v e r s io n o f R e i t e r l l e d h a s no c o n n e c tio n w ith
t h e f i r s t e x c e p t fo r i t s poem. I t i s s h o r t e r , u s e s o th e r
m u sic a l m a t e r i a ls , i s unaccom panied, and d i f f e r s in d eclam a
tio n of t e x t . For exam ple, a t "Wie weht so sc h a r f d er
MorgenwindJ Frau W irth in noch e i n G las geschw ind zu
ste r b e n l" ( i n Example 29a) th e f i r s t v e r s io n d e la y s a
change o f m eter u n t i l "Frau W irth in ." The seco n d v e r s io n
b e g in s th e t r i p le - m e t e r on "Wie weht so s c h a r f . . ." ( i n
Example 29b) and r e tu r n s t o d u p le on th e t h ir d s y l l a b l e o f
"Morganwind," a c h ie v in g a more n a tu r a l d i v i s i o n o f th o u g h t.
L i s z t a g a in s w itc h e s m e te r s , i n the seco n d v e r s io n , to 3 / k
and em p h asizes th e im portant word, "geschw ind," w ith th r e e
r e p e titio n s .
a . M eas. IV-
Example 29- R e i t e r l l e d (seco n d v e r s io n )
b . M eas. 9 - lii
i ■
i— L
V - . r ^
f
m m
v * . WlV^SOScJÂki. -UAhilP
' fvay
IS i S S JM U J, Pp j,
ESE
V i W W y W
» i/ t S r ^ r -
nrv\<i n ~ T t
,
\ * i t w «W S o *cU o^ d -x f W iA >W U j\v y
v\ocV\«ak VAOc^ ‘•’"'V(S-Vxs 5* S * W ^

,..h — f t J ------ J - J ■>■!>. .^ — 1-----
isS a 1 l - f
v \o c k e \ ^ G \a s «** G-Us < j« s < W ),y y ScV w ^
vvoe^ *-iw<rks ^ 5 CV\M«*^r scW'î
On th e o th e r hand, th e f i r s t v e r s i o n , in i t s trea tm en t o f
th e t e x t "am friHhen Tag zu sterb en " d e v e lo p s a much more
d i s t i n c t i v e e f f e c t th an th e se co n d . Compare th e d im in ish e d
se v e n th chord o f Example 28 w ith 30 from the secon d v e r s io n .
Example 3 0 . R e i t e r l l e d (seco n d v e r s io n )
Meas. 82-85
A A A.
£
I. '
i •I ’
* V V
■fcrv-KlsTfi^ lv sVi*'.Vmi 2« sW
*
■»
*=£-1 i - ^ •j J~
S=E =r - r T I ¥
*
V
r
75
In th e seco n d v e r s io n o f R e i t e r l l e d , a tr o p h ic v a r ia
t i o n p r o v id e s th e o v e r a l l Impact o f u n it y , sh a p e , and grow th .
The t h i r d and f o u r t h v e r s e s , d e p a r tin g d r a m a t ic a lly from

th e o rd er o f m a t e r i a ls In th e f i r s t and se c o n d , t r e a t th e
p o e t i c c lim a x in a s k i l l f u l w ay. The f i r s t v e r s e o f

R e i t e r l l e d t r a n s l a t e s a s f o l lo w s :
The w ea ry n ig h t i s now p a s s e d .
Ve r id e s i l e n t l y and dumbly;
Ve r id e on t o d e s t r u c t io n !
How s h a r p ly b low s th e m orning wind!
Frau In n k ee p e r, q u ic k ly a n o th e r g l a s s b e fo r e we d ie I
The secon d h a s th e same m u s ic a l s t r u c tu r e a s th e f i r s t and
tr a n s la te s :
You young g r a s s , why do you sta n d so green ?

You must soon bloom a s l i t t l e r o s e s .
Y es, my b lo o d sh o u ld c o lo r you!
The f i r s t s i p , sword i n hand,
I d r in k f o r th e f a t h e r la n d ! And q u ic k ly , the secon d
a fte r itI
A l l fo u r s tr o p h e s have f i v e l i n e s , w ith th e l a s t l i n e o f
th e seco n d and t h i r d a e s t h e t i c a l l y lin k e d t o th e t h i r d and
fo u r th . L i s z t ta k e s a d v a n ta g e o f t h i s f a c t and s e t s th e
l a s t l i n e o f th e seco n d str o p h e a s a b r id g e to th e t h i r d .
I t i s in u n is o n , e x p l o i t i n g th e C o f C minor a s a common
to n e m o d u la tio n t o A - f l a t m ajor ( i n Example 3 1 ) .
76
Example 3 1 . R e i t e r l l e d (seco n d v e r s io n )
M eas. 3 3 -3 5 ”
ff
±±
*
Uf>d Schnell den 2vwl-4cn W
in- -te*- a r e i n u{^ HIT
d er saM fw r wb Ftel - WeiV <ein
Si j . . .
i t — f— T
The t h ir d v e r s e b e g in s w ith th e same m a te r ia l as th e f i r s t

and seco n d ( a l b e i t t o n a l i t i e s are changed from G m inor to
A - f l a t m ajor— t h i r d r e l a t i o n s h i p ) , b u t s in c e th e p o e try i s
a p p roach in g th e c li m a c t i c p o l i t i c a l i m p lic a t io n in te n d e d by
Herwegh—th e d o w n fa ll o f th e H oly Roman E m pire—L is z t m elo

d r a m a tic a lly ta k e s h i s c u e . The t h ir d v e r s e sa y s :
That one ( s i p ) i s to be f o r freedom !

The seco n d s i p f o r th e good , d ry (w in e )!
To whom s h a l l I b r in g th e r e s t ?
I t i s f o r you, 0 Roman Em pire, t o d ie !
To t h e b e lo v e d one!
At th e t o a s t t o freed o m , L i s z t i n d ic a t e s Etwas zurU ck-

h a l t e n (somewhat h e ld b a c k ). He p o in t s th e word F r e ih e l t
(freed om ) on m easure 38 w ith a h ig h A - f l a t i n t h e f i r s t
t e n o r , i n c o n t r a s t to th e sim p le r r i s i n g e ig h t h n o te v a lu e s
o f m easure in th e f i r s t v e r s e . The normal phrase le n g th
in th e f i r s t , se c o n d , and t h ir d v e r s e s i s e ig h t m ea su res.
In th e fo u r th v e r s e i t i s com pressed to m easures $ and 6 ,
c r e a tin g an o n ru sh in g d r iv e on Mden z w e ite n Schluck vom
77
Herben / t h e se co n d s i p fo r th e d r j / . ” In th e fo u r th v e r se
th e s t r u c tu r e o f th e f i r s t , se c o n d , and t h i r d v e r s e s fo rm a l
l y b r e a k s. U sin g an a n a c r u s is on "D ies R estch en / t h e r e s t / , ”
L i s z t r e tu r n s to th e op en in g m a te r ia l ( i n Example 3 2 ) and to
th e C m inor t o n a l i t y .
Example 3 2 . R e i t e r l l e d (se co n d v e r s io n )
M eas. i|l-l*B
Dies V*)g.W\
To p o in t up Herwegh’ s r e fe r e n c e s to "0 rflm isch R eich /Q

Roman E m p ir e/” a Largamente i s marked and a c c e n t marks are
p la c e d on t h e words R e stc h e n , rflm lsch, and s te r b e n — a l l
f a l l i n g on a s tr o n g t a c t u s .
The l a s t l i n e o f the t h ir d v e r s e i s u sed a s a b rid ge
t o th e fo u r th v e r s e . A t r a n s la t io n fo r th e fo u r th v e r se
is :
78
And y e t th e g l a s s I s em pty.
The b u l l e t w h i s t l e s , th e sp ear f l a s h e s !
B rin g th e fragm en ts to my c h ild
That went i n t o th e enemy l i k e w e a t h e r - lig h t n in g !
0 jo y o f r id in g , t o d ie e a r l y in th e day!
T his f i n a l s e c t i o n c o n ta in s new m a t e r ia l (a n a lo g o u s , how

e v e r , t o th e e a r l i e r s t r o p h e s ) . The m id d le s e c t i o n o f th e
f i r s t and se co n d v e r s e s r e tu r n s and th e p a r t song c lim a x e s
on a fo u r-m ea su re p h r a s e , ca d en cin g on C m ajor and C m in or.
A code i s appended c o n tin u in g in C m inor w ith m usic from
th e o p en in g v e r s e .
L ic h t mehr L lc h t
L ic h t mehr l l c h t , composed in I 8I4.9 f o r the c e le b r a t io n
o f G o eth e's b ir th d a y , i s sc o re d fo r m ale c h o r u s, th r e e trom

b o n es, and tu b a (o r p i a n o f o r t e ) . I t s poem h as f i v e v e r s e s
w ith th e f i r s t , t h i r d , and f i f t h a n a lo g o u s t o one a n o th e r ,
w h ile th e seco n d and fo u r th v e r s e s are o f th e same b a s ic

m a t e r ia l, but are com p ressed . The b a s ic u n if y in g m o tiv e ,
shown i n Example 3 3 , i s th e opai in g sta te m e n t— a downward
seco n d and an upward f o u r t h . Each v e r s e h a s an A lla Breve
r e f r a i n in w h ich L is z t a v o id s any harm onic in n o v a t io n s ,
and p r e s e n ts a " r o c k -su r e ” p r o g r e s s io n —B - f l a t m ajor to
G m ajor t o C m ajor ( s e e Example 31+), th u s a c c e n tin g th e

t e x t , "L icht mehr L ic h t."
79
Example 3 3 . L lc h t mehr L lc h t
M eas. 1-ij. ,
ns
n» 1 1a
LieVÎ, 1^ * lu w v l LicUt I w*i.W UcU^t [

r*
IfiAtf f ** 1 h e . f ^
— ,
K . 1
J 1*
— $
1
J V k iS _ .J p
‘ ^
.................
U ST r l = ^ - - 1
Example 3U. L lch t mehp L lch t
M eas. 21-2B
f iyf y -
■' ■ LjcVd’l'^tVv LleUv, wi*Ur
1-p llcW¥.*&f Lie)*\l UcU v*tU <r LlcVcV! L leW ! »»t.U v U c ld !
A
p “*—I S+rt> * *
j- & /7k
j\ ^
■Xtjf ■ —^ •
am
The f i f t h v e r s e c o n ta in s two augmented s i x t h o h o r d s. They

o c cu r in su c c e e d in g h a l f p h r a s e s , and h e lp to p o in t t o th e
80
c l i m a c t i c e n d in g , w hich i s a c c e n te d f u r t h e r by a new t o n a l
ity C m inor ( th e p r e v io u s s e c t i o n s have been in
A - f l a t m inor ) , v i s i b l e i n Example 35:
Example 3 5 . L lc h t mehr L ic h t
M eas. 93-9^
N ° e^ « W V s av' D u^w vvoct, ■ffcW)!s om Duvxletl

*
J =fc=-J" i- b-±
3- V- 4 - 9 -
7 " I fH- f J i J 11f I f-jybf P- P ',T ltp»
i
f
W0cV\-(-«V\lVs oy\ \)uv> — — Vjtl V\Ocl> av\ Du
DuV\V\ ————
j j. j m i j j. 1 a n
•p
V -'V -^ E
p
5
£ i & i
f
The work ends i n a s tr a ig h tfo r w a r d f a s h io n , but not w ith o u t
a f i n a l g e stu r e o f d is t in c t io n . A fte r th e u s u a l a c a p p e lla

tw o—
m easure sta te m e n t ( s e e Example 3 5 ) , L i s z t com bines i n
str u m e n ts and v o i c e s i n one more sta te m e n t o f th e m o tiv e ,
" L ich t mehr L i c h t i ”
81
Example 3 6 . L lc h t mehr L lc h t
M eas. 113-1T 7
U ekt
Much o f th e m usic d is c u s s e d and a n a ly z ed in Chapter

I I i s o f q u e s t io n a b le a r t i s t i c v a lu e . I t was composed
o b j e c t i v e l y f o r s o c i o - p o l it i c a l - e c o n o m ic r e a s o n s , and was
p la c e d b e fo r e th e p u b lic to p l e a s e , n o t to e d i f y . P e te r
Raabe h a s a lr e a d y in d ic a t e d th a t th e s e p a t r i o t i c , s o c i a l l y -
m o tiv a te d p ie c e s d o , how ever, bear s e e d s th a t grow t o
m a tu r ity in l a t e r w ork s. L is z t did have a f l a i r f o r t h i s
genre from th e b e g in n in g , a s i s e v id e n t in th e o b v io u s ly
b la t a n t MSnnerchor song Was l 3 t d es D eutsch en V aterlan d
w h ich , d e s p it e s i m p l i c i t y and t r i t e n e s s , i s a m o n o lith o f
u n it y and c o h e s iv e n e s s .
82
Numerous te c h n iq u e s and t e n d e n c ie s emerge from t h e s e
e a r l y c h o r a l c o m p o s itio n s . In a l l o f them, one i s Immedi

a t e l y c o n s c io u s o f a r o o t - b y - t h ir d s to n a l p la n , e v e n tu a lly
becom ing such a c l i c h ^ t h a t i t a lm o st o b v ia te s comment.
Many o f t h e works c o n ta in th e augmented t r ia d - - b u t n e v e r to

e x c e s s and most o f t e n j u s t b e fo r e th e f i n a l c a d e n t ia l a r e a .
A nother harmonic phenomenon, the a u g m e n te d -six th chord, o f t e n
a p p e a r s. I t u s u a lly o c c u r s w it h in a f a s t harm onic rhythm
i n c o n tr a r y m o tio n , and, a lo n g w ith th e d im in is h e d -s e v e n th
ch o rd , i s o c c a s i o n a ll y used in m elo d ic o u t lin e form .
Perhaps th e m ost im p ortan t tech n iq u e e v id e n t in th e s e
p a r t so n g s i s L i s z t ' s a b i l i t y to vary m o tiv ic i d e a s . Be

c a u se o f th e n atu re o f th e p o e tr y , m ost o f th e son gs are
s t r o p h ic . Paced w ith t h i s fo rm a t, he s l i g h t l y a l t e r s each
r e p e a t , r e t a i n i n g m ost o f th e m u sic a l i n t e r e s t fo r th e
f i n a l s e c tio n . A lfr e d E i n s t e i n m en tions t h i s ten d en cy in
a d i s c u s s i o n o f th e com p oser's trea tm en t o f m o tiv e s , and
c la im s t h a t , i n so d o in g L is z t g r a d u a lly p e r f e c t s the a r t
o f th e m a tic tr a n s fo r m a tio n , and th e r e b y c a u s e s h i s d e v e lo p -
27
m en ta l area t o appear in th e r e c a p i t u l a t i o n . In a m inus
c u le way t h i s o ccu rs in Le F orgeron and in th e secon d
27. E in s t e in , llj.2.
83
v e r s io n o f R e l t e r l l e d when, w ith th e m otive a s th e u n if y in g

f o r c e , a clim a x i s rea c h e d w ith in th e f i n a l s e c t i o n .
A nother o f L i s z t s m annerism s i s th e pronounced u se

o f dynamic m arkings i n a l l o f h i s e a r l y p i e c e s . This
c u l t i v a t e d h a b it was w ith him a l l h i s a r t i s t i c l i f e , and
ca u sed th e fam ous c r i t i c and p h ilo s o p h e r , Eduard H a n s lic k ,
28
to r e f e r to i t a s o f f e n s i v e and red u n d a n t. F in a lly , i t
i s m ost o b v io u s t h a t L is z t knew how to b e s t e x p l o i t th e
v o ic e and was le a r n in g , i n t h e s e e a r l y male ch oru s w orks,
i n what manner to a v o id th e " ste e p and s lip p e r y " p i t f a l l s
o f p art w r it in g .
28. "Franz L i s z t ," A non., The M onthly M u sical Record

XVl/lSif. (A p r il 1 , 1 8 8 6 ), 7 5 .
Qk
C hapter I I I
MALE CHORUS LITERATURE
l8 f> 0 -l8 6 l
Commentary
Even d u rin g h i s y e a r s a s a t r a v e l in g v i r t u o s o , L i s z t
was p r e p a r in g f o r h is ensconcem ent a t Weimar. He had

v i s i t e d th e sm a ll kingdom (th e home o f Goethe and S c h i l l e r )
i n l8i}.0 and had im p ressed th e G rand-Duchess Marie Paulowna
( s i s t e r o f Tzar N ic o la s I ) and h e r so n K arl A lex a n d er.

K arl A lex a n d er, who was to assume th e t i t l e o f Grand-Duke
from h i s f a t h e r , C arl A u gu st, p r e v a ile d upon L i s z t to

c o n tr a c t h i s s e r v i c e s to Weimar th r e e months o f e v e r y y e a r ,
and t o se r v e as con d u ctor and m u s ic a l d ir e c t o r to th e Grand
2
Duchal C ou rt. The p i a n i s t a g r ee d , hut c o n tin u e d t o c o n
c e r t i z e u n t i l l81|.7 when, a f t e r a s e r i e s o f r e c i t a l s a t th e
U k ra in ia n c i t y o f K iev , he d e c id e d to r e tu r n to Weimar and
ta k e up permanent r e s id e n c e . The c a t a l y s t i n t h i s tu r n o f
e v e n ts was C arolyne S a y n -W lttg e n s te in , d a u g h ter o f a w e a lth y
1. S a c h e v e r e ll S i t w e l l , L i s z t (New York: D over P u b lic a

t i o n s , I n c . , 1 9 6 7 ), Ity l.
2. I b i d . , 124.2.
85
P o lis h la n d owner and th e e str a n g e d w ife o f an o f f i c i a l to
th e Im p er ia l R u ssia n C ou rt. L is z t had met h e r a t K iev and

a f t e r a sh o r t c o u r ts h ip p ersu ad ed h e r to j o i n him a t
Weimar. They both a r r iv e d a t th e new l o c a t i o n s h o r t l y
t h e r e a f t e r —h e du rin g th e h e ig h t o f th e 181+8 u p r i s in g s ,
and she w ith h er d au gh ter P r in c e s s Marie ( o f the form er
m a rria g e) i n 181*9.^
A work th a t d a te s from t h e i r f i r s t m e e tin g , and the
f i r s t o f a lo n g l i n e o f c h o r a l c o m p o sitio n s f o r th e church
i s th e P a ter n o s t e r f o r m ale v o i c e s . Paula Rehberg a l l e g e s
i t was perform ed in K iev in F eb ru ary o f 181*7, and was heard
K
in one o f th e Roman C a th o lic ch u rch es by th e P r in c e s s .
Rehberg c la im s a ls o th e P a ter n o s t e r and a sk etc h o f th e
Dante Symphony c o n v in c ed P r in c e s s S a y n -W ittg e n s te in o f
L i s z t ' s genius.^*
In 181*8 t e n sh o r t p ia n o f o r t e p ie c e s f o r two h a n d s,
Harmonies p o ^ tlq u e s e t r e l l g l e u s e s , were composed in w hich
numbers 2 , 5» and 6 were t r a n s c r i p t i o n s o f th e Ave M aria,
P a ter n o s t e r , and Hymne de 1*e n fa n t & son r e v e i l , a l l c h o r a l
3. I b i d . , 11*5.
1*. I b i d . , 11*7.
5. R ehberg, 201.
6. I b id ., 207.
86
7
p i e c e s from 181*6. H a s lin g e r p u b lish e d th e unaccompanied
m ale chorus v e r s io n o f P a ter n o s t e r in 181*6, and B r e itk o p f
& H & rtel brough t f o r t h a v e r s io n f o r fo u r e q u a l v o i c e s and
organ i n 1 8 5 2 . The l a t t e r v e r s io n was d e d ic a te d t o F a th e r
A lb ra ch , a H ungarian p r i e s t from L i s z t ’ s y o u th . A nother
s m a lle r work from th e e a r ly l 8 5 0 ’ s i s th e F e s tc h o r fo r th e

u n v e ilin g o f t h e H erder Monument i n Weimar. I t was o r c h e s
t r a t e d by Joachim R a ff i n 1 8 5 0 , and was perform ed on
A ugust 25 o f t h a t y e a r a t th e cerem ony. On November 2 , 1 8 5 0 ,
i t appeared in th e L e ip z ig e r I l l u s t r i e r t e Z e ltu n g .
One o f L i s z t ’ s la r g e r u n d e rta k in g s o f 1850 was the

ChBr zu H erd er’ s e n t f e s s e lt e m Prom etheus (C horuses t o
H er d e r's U nchained P rom eth eu s). These e ig h t c h o r u se s (th r e e
f o r m ale v o i c e s ) were in te n d e d to f o l lo w th e O verture t o
H er d e r's P rom etheus. In a l e t t e r to an incom in g h ou se g u e s t ,
Symon Lttwy o f V ien n a , L i s z t s a id :
A rriv e a t Weimar and s t a y u n t i l th e 3 0th a t

l e a s t . • . and you w i l l h e a r , f i r s t l y , on th e
e v en in g o f th e 21*th, a good hour and a h a lf o f
m usic t h a t I h ave j u s t composed (o v e r tu r e and
c h o r u se s) f o r th e Prom etheus o f H erd er, w h ich
w i l l be g iv e n a s a f e s t i v a l in t r o d u c t io n to
th e in a u g u r a tio n o f h is s t a t u s In bron ze by
S c h a lle r o f M unich, w hich i s f i x e d f o r th e
2^ th ...
7. Humphrey S e a r le , The Music o f L i s z t , 2nd r e v . e d . (New
York: Dover P u b lic a tio n s ," In c .', 1 9 6 6 ), £l*-55>*
8. L e tte r s, I , 108.
87
On s e e in g t h e f i r s t p erform an ce, L is z t w ro te:
The manner in w hich th e whole was made in to

s c e n e s , th e appearance o f p eo p le in a n tiq u e
costum es in a perform ance w hich by i t s n a tu r e ,
a s w e ll a s by th e ab sen ce of a c t i o n determ ined
by drama, came c l o s e r t o b e in g an o r a to r io
th an a drama . . . . /T h e se t h i n g s / c a l l e d
f o r t h a s u r p r is in g e f f e c t , which won th e u n an i
mous ap p roval o f the p u b l i c . One seemed to
se e a row o f r in g in g (r e so u n d in g ) p ic t u r e s
b e fo r e o n e , in w h ich the form s became so n g ,
and th e son gs became f o r m s . 9
The ch o r u se s were o r c h e s tr a te d by R a ff in l 8 £ 0 , r e v is e d and

sc o re d by L i s z t in 1855* and r e v is e d a g a in in 18 5 9 . They
were p u b lis h e d by W alter o f Weimar i n 1855* by Kahnt in

1 8 6 1 , and by Kahnt a g a in , i n a new e d i t i o n , in 18 7 6 . T his
l a s t p u b lic a t io n was a v a ila b le in f u l l and p ian o s c o r e .
B e fo re L i s z t had th ou gh t o f making Prometheus a m yth i
c a l o r a t o r i o , he had ask ed D in g e ls t e d t , th e d ir e c t o r o f the
Weimar t h e a t e r (and o ft e n an opponent to L i s z t ) , t o add
b le n d in g l in k s to H er d e r's p r o s e —th u s jo in in g th e c h o r
u ses. Upon D i n g e l s t e d t ' s r e f u s a l , L i s z t ' s fr ie n d Richard
10
P ohl a c c e p te d and com p leted th e t a s k .
At about t h i s p o in t in h i s c a r e e r L is z t was becoming
more and more wary o f p u b lic perform ances o f h i s m u sic.
9. Raabe, 13U.
10. I b id . , 13k-
88
As he became in c r e a s i n g l y aware o f in t o n a t io n - t r a p s h id d en
w it h in th e chrom atic te x tu r e o f h i s p i e c e s , he began to

warn con d u ctors o f th e p rob lem s. To th e C ap elm ei3ter Max
S e i f i z a t Lttwenberg, he s a id :
I send you, a c c o r d in g t o your w is h , t h e sc o r e

o f th e Prom etheys C horuses . . . • I f e a r ,
a l a s , th a t th e d i f f i c u l t y o f some o f th e i n
to n a t io n in th e f i r s t c h o r u se s may make the
stu d y in g o f i t a r a th e r d e t a i l e d m a tter to
you. Such irk so m en ess u n fo r tu n a te ly a t t a c h e s
to a l l my w orks, n o t e x c e p tin g the Ave M arla,
w hich I m ight n e v e r t h e le s s v en tu re t o recom -
mend t o you n e x t , i f you have any i n t e n t i o n
o f p erform in g a v o c a l work o f my c o m p o s itio n s .
I t was p u b lish e d by B r e itk o p f & H flrtel ( s c o r e s
& p a r ts ) and has b een fa v o r a b ly r e c e iv e d a t
v a r io u s perform ances o f i t . H
To Johann H erbeck, on November 2 2 , l8*>8, h e c a u tio n e d :
As r e g a r d s th e c h o r u s e s to Prom etheus . . . I
th in k i t w is e r t o w a it a b ii^ I am not in th e
s l i g h t e s t h u rry t o f o r c e m y se lf on the p u b lic
and can q u i e t l y l e t a l i t t l e more o f th e non
se n se about my f a i l u r e i n a tte m p ts a t com p osi
t i o n t o sp read abroad . . . . In a few y e a r s
I hope t h in g s w i l l go b e t t e r , more r a t i o n a l l y ,
and more J u s t ly w ith m u sic a l m a t t e r s .12
L is z t w as, how ever, q u ite p le a s e d w ith a perform ance

d ir e c t e d by Herbeck in Vienna on February 2 6 , i 8 6 0 . He f e l t
th e chorus o f th e T r ito n s went e s p e c i a l l y w e l l a s did th e
11. L e t t e r s , I , 3 ^ 9 -5 0 .
12. I b id ., 377.
89
V in ta g e r 1s and R eaper*s c h o r u s e s , but he d id lam ent o v er an

in c id e n t t h a t accom panied many o f the W agner-L iszt c o n c e r ts
d u rin g t h o s e y e a r s : "but o f co u rse th e r e was a fo r m a lly
o r g a n ize d o p p o s it io n h i s s i n g . They had sworn t o overthrow
th e m usic w ith o u t knowing a n o te o f i t . " 3^ The Brahms-

Schumann and th e L iszt-W agn er fe u d in g camps were v e r y r e a l
and a c t i v e .
The demand f o r perform ances o f th e Prometheus Choruses
was c o n s id e r a b le , a s a new e d i t i o n as l a t e a s 1876 m ight
in d ic a te . August S t r a d e l, an ardent W agner-L iszt d e v o te e ,
a s s e r t e d i n 190lj.: " I f anyone were to ask me w ith what

g ig a n t ic work I compare the Prometheus m usic o f L i s z t , I
w ould sim p ly and h o n e s tly c o n f e s s : 'With B e e th o v e n 's
N i n t h . ' A n o t h e r o f L i s z t ' s f r i e n d s , Korndl von A branyi,
i n I 87IJ. prepared a Hungarian t r a n s l a t i o n fo r th e c h o r u s e s .
In a l e t t e r t o Abrtfnyi on December 5 , I 87U, L is z t s a id :
"Many th an k s f o r th e t r a n s l a t i o n o f th e P rom etheus. One
l£
w ish e s t o h ear i t ' l e t l o o s e ' i n Redouten H a lil" La Mara,
13. I b i d . . i*21.
lit. August S t r a d e l, Franz L is z t Werke (L e ip z ig : C. F .
Kahnt, 1901*), 2$~.
l£ . Franz L i s z t , B r ie fe aus U n garlsch en Sammlungen
1 8 3 5 -1 8 8 6 , e d . & i l l . M argit PrahAcs (K a sse l:
B a r e n r e ite r , 1 9 6 6 ), 1 6 8 .
90
t h e p r i n c ip a l e d i t o r o f m ost o f L i s z t ' s l e t t e r s as w e l l a s
a p e r s o n a l f r i e n d , t e l l s o f r e c e i v i n g an i t i n e r a r y o f c o n
c e r t d a t e s from th e com poser on March 6 , 1 8 7 9 , w h er ein was

l i s t e d a Prom etheus p e r f o r m a n c e f u r t h e r m o r e , in l e t t e r s
from L i s z t t o th e P r in c e s s d u r in g th e p e r io d 1 8 5 0 -8 0
numerous Prom etheus p erform an ces are m en tio n e d . The ch o

r u s e s seem t o have e n jo y e d a f a i r l y e x t e n s i v e p o p u la r it y .
Two s h o r te r sa c r e d p i e c e s , Domlne aalvum f a c regem

f o r te n o r s o l o , m ale c h o r u s, b r a s s , and o r g a n , and th e Te
Deum I I f o r m ale chorus and o r g a n , were com posed in 1 8 5 9 .
D r. P h i l l i p Wolfrum, c h o r a l e d i t o r f o r th e B r e itk o p f &
H fir tel co m p lete works o f L i s z t , s a y s , in h i s d i s c u s s i o n o f
m a n u sc rip ts exam ined a t th e L i s z t Museum, t h a t th e r e were
17
two d r a f t s o f Domlne aalvum f a c regem . The f i r s t , f o r
m ale ch oru s and o r g a n , had a tym panl cue e n te r e d below th e
organ p e d a l (m easure s e v e n t e e n ) , and l a t e r e n tr a n c e s f o r

c l a r i n e t and b r a ss w ere in tr o d u c e d in m o t iv ic form s: "thus
th e c o n c lu s io n was brough t about th a t L i s z t c o n sid e r e d the
organ n o t a t io n more o f a s k e tc h fo r wind o r c h e s t r a .”
16. I b id ., 212.
17. Franz L i s z t , L i s z t s M u slk a llsc h e Werke (L e ip z ig :
B r e itk o p f & H S r te l, 1908-36'!’, rep ro d u ced in 3l| v o l s . ,
e d , P h i l l i p Wolfrum (Westmead, E n glan d , Gregg P r e s s ,
1 9 6 6 ) , V, v i i (C o l. 1 ) , T h is work h e r e a f t e r r e
fe r r e d t o in f o o t n o t e s a s Werke.
91
A nother m a n u scrip t was a f u l l sc o re o r c h e s tr a t e d by Joachim
R a ff f o r two c l a r i n e t s , two o b o e s, two horns in C, two

h o rn s in P , two b a s s o o n s , two trum pets in D, a l t o , ten o r
and b a ss trom b on es, b a s s tu b a , tym pani in D, and c o n tr a -
id
b asses. L is z t w rote to R a ff in C arlsbadon on August 2 ,
18£3:
H erew ith , d ear R a f f , my Domlne salvum f a c . In

c a se Montag / a t t h a t tim e c o n d u cto r o f th e S in g -
akademie in Weimar7 f i n d s a p la c e f o r i t / i t co n
c er n s an homage c e le b r a t io n fo r th e Grand Duke
A lex a n d er, who ascen d ed t o th e th r o n e on J u ly 8,
1 I s u g g e s t you sim p ly o r c h e s t r a t e th e s e
e ig h t y m easu res, w ith o u t v i o l i n s and w ith o u t
f l u t e s , m e r e ly o b o e s , c l a r i n e t s , b a s so o n , h o r n s,
tru m p e ts, trom b on es, tu b a s , and k e ttle -d r u m s
. . . • I t i s c o m p le te ly u n n e ce ssa ry f o r you
t o send me t h e in s tr u m e n ta tio n and you can hand
them o v er d i r e c t l y t o K in d v a ter o r an o th er w orthy
c o p ie r f o r t r a n s c r i p t i o n . Above e v e r y th in g e l s e ,
how ever, show my m an u scrip t to Montag; i f i t
d o e sn ’ t o ffe n d him and a f f o r d s no d is tu r b a n c e
t o him , hand o v e r th e p r o v is io n f o r stu d y in g and
c o n d u c tin g i t . As I s a id to Montag j u s t b e fo re
my d e p a r tu r e , in c a se o n ly one m u sic a l work i s
to be perform ed i n th e church, my Domlne sh o u ld
be la y e d a s id e and your Te Deum s e l e c t e d . But
in c a s e th e r e i s room fo r two num bers, my Domlne
can be sung e i t h e r a t th e b e g in n in g or a t th e
c l o s e . 19
Wolfrum d is c o v e r e d th r e e m a n u sc rip ts o f th e Te Deum

and c o n s id e r s them a s A, B, and G. A and B were s e t fo r
18. I b i d . , V, v i i i (C o l. 1 ) .
19. I b i d . , V, v i i i (C o l. 1 ) .
92
m ixed c h o r u s, b r a s s in str u m e n ts and organ . He b e l i e v e s the
m ixed ch oru s v e r s io n (a com b in a tio n o f A and B) was composed
i n 1853 and th e m a le -v o ic e d v e r s io n (C) in 18$9 (S e a r le

20
l i s t s them in r e v e r s e o r d e r ) . The C s e t t i n g , a lth o u g h
w ith o u t d e d ic a t io n , was w r it t e n f o r th e wedding o f P r in c e s s
21
M arie (M ange), th e d au gh ter o f F h in c e ss S a y n -W ittg e n s te in .
L i s z t s a id in a l e t t e r t o Mange ( L i s z t ' s p e t name fo r h e r ) :
"The m a n u scrip t o f my Te Deum, which i s a sm a ll m orsel
d e s t in e d f o r th e church . . . and w hich a t th e same tim e
22
i s w r i t t e n fo r C arlsb ad in remembrance o f y o u .1* He a l s o
c la im ed t h a t i t had been perform ed f o r N ap oleon . The manu
s c r i p t o f C was a ls o compared by Wolfrum w ith one in the
e s t a t e o f C h arles M alherbe o f P a r is , and th e f o llo w in g i n
s c r i p t i o n was fou n d on one o f th e b lan k p a g e s: "To I . H.
C o r n e ll, New York, from h i s f r i e n d , Herr G ro ss, Weimar,
Septem ber 1 , 1 8 6 6 ." F o llo w in g t h i s d e d ic a t io n was a n o th er:
"To A lfr e d C o m in g B lack from h i s g r a t e f u l fr ie n d I . H.
C o r n e ll, New York, February 1 9 , 1 8 8 7 . ”^ G ross was c o p y is t
and tro m b o n ist a t Weimar.
20. I b i d . , I I , x i v (C o l. 1 ) .
21. I b i d . , V II, x l v (C o l. .: ) .
22. B r i e f e , IV, 23i*.
23. Werke V II, x i v ( c o l . 2 ) .
93
L i s z t , in a l a t t e r t o Wagner, w r it t e n a t Weimar on
J u ly 1 0 , 1857» spoke o f f e s t i v i t i e s to occu r in Septem ber,
and o f h i s f e a r t h a t e x c a v a tio n s n ea r th e G o e t h e - S c h ille r

T h eater m ight cau se c o m p lic a tio n s f o r upcoming p erfo rm a n ces.
In t h a t c a se I would have t o f l y t o Z urich

/W agner’ s home i n e x i l e / i n ord er t o produce
the F au st Symphony, ana my l a s t symphonic
poem, S c h i l l e r *s I d e a l s , a t your v i l l a . The
form er has been in c r e a s e d by m ale v o i c e s s i n g
in g th e l a s t e ig h t l i n e s pf th e second p a rt
o f th e E te r n a l E r m in in e .2^
The F a u st Symphony, a L is z t m a ste r p ie c e a c c o r d in g t o
Humphrey S e a r le , i s composed on c h a r a c te r s k e tc h e s o f
25
G retch en , F a u s t, and M e p h isto p h e le s. I t was com p leted
in O ctober 1 9 , 1854 > and th e c h o r a l appendage was added
in 1857. The f i r s t perform ance w ith i t s a d d it io n to o k
p la c e in Weimar on Septem ber 5» 1857 * but was n ot a c c e p te d
r e a d ily by th e p u b l i c . L is z t r e f l e c t e d on t h i s f a c t i n a
l e t t e r to B ren d el on August 2 9 , 1 8 6 2 , a f t e r a p le a sa n t
perform ance in L e ip z ig :
24. F r a n c is H o e ffn e r , ed . & t r a n s . , C orrespondence o f

Wagner and L i s z t , r e v . E l l i s (London: H. G revel &
d o ? /185?T, " i r r a i .
25. S e a r le , 5 9 .
9b
To judge from h i s e s s a y , th e ten o r s o lo a t th e

end o f th e F a u st Symphony ca u sed l e s s o ff e n c e
in L e ip z ig ( i t was th e stu m b lin g -b lo c k in th e
Weimar p erform an ce, so much so t h a t i n f l u e n t i a l
and w e ll d is p o s e d f r ie n d s have u r g e n t ly a d v is e d
me t o s t r i k e ou t th e s o lo and c h o r u s, and end
th e symphony w ith th e C-major common chord o f
th e o r c h e s t r a ) . I t was r e a l l y my i n t e n t i o n a t
f i r s t t o have th e w hole chorus sung i n v i s i b l y —
w h ic h , h ow ever, w ould be p o s s ib le o n ly a t p e r
form ances g iv e n in t h e a t e r s , by h a v in g th e
c u r t a in lo w e r e d . B e s id e s w hich, I f e l t d o u b t
f u l w h eth er th e sound w ould n ot have th u s b e
come to o i n d i s t i n c t . . . .2 6
P e te r Raabe b e l i e v e s th e S c h lu ssc h o r to th e F aust

Symphony t o be q u it e n e c e s s a r y , f o r ’’L i s z t in h i s p r e fe r e n c e
f o r th e sy m b o lic c o u ld not b y -p a ss i t . ” He a l s o a s s e r t s
t h a t B e e th o v e n 's N in th Symphony c o u ld have ended on a
" j u b ila n t In str u m e n ta l p a s s a g e ," bu t th a t L i s z t ' s F aust

27
and Dante Symphony c o u ld n o t . P aula Rehberg comments on
th e F a u st Symphony i n r e l a t i o n t o L i s z t ’ s ten u re a t Weimar.
B ecause o f h i s f r ie n d s h ip w ith Wagner, h i s r e l a t i o n s h i p w ith
th e P r in c e s s , and th e c o n tin u in g b a t t l e w ith th e p h i l i s t i n e s
(th e c o n s e r v a tiv e m u s ic ia n s o f Germany) a s c o n tr a s te d t o
th e avan t garde (Wagner and L i s z t ) , he i n c r e a s i n g l y came
under f i r e from a d v e r s a r ie s . Rehberg d e s c r ib e s th e 1 0 0 th
b ir th d a y c e l e b r a t i o n o f C arl August a t w hich th e f i r s t
26. L e tte r s, I I , 30.
27• R aabe, 135•
95
com p lete perform ance o f t h e F au st Symphony was p la y e d :

"With i t s f i r s t perform ance he rea ch ed th e peak o f h i s un
h in d e r e d , f r e e , a r t i s t i c d o in g - a s - h e - p le a s e d a t Weimar.
From now on , im pending c ir c u m s ta n c e s and schem ing powers

20
opposed him to th e o ld custom ary r e s t r i c t i o n s . "
S h o r t ly a f t e r L i s z t ' s d e a th , h i s d e v o te d f r ie n d
F r ie d r ic h Pohl r e p o r te d a L i s z t c o n c e r t a t L e ip z ig . The
a r t i c l e from th e Neue Z e l t s c h r l f t ftir Muslk h as a te n d e r
p a r t i s a n l i k e i n f l e c t i o n - - a n d an u n in ten d ed humorous one as
w e ll. A fte r com paring th e F au st Symphony fa v o r a b ly w ith

W agner's F au st O v e r tu r e , Pohl d e s c r ib e s th e L e ip z ig p e r
form ance :
W hile th e s o u l tr e m b le s in th e m y ste r io u s
sh ow ers o f t h i s m u s ic , w hich i s n o b le beyond
a l l com p rehension, th e chorus w h isp e r s 'mys
t e r i o u s ' as th e s o l u t i o n o f a l l r i d d l e s , . .
th e chorus san g by h e a r t under t h e d i r e c t io n
o f N ik is c h a s one v o i c e . One t h in g we would
l i k e t o p o in t o u t: c a n 't th e d is tu r b in g y ou th s
who sto o d in th e foregrou n d be h e lp e d in fu tu r e
p erform ances by p la c in g them b ehin d th e body
o f the in str u m e n ts?
P ohl a l s o m en tio n s th a t Herr Hedmondt sang th e te n o r s o lo

29
" in a b e a u t i f u l , n o b le w ay."
28. R ehberg, 3 3 3 .
29. F r ie d r ic h P o h l, "Die L i s z t f e l e r in L e ip z ig ," Neue

Z e l t s c h r l f t fttr M uslk (N ov. 6 , 1 0 8 6 ), lj.80.
96
Throughout h i s l i f e t i m e L i s z t was c a l l e d upon to com

p o se works f o r e x tr a -m u s ic a l o c c a s io n s . The M lssa so lem n ls
f o r th e d e d ic a t io n o f th e c a th e d r a l in Gran, th e C oron ation
Mass f o r th e i n s t a l l a t i o n o f th e A u str ia n r u le r Pranz Joseph

t o th e H ungarian th r o n e , and th e C an tata f o r th e B eeth oven
M em orial are a few o f th e la r g e r c o m m issio n s. There were
a l s o many s i m i la r r e q u e s t s f o r d e d ic a to r y m usic on a l e s s
p r e t e n t io u s s c o p e . Examples o f two such p i e c e s are th e
Welmars V o lk s lle d (1 8 5 7 ) and th e F e s tg e s a n g f o r th e op en in g
o f th e Tenth U n iv e r s a l German T e a c h e r s’ M eetin g in 1 8 59.
On J u ly 1 1 , 1857 th e Grand Duke o f Weimar K arl
A lex a n d er w rote t o L i s z t :
I would l i k e t o e x p r e s s a w ish t o you, d e a r e s t

f r i e n d , whose f u l f i l l m e n t l i e s w it h in my h e a r t ,
and w h ich I e n t r u s t t o your f r ie n d s h ip and t a l e n t .
My c o u n tr y , as w e l l a s my hou se h a s no n a t io n a l
hymn; b e c a u se o f t h a t f a i l u r e , we lo o k t o th e
e t e r n a l God Save th e Q ueen. I r e q u e s t you r e
p la c e t h i s son g w ith a n o th er w h ich . . . con veys
th e c h a r a c te r o f your b e in g to p r e s e n t t o fu tu r e
g e n e r a t io n s , t h e c h a r a c te r o f your e le v a t e d q u a l
i t i e s w h ich God h a s b estow ed upon y o u . I w ish
th e song t o be d e d ic a te d a t th e Septem ber f e s t i
v itie s . I t m ust be somewhere b etw een a p rayer
and a f o lk s o n g , n o t t o o s e r i o u s , n ot t o o l i g h t ,
n o t to o lo n g , n o t t o o s h o r t — i t m ust be somewhat
p e r f e c t . You a lo n e can c r e a te i t , t h e r e f o r e I
tu r n to you.
L i s z t ask ed th e Weimar p o e t Hoffmann von F a ll e r s l e b e n t o

subm it a poem, but i t w as, a c c o r d in g t o C o r n e liu s , "a c o ld ,
97
o f f i c i a l nom en clatu re .'* C o r n e liu s h im s e lf was ask ed t o send
a t e x t and he com p lied in August o f 18^7. L is z t th e n s e t i t

t o m u sic, th e m idd le s e c t i o n o f w hich was th e theme o f h i s
own A lle g ia n c e March ( a l s o d e d ic a te d t o K arl A le x a n d e r ).
A lthou gh b o th com poser and p o e t hoped f o r th e s u c c e s s o f

t h e i r Weimar V o l k s l le d , "the n a t io n a l c h a r a c te r w hich Karl
A lexan d er had w ish ed f o r so much in th e hymn d id n o t f a l l
t o i t s l o t .**30 In a l e t t e r from A ix -la -C h a p e lle (now Aachen)
August 1 2 , 1 8 £ 7 , L is z t d i s c u s s e s th e anthem’ s p r e p a r a tio n :
Sunday, W in terb erger and Hahn ( o f R otterdam ) and

B ron sart came to p a ss a few days w ith me. S in ce
t h e i r d e p a r tu r e I have n o t been n e a r ly read y t o
le a v e , f i n a l l y f i n i s h i n g th e job w hich was g iv e n
me f o r th e f e s t i v a l i n Septem ber a t Weimar, and
w hich i s augmented by th e p o e tr y o f C o r n e liu s
. . . e The c o m p o sitio n w i l l , I am s u r e , be w e ll
r e c e iv e d , and th e m o tiv e c h o r a le w r it t e n f o r th e
Archduke s e r v e s me w e ll i n su p p o rtin g th e V o lk s-
l i e d . P er th e sake o f more everyd ay u s e , I' was
o b lig e d t o w r ite two v e r s i o n s , th e f i r s t f o r a
chorus o f men (w ith th e accompaniment o f a dozen
b r a ss in s tr u m e n ts ) w hich can be sung in th e open
a i r in th e in a u g u r a tio n a t th e monument, or
du rin g th e march o f th e c o r t e g e , and one second
v e r s io n f o r chorus and s o l o i s t s , men and women,
w ith th e accorapanJ.ment o f a g r e a t o r c h e s t r a , each
v e r s e v a r ie d as t o th e s e n s e o f th e t e x t , which
w i l l p ro b a b ly be perform ed two e v e n in g s i n th e
sequ en ce o f th e t h e a t e r . The e n t i r e sc o r e w i l l
c o n ta in alm ost tw en ty p a g e s , on which I must
work u n r e m it t ln g ly . 3 l
30. Raabe, lj.8 .
31. L e t t e r s , I I I , 9fy.
98
A d e s c r ip t io n o f th e f e s t i v i t i e s d u rin g th e in a u g u ra
t i o n o f th e G o e t h e -S c h ille r Monument i s s e t f o r t h in a
l e t t e r from L i s z t to Madame X (a stu d e n t o f L i s z t ' s , Agnes
K lin dw orth o f H anover, who S i t w e l l c a l l s th e com p oser's
"fem ale d e v o te e and c la n d e s t in e c o n fid a n te ." Volume I I I
32
o f La M ara's e d it e d l e t t e r s i s t o h e r ) . The l e t t e r i s
v a lu a b le in th a t i t g i v e s a c a p su le i n s i g h t in t o a number
o f e le m e n ts in h e r e n t in m u sic a l l i f e in th e l a t e l 850' s .
I t t e l l s o f th e p erform in g a r t i s t s p r e s e n t , th e s i z e o f th e
augmented p erform in g g ro u p s, and th e g e n e r a l m u sic a l p o l i
t i c k i n g t h a t went on betw een L i s z t ' s two l ie u t e n a n t s , R a ff
and L i t o f f , and th e v i s i t i n g m u s ic ia n s . I t a l s o m en tion s
a d d it io n a l s e t t i n g s o f th e V o lk s lle d a s compared t o th e
o r i g i n a l tw o .
At A lten b u rg th e u s u a l r a te o f o c c u p a tio n s o f
l i t e r a t u r e and r e l e v a n c i e s have r e tu r n e d . The
h e a lt h o f th e P r in c e s s i s a m e lio r a te d . . . she
was a b le t o tak e h e r p art in th e Septem ber
f e s t i v i t i e s in a s s i s t i n g i n th e in a u g u r a tio n o f
th e G o e t h e -S c h ille r Monument a lo n g w ith th e i l
l u s t r i o u s r e p r e s e n t a t iv e s o f th e t h e a t e r on t h i s
o c c a s io n such a s D a v iso n , D e v r le n t, M ile s .
S e e b r ic h and Fuhr, and f i n a l l y th e c o n c e r t on
Septem ber whose program was e n t i r e l y fu r n ish e d
w ith my c o m p o s itio n s . The p erform ances were
adm irable and I have r e c e iv e d o n ly p r a is e fo r
th e F aust Symphony, th e v o c a l q u a r te t Uber a l i e n
G lp fe ln 1 s t Ruh w n lch was e n c o re d , th e chorus
32. S itw e ll, 210.
99
An d ie K fln s tie r , e t c . For t h i s e v e n in g we

d ou b led our u s u a l o r c h e s t r a l p e r so n n e l w ith
a s s o c i a t e a r t i s t s o f th e f i r s t o rd er from
L e ip z ig , B e r lin , M eln ln gen , Sonderhausen such
a s D avid , B o te , U lr ic h , th e young M ttller Q u a r te t,
e t c . , e t c . , and th e m en 's chorus was In c r e a se d
by a hundred i n d i v i d u a l s . L l t o f f and R a ff
found among th e m u sic ia n a u d ite u r s a g r e a t
number u n ite d t o make t h i s perform ance v e r y
c l e a r l y f o r Z ukunft-M usIk. The l a t t e r , a
prudent f r i e n d , h a s g iv e n me c o u n c il w hich h as
n o t h u r t my h e a l t h or to abuse th e powers o f
my a c t iv e la b o r s .
The V o lk s lle d o f C o r n e liu s was f i r s t p e r
form ed by th e chorus on Septem ber 3 p r e c e d in g
th e la y in g o f th e f i r s t s to n e f o r th e monument
o f Carl August by th e Grand Duke, and th e
n e x t day a t th e in a u g u r a tio n o f th e s t a t u e o f
W ieland ( i t was r e-p erfo rm ed a t the f i n a l c o n
c e r t th e 5 t h ) , and was p u b lis h e d in fo u r e d i
t i o n s a t th e tim e , o f which I se n t you two
( f o r p ian o a lo n e and f o r v o ic e a lo n e ) du rin g
th e c o u r se o f O cto b er. On November 7 I
d ir e c t e d a grand c o n c e r t a t th e t h e a t e r a t
D resden a t w h ich I managed a good perform ance
o f th e Prom etheus C horuses and th e Dante
Symphony! C u rin g Cent I s h a l l p r o b a b ly d i r e c t
tn e Gran Mass in V i e n n a . 33
Not a g r e a t d e a l i s known about th e F e s tg e s a n g . I t is
f o r f o u r - v o ic e m ale ch oru s w ith organ (ad l i b . ) and th e t e x t

i s by F a ll e r s l e b e n . On th e t i t l e page o f the o r i g i n a l manu
s c r i p t , a c c o r d in g t o Dr. Wolfrum, was w r it t e n : ”The c o r r e c
t i o n s i n t h i s c o m p o sitio n are from th e hand o f Herrn

H o fk a p e llm e ls te r Dr. Franz L i s z t . ” The organ sc o r e had
many p e d a l i n d i c a t i o n s , and Wolfrum comments th a t when
33. B r ie f e , I I I , 9 7 .
100
p la y ed a t home or In th e c o n c e r t h a l l a harmonium was u sed
(but an accompaniment sc o re d f o r harmonium i s n o t p r e s e n t ) .

The F e s tg e sa n g was p u b lish e d i n 1859 ( S e a r le sa y s by Klihn,
and Wolfrum c i t e s S u lz e r o f L e i p z i g ) . A ccord in g to Wolfrum,
many dynamic m ark ings f a i l e d to be t r a n s f e r r e d from th e
m an u scrip t t o th e p erform in g e d i t i o n , but a d d it io n a l mark

in g s were p la c e d i n th e o rgan p a rt so t h a t th e v o ic e s would
be c o m p le m e n te d .^
At th e end o f L i s z t ’ s s t a y a t Weimar th e r e ap p eared ,
from th e p u b lis h in g h ou se o f C. F . K ahnt, an e d i t i o n o f
tw e lv e p ie c e s f o r male v o i c e s . E n t i t l e d Ftir M flnnergesang,
th e s e throw backs t o Das D eu tsch e V a te r la n d and T rln kspruch

had been composed v a r io u s l y betw een 181^2 and 1 8 6 1 . Taking
t h e i r o rd er o f l i s t i n g from Humphrey S e a r le * s c a t a lo g in
g r o v e ’ s D ic tio n a r y o f M usic and M u s ic ia n s , t h e f i r s t two
were works o f th e 1 8 5 0 ’ s . V e r e in s lle d was w r it t e n i n 1856

f o r th e Neu W elm arvereln w ith a t e x t by F a l l e r s l e b e n .
Stftndchen t o a poem by R dckert was s c o r e d i n 1857 f o r te n o r
s o lo and m ale q u a r t e t . Wlr s ln d n lc h t Mumlen ( F a lle r s le b e n )
and S o ld a t e n lle d from G oeth e’ s F au st ( f o r b r a ss and tym pan i,
ad l i b . ) were b o th r e v is e d from t h e i r I 8I4I4. e d i t i o n s , and
Saatengriln (U hland) from i t s s e t t i n g in l8 4 £ ( a l s o arranged
3I4. Werke V I. i x ( c o l . 2 ) .
101
f o r women's v o i c e s ) . P er Gang urn M ltte r n a c h t (Herwegh)
and G o e th e 's G o tte s 1 s t d er O rien t were w r it t e n in I 8I4.5 and

I 8I4.2 , r e s p e c t i v e l y . I have n o t been a b le t o f in d m usic f o r
th e G eh a rn lsch te L ie d e r ( t h r e e s o n g s ); D ie a l t e n Sagen
kunden and F e s t l l e d zu S c h i l l e r s J u b e l f e le r have n o t been
lo c a t e d .
In i8 6 0 on Septem ber 2 0 , L i s z t w rote to h i s f r ie n d
Franz B ren d el:
I sen d you by my f r ie n d L a ssen ^ c o u r t m usic d i r e c

t o r i n 1858 and L i s z t ' s s u c c e s s o r on L i s z t ' s w ith
draw al i n 1 8 6 1 7 a l i t t l e p a r c e l o f son gs ( e ig h t
nu m bers), w h ich I beg you g iv e to Kahnt . . . .
I a l s o add a q u a r te t f o r m en's v o i c e s . I t i s th e
V e r e ln Song " F r isc h a u f zu neue Leben" w r it t e n
f o r th e New W eim ar-V erein by Hoffmann von F a l l e r s
le b e n . The p a ssa g e "von P h ilis fc e r G esch rei" 3 5
w i l l p ro b a b ly amuse you and th e w h ole th in g i s
k ep t r a th e r p o p u la r and e a s y to be p erform ed .
I f I t d o es n o t make a b o th er l e t i t be t r i e d in
L e ip z ig when you have an o p p o r t u n it y .3 °
L a te r , In December 2nd o f t h a t y e a r , L is z t w rote

d i r e c t l y to Kahnt se n d in g him th e se v e n th book o f s o lo
so n g s , and added a g a in th e V e r e i n s l l e d . He sp eak s o f
s e v e r a l o f th e o t h e r male chorus p ie c e s and p r o p o ses a
s e r i e s o f C o m p o sitio n s f o r Male V o ic e s ;
3S>. Whenever L i s z t r e f e r s t o "the p h i l i s t i n e s , " he Is

u s u a lly i n d i c a t i n g th e a d v e r s a r ie s t o th e L iszt-W agn er
Zukunft-M usIk phenomenon.
L e t t e r s , I , Mj.3.
102
I send you h e r e w ith th e p r o o f - s h e e t s o f t h e

s e v e n th book o f my s o n g s , and th e V e r e in s lie d
f o r t h e ch oru s o f m en's v o i c e s . • On th e
s e v e n te e n th o f t h i s month the Neu-W eim ar-Verein
in te n d s t o g iv e a l i t t l e B eeth oven F e s t i v a l and
th e V e r e in s lie d i s in c lu d e d on th e program. I
beg t h e r e f o r e th a t you send me some p r o o f - c o p ie s
by th e 12th o f December— i f i t i s not p o s s ib le
to g e t th e e d i t i o n rea d y so so o n . The th r e e
ch an son s and th e arrangem ents o f th e th r e e q u ar
t e t s f o r men’ s v o i c e s (p u b lish e d in B a s le ) are
a l l com p leted in my h ead ; you s h a l l have them
a s a new m an u scrip t a t th e end o f th e w eek.
There i s no h u rr y about th e p u b lis h in g o f the
ch an son s and th e q u a r te ts (p rob ab ly I s h a l l e n
t i t l e them Aus d er Z e it or Aus dem L ager, t h r e e
s o n g s , etc.") ^ . . • My S c h i l l e r song (w hich
appeared in th e I l l u s t r a t e d in November l a s t ) ,
may soon be p u b lis h e d , and a somewhat r e p a y in g
(r a th e r s w e e t! ) q u a r te t f o r men’ s v o i c e s , w ith
a te n o r s o l o —H iit t e le ln , s t i l l und k l e i n . I t
h as a lr e a d y b een sung w ith s u c c e s s by the V ienna
M & nner-G esangverein, and by some L i e d e r t a f e l n .
I add th e two m a n u sc rip ts to th e two p a r c e ls
o f p r o o f s —p erh ap s you w i l l take an o p p o r tu n ity
o f t r y in g b o th th e l i t t l e t h in g s in a sm a ll
c i r c l e . I f P r o fe s s o r GBtz would have the k in d
n e s s to u n d ertak e th e s o lo p a rt in th e H tit te le in
I sh o u ld be v e r y much o b lig e d to him . Herr
W a lle n r e it e r m igh t make a good th in g o f th e
b a r ito n e s o lo p a rt in the S c h i l l e r son g . . . .
I w ould propose to you to b r in g them out in th e
op en in g numbers o f a sh o rt s u c c e s s io n o f
C om p osition s f o r Male V o ic e s , and a l s o . . .
to g iv e them a t i t l e - p a g e (w ith a sta te m en t of
th e d i f f e r e n t numbers—t o which the B a sle q u a r
t e t s m ight a ls o be added; th u s s i x numbers up
t o now ). Do n o t f e a r , d ea r s i r , an overp ro d u c
t i o n o f t h i s genre on my p a r t! But by some
chance one or o t h e r number o f t h e s e q u a r te ts
sh ou ld have some sp rea d , I sh o u ld n o t d i s l i k e t o
w r ite a c o u p le m ore, e i t h e r s e c u la r or s a c r e d .
Among th e s e l a t t e r , I hope t h a t the Psalm The
Heavens D e c la r e , which w i l l be perform ed n e x t
summer a t a grand F e s t i v a l o f Song, w i l l produce
a good e f f e c t o 37
37. I b i d . , I , 1*54-6.
103
L is z t was o b v io u s ly i n t e r e s t e d in e x p l o i t i n g th e
M&nnerchor m ark et. On December 19 he fo llo w e d th e above
l e t t e r w ith a n o th e r , en co u ra g in g Kahnt to g e t on w ith the
p u b lic a t io n , even s u g g e s tin g a more eco n o m ica l method o f
p r in t in g th e s o n g s . He a l s o made known th e f a c t t h a t
a n o th er p u b lis h e r , S ch u b erth , had been p r e s s in g him t o
p u b lis h th e s e same m ale chorus p ie c e s .^ ® L is z t perhaps
drove home th e p o in t when he qu oted a l e t t e r from h i s
f r i e n d L o u is K o h ler, a p i a n i s t , t e a c h e r , and com poser from

K iJnigsberg: "A c o u p le o f months ago L o u is K ohler w rote
to me in a w i t t y , f r i e n d ly manner, ’ You r e a l l y owed us
some Q u a r tets fo r menf s v o i c e s , which B ierb riid er m eta-
39
morphosed in t o d e m i-g o d s l111 The same r e fe r e n c e o c cu rs
i n a l e t t e r d ated December 1 1 , i8 6 0 , to Madame X. It
tr a n s la te s : "We a w a it your songs fo r m ale ch oru s which
w i l l change th e s e • b e e r - b r o th e r s ’ i n t o ’h a lf - g o d s I ’
38. I b i d . , I , 1*57.
39. I b i d . , I , 1*56.
1*0. I b i d . , I l l , 11*1.
101*
The Music
P a ter n o s t e r
P a ter n o s t e r I I ( l81$.6) and F e s tc h o r f o r H erd er's

M em orial (1 8 5 0 ) d i f f e r b ecau se o f t h e i r in te n d ed a p p lic a
tio n . The form er i s meant f o r l i t u r g i c a l u s e , and t h e r e
f o r e i t i s p r i s t i n e and r e f l e c t i v e . I t s e t s th e t e x t o f th e
L o r d 's P rayer s p a r in g ly w ith o u t t e x t r e p e t i t i o n s , and th e

organ accompaniment m er ely r e i n f o r c e s and u n o b tr u s iv e ly
d o u b le s th e v o i c e s . The l a t t e r , in te n d e d f o r a c e l e b r a t i o n
h o n o rin g th e memory o f a n a t io n a l f i g u r e , h as a b o ld e r
fa c a d e and i s e x tr o v e r t e d r a th e r th a n i n t r o s p e c t i v e . Its
p ia n o f o r te accom panim ent, In c o n tr a s t to th e organ p art o f
P a te r n o s t e r , d r iv e s and p r o p e ls r a th e r than p r im a r ily

u n d e r g ir d in g th e m u sic a l t e x t u r e .
P a te r n o s t e r , l i k e th e F e s tc h o r , i s i n th e k e y o f
C m ajor and h a s th e L i s z t i a n harm onic ten d e n c y t o use t o n a l
s h i f t s by r o o t - t h ir d s or r o o t-s e c o n d s (Example 3 7 , a and b ) .
Example 3 7 . P a te r n o s t e r I I
a . M eas. 4 -1 6 b. M eas. 5 1 -53
A marcaio
um: Ad-ve . s i . Sed I li.. be.ra

f . marcaio
Sed | 11 . be.ra
um: / marcaio
Sed l i . be.ra
f marcaio
um: A d .v e .n i.
Sed 11 .b e.ra
um: A d .v e .n i. at
10$
The shape o f P a te r n o s te r i s a c h ie v e d by the t r a d i t i o n a l
use o f a v a r ie d b a r -fo r m i n w hich th e S t o l l e n cad en ce i s
r e in f o r c e d on G and D m ajor, r e s p e c t i v e l y , w ith fer m a ta s

on th e f i n a l chord o f ea ch s e c t i o n . The f o llo w in g A bgesang,
i n Example 3 8 , b e g in s by o u t l i n i n g an F -sharp m inor ch o rd ,
le a d in g t o an A m inor t o n a l i t y ,
Example 3 8 . P a ter n o s t e r I I
M eas.
it ne no* in te n .ta .ti. o . nem,
w h ich , i n tu r n , r e s o l v e s to th e home k e y .
F e s tc h o r
F e s tc h o r i s c o n s tr u c te d i n th e same manner as many o f

L i s z t ’ s Mflnnerchor p i e c e s . I t i s com prised of fo u r v e r s e s ,
th e f i r s t th r e e o f w hich rem ain alm ost m u s ic a lly i d e n t i c a l .
The f i r s t a c t u a l v a r ia n c e o c c u r s in th e th ir d v e r s e , when
a common p r o g r e s s io n fou n d i n th e f i r s t and second v e r s e s
(Example 39) i s v a r ie d i n th e t h i r d v e r s e (Example 1*0).
The fo u r t h v e r s e conform s to th e p r e c e d in g v e r s e s u n t i l
measure 2 1 5 , when th e r e i s a harm onig d ig r e s s io n o f t e n
106
m ea su r es. Prom m easure 223 t o I t s fou r-m ea su re c o d e t t a ,
th e m usic r e t u r n s a s b e f o r e .
Example 3 9 . F e s tc h o r
M eas. 2 3 -2 5
j. t , i
6os >* ju n - j» 6G m um ftef-
'I j j. J I«j J Ij ^ j
F~m-f'l' rrf
Example U0. F e s tc h o r
M eas. 1 2 5 -1 2 5
' bti S i mpf unbSt&mttjin (9(1 • (let • jTtmnm
The m ain f a c t o r p r o p e llin g grow th , c r e a tin g sh a p e,

and c a u s in g u n it y in F e s tc h o r l i e s i n th e p ia n o fo r te accom
p a n im en t. A lth o u g h i t i s b a s i c a l l y sim p le and u n s o p h is t i
c a te d h a r m o n ic a lly , a rh yth m ic v a r i e t y and d r iv e moves
F e s tc h o r from b e g in n in g t o en d . In c o n tr a s t t o th e organ
p a r t o f P a te r n o s t e r , th e p ia n o f o r te in F e s tc h o r seldom
d o u b le s th e v o i c e s . I t p la y s a c o n c e r tin g r o l e , a llo w in g
107
a c a p p e lla b u r s t s from th e m ale ch oru s w h ich answ ers and

p u n c tu a te s i n q u ic k , s t i n g i n g r e p l i e s (s e e Example Jj.1) —
o f t e n r e i n f o r c i n g a ca d en ce a t th e same t im e .
Example lj.1. F e s tc h o r
M eas.
mi
tclt, Ji d vnto €$5p[nnfl!*tag er»ftelt.
*i
tcta ftroMcnb 9a*g(
There are two r i t o r n e l l i , each s i x t e e n m easures in le n g t h ,

t h a t im it a t e th e t r u m p e t - c a ll m o tiv e so p r e v a le n t i n L i s z t ' s
p a t r i o t i c , d e d ic a to r y M&nnerehor p a r t so n g s . M easures 1
th ro u g h 1 6 , le a d in g to t h e f i r s t v e r s e b e g in w ith a trem o lo
B - f l a t o c ta v e i n th e l e f t hand, w ith r e p e a te d o c ta v e s in
th e r ig h t in e ig h t h , q u a r te r , and h a l f n o t e s . T o n a lly ,
B - f l a t m ajor i s e s t a b l i s h e d u n t i l m easure 1 0 , when th e drop
o f a r o o t - t h ir d from G minor t o E - f l a t m ajor b r in g s a r e tu r n
to th e home k ey o f C m ajor. The secon d r i t o r n e l l o , m easures
108
169-18I(., s e p a r a te s th e t h ir d and fo u r th v e r s e s . I t s to n a l
scheme i s th e same a s th e f i r s t , but v a r i e t y i s a ccom p lish ed
by th e s u b s t i t u t i o n o f s i x t e e n t h f o r e ig h t h n o t e s , and
e ig h t h n o te t r i p l e t s f o r th e even q u a rte r n o t e s in th e f i r s t
r ito r n e llo . T h is c o n tr a s t o f r i t o r n e l l i h e ig h te n s e x p e c ta
t i o n s f o r th e f i n a l v e r s e as w e l l a s f o r th e c lim a c t ic
o c ta v e s and u n iso n s t h a t appear i n F e s tc h o r 's c o d e tt a .
Prom etheus Choruses

The e ig h t Prom etheus C horuses are sc o r e d fo r th r e e
t r a d i t i o n a l v o c a l ensem bles: women's, m ixed , and male .
o h o r u se s. Numbers 1 and 3 , Chorus o f th e O cean-P eop le and
Chorus o f th e D ryads, are f o r women's c h o r u s; numbers £ ,

6 , and 7 are f o r male c h o r u s - -Choruses o f th e V in e-G row ers,
S u b te rr a n e a n s, and I n v is ib le - O n e s ; numbers 2 , 4 , and 8—
Choruses o f T r ito n s , H a r v e s te r s , and M uses— are f o r m ixed
ch o r u s. The e n t i r e s e r i e s was o r c h e s tr a t e d by R a f f , and
l a t e r r e v is e d by L i s z t . The s c o r e p r e s e n t ly a v a ila b le i s
f o r p ia n o fo r t e a lo n e , w ith o c c a s io n a l in s tr u m e n ta l cu es
in s m a lle r n o t e s . The work i s su p e r io r to th e l i t e r a t u r e
exam ined th u s f a r . With some e x c e p t io n , many o f th e
c lic h d s in h e r e n t in L i s z t ' s sm a lle r p ie c e s are a v o id ed ,
and g iv e e v id e n c e o f th e com p oser's a b i l i t y t o m an ip u late
mot1v ie id e a s in an exten d ed c h o r a l works
109
There a re two in s tr u m e n ta l m o tiv e s t h a t c o n tr ib u te to

th e u n it y , grow th, and shape o f t h e s e c h o r u s e s . The f i r s t ,
and most pronounced, i s a d e sc e n d in g s c a l e - l i k e id e a th a t
i s som etim es d i a t o n i c , som etim es ch ro m a tic, and som etim es

in c h o r d - o u t l i n e . The f i r s t c h o r u s , th e Chorus o f th e
O c e a n -P e o p le , em ploys th e m otive i n a c h r o m a tic , d e sc en d in g

l i n e t h a t i s a n t ic ip a t e d e a r l i e r i n an a sc en d in g p a ssa g e
by c l a r i n e t s and f l u t e s (Exam ples i|.2 and lj.3).
Example 1*2. Ocean P eop le

Meas. 1 0 7 -ITS-----
^ s m -----)— — t - -■■■ ■ ------ .), „ j ------

. Weh
1-L ' “ j m .. ■ ■ |
■V
Utah *ir!
tremolo
’4 = ; = ■ M b
i P
4wJ fa-J— — . j ------------= j
V -- -
.....
&9 b ? 5
' rm--------------------
Example U3* Ocean P eop le ( c l a r i n e t s and f l u t e s )

M eas. 3 6 -3 7
110
The Chorus o f T r ito n s in tr o d u c e s th e m o tiv e , in
m easures 5>1 and 5 2 , on an o u t lin e d d im in ish e d s e v e n th chord

(Example lj.1*).
Example 1*1*. T r ito n s

M eas. 5 1 -5 2
I t s h e a d -m o tiv e c o n tin u e s in th e r ig h t hand o v e r t h e down

ward m oving s c a l e . L a te r , a s im ila r p a s sa g e ( i n Example 1*5)
shows i t s e l f i n th e soprano and a l t o v o i c e s , w h ile d ou b led
i n th e p ia n o f o r t e .
Example 1*5. T r ito n s

Meas. 1 M * -IP
m — ^
■ tJ | m
isV Ao.s
• •• ^ 2
r
f [ = j t p = = = ~ .
VifcV"- —■— • =b--j =

isV
I 1 1 1 r~"
!..LJ.|1 j jil‘1 i
' n f ' j
Ill
I n th e t h ir d c h o r u s, Choru3 o f D ryads, th e m o tiv e
o c c u r s in th e form o f a m inor n in th chord (Example 1+6),
Example 1+6. Dryads

M eas. 6 1 -63
fc *
*
’
M l>d kJ
m $
id i+J
The H a r v e s t e r s Chorus tr a n sfo r m s th e o r i g i n a l m otive by
s k ip s o f f o u r t h s , t h i r d s , and seco n d s (Example 1+7).

C horuses 5> and 6 , i n Exam ples 1+8 and 1+9, Chorus o f th e
V ine-G row ers and Chorus o f the S u b te r r a n e a n s, a ls o have th e
m o tiv e .
Example lj.7. H a r v e s t e r ^ Chorus
Meas. 3 3 -3 5
Example lj.8. 37lie V ine Or owe 2’S

M eas . 6 2 -6 9
—■- w---- ......"■""■-----

W r
H«W - - - - VNwv^, 4il wr- Hoff - ** -

sj--- J--4-_aL.
------- ----- m-- ---- m . . =J—
Hef? - - t
M — -=— 1 m .. ' -------f—4---- F=(=

T - ..- - .^ = l H - F -
CHOU. Vev^
1
W h------------ - <
----------- 4-^-1----
-
« ■*•>
-UJL1 rm--
•1
::=-' T——7
^
2
UJ £ ■
-r
ir i *5 rX
** =. L > u r ^ T : Uti^r
y y -r . — a* . 7
?u
$
113
Example k 9 . The S>ubterx»aneaias

Meas. 62-6$
> >
J-E — i — 1•k pl".........pi"" '"'i 4 = 4 = f
- ----------------
a -------------------------- = - ~ r — --
1
tfr -£ r
I
W x
U r - - - ■■ = 4 = 4 = f - 4 —
‘
y t - b -----------F -------- * ......
» 1
5 • — —
c T
&
4 I
i t e v J . ■! i l t V q = - = j ^0 - - -
'—■■■• *•4 :::—
.. 1
U. * i
T - T P r
C t r -M
iM t t £
MC:
[= g |
111+
Chorus 5>’ s m o tiv e b e g in s in th e b a r it o n e v o i c e , e c h o in g th e

d e sc e n d in g f i g u r e i n th e r ig h t hand o f th e p ia n o f o r t e . In
ch oru s 6 , th e exp osed downward p r o g r e s s io n o f w hole and h a l f
n o te s i s s im ila r t o th e broad th e m a tic sta te m e n t i n th e f i r s t
ch oru s (s e e Example 1+2). The t h ir d m a le -v o ic e c h o r u s, Chorus
o f th e I n v is ib le -O n e s , l i k e Chorus o f th e H a r v e s te r s , c o n
t a i n s a f a l l i n g m otive t h a t changes i n t e r v a l l i c d i r e c t i o n
b e fo r e c o n tin u in g downward ( s e e Example 5>0).
Example f>0. The I n v ls lb le -Q n e s

M eas. 1
A ndante con moto(mamolto tranquil to). PROLOG. Mtlodramatisch:
tf1tf p r'g f\ i rt i r
n i— f i r -i^— ^ 3 / J"!-' |
jKdolce
B
ii
n f r
I* rS
The f i n a l c h o r u s, Chorus o f th e M uses, c o n t a in s a p a ssa g e

in th e soprano v o ic e t h a t a l s o c o n tin u e s in th e p ia n o fo r te
(Example $ 1 ) .
A secon d m o tiv ic id e a im portant t o th e s tr u c t u r e o f
th e Prom etheus C h oru ses, app ears in a number o f th e move
m en ts. I t s b a s ic shape i s a r i s i n g s u c c e s s io n o f th r e e
h a l f or whole s t e p s , and a p p e a r s, as in Example £ 2 , In the
f i r s t m easure o f the f i r s t c h o r u s.
115
Example $ 1 . The Muses

Meaa. i}.8-50
ff;v 1 f1
-' ■=& =[
MiW
StW* • - H ail fye-
§--- --■ - 1 , - ~ r=
g
f
pnj. - T>.S=\ii\\ i ----------------------------
HcWT/e-
------- -§— t--=---- -£....t-•— 1
I
ffttTT trcrcr iy j
. cv«m
.v\4» ** ar
N
ai S
M i
W
“r t l n n I- ■
Example £ 2 . Ocean P eop le

M eas. 1 - 2
I t s p r e se n c e i s c o n s ta n t th ro u g h o u t th e Chorus o f th e
Ocean P e o p le , a lth o u g h d e p a r tin g from th e f i r s t s p e c i f i c
p itc h e s .
116
C horuses 3 and 6 , Chorus o f th e Dryads and Chorus o f
th e I n v l s l b l e - O n e s , p r e s e n t s a s im ila r tr e a tm e n t, a s se e n in
E xam ples 53 and 5 4 • T*10 m o tiv e em erges from a busy t e x t u r e

o f th e p ia n o 's e ig h t h and s i x t e e n t h n o te s and c l o s e l y
r e se m b le s th e o r i g i n a l h a l f s t e p m o tiv ie sh a p e .
Exam ple 53* The Dryads

M eas. 1 -3
t Non tropjpo Allegro ma molto agitato. mf%

=*
CHOB
Non troppo Allegro ma molto agitato

. e"
p legato ^
Example 54 • The I n v is ib le - O n e s
M eas. 1 -2
117
C horuses 5 and 7» Chorus o f th e V lne-G row era and Chorus o f

th e I n v l s l b l e - O n e s , a l s o em ploy a t h r e e - n o t e m o tiv e , as in
Exam ples 55 and 56.
Example 55. The V ine-G row ers

M eas. 7 5 -7 5
Example 5 6 . The I n v ls lb le - O n e s
Meas. 7 2 -7 5
poco rittn u to
:J L l f L .jU- -, f i u | - - |: - : =
k ~— . —«
fie . hen dir,
1J f
W ~
poco rite/tu to
# T
The Prom etheus C horuses are f u r t h e r u n i f i e d by m o tiv e s
o f somewhat l e s s s i g n i f i c a n c e . In t h e Chorus o f th e T r it o n s ,
an Id ea ap p ears ( s e e Example 57a) th a t i s r e l a t e d t o th e
f i r s t m easure o f Chorus o f th e Yine-G rower3 ( s e e Example
5 7 b ). The Chorus o f H a v e s te r s h a s a s e r l e o f t h i r d s and
f o u r t h s t h a t sim u la te v i l l a g e b e l l s (Example 5 8 ) •
118
Example 5 7 . The T r l t o n 3 and t h e V in e -G r o w e r s

a . Meas. 110
b. M eas. 1
Example 58• The H a rv e ste r s

Meas. 2 7 1 -2 7 5
119
A s im ila r m otive I s used In chorus 5 e n h a n cin g , in t h i s c a s e ,
a b a c c h a n a lia n e x p r e s s io n o f p le a su r e r a th e r th a n a r u s t i c
harve s t ( Example 5 9 ) .
Example 5 9 . The V ine-G row ers

M eas. 5 -6
cresc.
M a i mltjtdem T a k t
A f i n a l m otive a p p ea rs in c h o r u se s 5 and 7 , Chorus o f th e
Vine-G row ers and Chorus o f th e I n v ls lb le - O n e s . t h a t i s r e

l a t e d t o th e h ea d -m o tiv e o f Example 1& i n chorus 2 . H ere,
i n Exam ples 60 and 61, i t i s t h e rh yth m ic d r iv e o f fo u r
s i x t e e n t h n o te s t h a t t i e s th e id e a s t o g e th e r and g i v e s
a d d it io n a l c o h e s iv e n e s s to th e Prom etheus C h o ru se s.
The th r e e m ale movements o f th e Prometheus Choruses
h o ld a h ig h s t a t u s in th e m a le -v o lc e l i t e r a t u r e o f L is z t
and c o n ta in , a s id e from t h e i r th e m a tic r e l a t i o n s h i p s , a s p e c t s
o f fu r th e r I n t e r e s t . The Chorus o f th e V in e-G row ers. shaped
i n t r a d i t i o n a l ABA s e c t i o n s , i s the lo n g e s t chorus o f th e
e n t i r e e ig h t Prometheus C h oru ses. I t em braces a s e r i e s o f
cad en ce-rh yth m s w it h in i t s m iddle s e c t i o n (m easures 101*, 1 2 2 ,
120
Example 6 0 . The Vine-G rower*

M eas. 102-T5E
Trau . . Ce Saft., ,
(•' r ;
I p M p - ■-*■— 1 #—.. - -■ “ j* ■ f " I ■ -
........................ i i
f f ; i
r { E ft* * * J la iF - J j? j
•s.
9 $ =3 0 m =
Example 6 1 . The IP T ls ib le -O n e s
Meas. 6 6 -6 ?
SO LO -PU A R X E X T . TKNrtH I. u. II.
p esprtvsiai
BASS I.u.U^N
Uer Krde li«f grbeug-te Viilker flrhen dir,
1 2 6 , ll|.0 , It^H), whose r a is o n d r£ t r e s t r e t c h e s and p r o lo n g s

th e m u sic a l m a te r ia l ( s e e Example 6 1 ) . F in a lly , a f t e r a
fir m cadence i n D m ajor i s consummated, t h e male q u a r te t
and ch oru s move th ro u g h a s e r i e s o f t r u m p e t-lik e r e s p o n s e s
121
t o th e r e tu r n o f s e c t i o n A. Here L i s z t d i r e c t s , "From here

on p r o p e l more and more t o th e e n d .n The accompaniment
p la y s broad q u a r te r n o te t r i p l e t s and th e ch o ru s—whose
g e n e r a l demands o f t e s s i t u r a a re v ery h ig h — r e s o r t s to
u n is o n s i n g i n g .
The Chorus o f th e I n v i s i b l e Ones i s a u n is o n ch oru s
whose harm onic i n t e r e s t , t h e r e f o r e , f a l l s t o th e accom pani
m en t. I t s s t r u c t u r e i s ABA and i t i s sc o re d i n a s e r i e s o f
broken c h o r d s. I n c o n t r a s t t o th e o th e r c h o r u s e s , i t h a s
an e x t e n s iv e p o s t lu d e o f 26 m easures o v e r w h ich a p o r t io n
o f R ich ard P o h l's l in k i n g v e r s e i s sp o k en . In s e c t i o n B,
grou p s o f p a r a l l e l t h ir d s o c c u r on m easu res 36 th rou gh i|.0,

and 5 0 -5 1 in t h e p ia n o f o r t e , c r e a t in g a t h r e e - v o ic e d t e x t u r e
w ith th e v o i c e s . The p o s tlu d e t o th e Chorus o f th e S u b te r
ran ean s , l i k e Chorus o f th e I n v is ib le - O n e 3 , i s p la y e d w h ile
th e n a r r a to r s p e a k s . I t i s , l i k e c h o r u s e s 5 and 7> i n an
ABA s t r u c t u r e , and , l i k e 5 , h a s a m ale q u a r te t a s w e l l a s
th e m ale c h o r u s . M easures 16 th r o u g h 19 and 19 th rou gh 21

o f Chorus 7 giv® exam p les o f L i s z t ’ s l o v e o f t h ir d r e l a
t i o n s h i p s , f o r h e r e an e n t i r e harm onic seq u en ce i s e le v a t e d
a m inor t h i r d (Example 6 2 ) . There i s a f i n a l moment o f
i n t e r e s t In Chorus o f th e I n v i s i b l e - O n e s . A fte r c a d e n c in g
In B m ajor, a t m easure 1 5 , L i s z t m o d u la tes to D m inor, th e n
t o F m inor th ro u g h th e two h a l f - p h r a s e s a b o v e. He th e n u s e s
122
Example 6 2 . The S u b terra n ea n s

Meas. 1 6 —22
V o r sic U + *v* - - - 'r t-l i*\ K *el^ u»i-
r A lA - P ----------------- r ------- - 3 -----,---------,-------- 1 _

|"Vj ----------------
b p — - t - p -------------
"TtVtflr I+JL c l
p~i a— P ‘ ■- r_
. _ d*A dm* u i t , - vuul;
. .1 * . ^ ----------- -- - - - - - - - 1 1
L-, j -y ~ y
•P b.-#-
th e augmented s i x t h chord t o r e a c h an A major t o n a l i t y

In m easure 26 and th ereu p o n p r o c e e d s tow ard th e home key
o f E m ajor.
123
Doming salvum f a c regem — two v e r s io n s
D r. Wolfrura, In h i s e d i t i o n o f L i s z t ' s c h o r a l manu

s c r i p t s f o r B r e itk o p f & H & rtel, in c lu d e s two s e t t i n g s o f
Domine salvum f a c regem . The f i r s t v e r s io n i s f o r male
c h o r u s, te n o r s o l o , and organ w ith in s tr u m e n ta l c u e s i n
c lu d e d . He a l s o in c lu d e s i n th e f i r s t v e r s io n a f o o t n o t e
c o n c e r n in g m easu res U9 th ro u g h $ 1 . In i t Wolfrum sk e tc h e s
an example o f R a f f ' s m u sic a l d e c la m a tio n from th e second
v e r s io n , and compares i t w ith L i s z t ' s i n t h e f i r s t v e r s io n .
He s a y s : "The t e x t u n d e r la y in g i s a m ista k e o f L i s z t ' s ,
and was improved by R a ff (Example 6 3 )."
Example 6 3 . Domine salvum fa c regem ( f i r s t v e r s io n )

M eas. k 9 -$ T
R a f f ' s example i s in d eed an im provem ent, made v i s i b l e i n

Example 6ty. I n s te a d o f a d o tte d q u a r te r to an e ig h th n o te
on "exaudi" he s e l e c t s a d o tte d h a l f to a q u a rter n o te ,
th u s a v o id in g c o m p e titio n w ith the c l a r i n e t ' s t r i p l e t s .
121*
Example 61*. Domine salvum fac regem (second version)

Meas. 1*9-51
y. 0
lCia<r5. iw/|
X 0\>.
=j —
% If '
■ T - " ■■■M=== . .C rj'- S
w ■
— ~---------jJ .1— " w”
Z Tr^.tnl) J . —
a
m ■
=
-i
Att-.vr**.w
I
T»-f*
”T«.ncirSolo r \
1. !■■■■! l — i
in . - vo.cn .
rm -j
. n . tiffiui, qu»
--------------t i ------- .—J-------------— r - F ----------------
T t^ f 11 ' " ' r T-" - f
ex. 1 iu . . - di
-
&«.*«*•
¥ ' t • - r r*
--------- ,Mi m i ...... ■
L ,-------------—
r
The second v ersion i s fo r male chorus, te n o r, and wind en

semble which includes two c la r in e ts in A, two oboes, two
horns in F, two horns in C, two bassoons, two trumpets in
D, an a l t o , te n o r and bass trombone, a tu b a, tympani, and
an unspecified number of contrabasses.
The o v e ra ll shape of Domine salvum fac regem i s ABA.
I t is not based on m otivie v a ria tio n , but does contain th re e
m otives. The f i r s t occurs in answer to a statem ent of the
male chorus (Example 65).
125
Example 6 5 . Domine salvum f a c regem ( f i r s t v e r s io n )

M eas. 1 -4
D o . m i. oc saLvum fac re . gem DO .
M aestoso.
O rgel.
Pedal.
A t r u m p e t - c a ll t r i a d i c id e a i s th e second m o tiv e , and th e
t h i r d i s a s e r i e s o f q u a r te r n ote t r i p l e t s p la y e d b y the
c l a r i n e t (Exam ples 6 6 , a and b ) .
Example 6 6 . Domine salvum f a c r e gem ( f i r s t v e r s io n )

a . M eas. 8 -9
Do . mi.ne Ml.vum fac re . gem no . (tram.
126

b . M eas. 2 ^ -2 6
Tenoraolo.
&
E t ex . au di n o s ,.
(KUrinetto)
iPP p p p iP P
■ ■ ■ - Ij . ' I I
P
The A s e c t i o n o f Domine salvum fa c regem b e g in s in D m ajor.

In m easure 11 t h e r e i s a t o n a l drop o f a major second to
C m ajor, t o B m ajor In m easure 1 5 , and on t o E ~ f la t m ajor
a t th e b e g in n in g o f s e c t i o n B. Here th e t e n o r s o lo e n t e r s
and i s s h o r t l y jo in e d by th e m ale c h o r u s . The r e tu r n o f

s e c t i o n A i s t o n a l l y s t a t i c , rem a in in g in D m ajor u n t i l the
coda. In c o n t r a s t to th e b lo c k -c h o r d a l t e x t u r e o f s e c t i o n
A, th e r e t u r n o f A i s i m i t a t i v e i n i t s tr e a tm e n t. The coda
p r o v id e s a f o c a l c lim a x o f th e work b y im m ed ia te ly d i g r e s
s in g from D m ajor to S m a jo r. The t o n i c , D m a jo r, th e n r e

tu r n s th rou gh C -sh a rp , B, and A m ajor to n a l c e n t e r s . H ere,
a s in R h e ln w e ln lle d ( o f t h e Mozart F ou n d ation c h o r u s e s ) ,
a tw o -s e v e n chord i s u sed a s a p a s s in g d is s o n a n c e from t o n i c
to to n ic (Example 6 7 )•
127

Meas* 8 3 -8 5
sal . vum.
or
ritenuto A
ritenuto
-&■
’aul
I t i s d i f f i c u l t to d is c u s s L i s z t ’ s m u sic and a v o id a
r e f e r e n c e t o h i s harm onic la n g u a g e . He was a harmonic

in n o v a to r , in f lu e n c e d m u s ic ia n s around him — In c lu d in g
Wagner— and was s h a r p ly c r i t i c i z e d fo r I t by h is o p p o s it io n .

An exam ple o f a t y p i c a l harm onic fragm ent i s found i n the
B s e c t i o n o f Domine salvum f a c reg em . As th e f i r s t s t a t e

ment o f s e c t i o n A c l o s e s in B m ajor, th e D -sharp o f the
chord i s u sed to e f f e c t an enharm onic m o d u la tio n to E - f l a t
m a jo r. He th e n to u c h e s th e t o n a l i t i e s o f D - f l a t , B, B - f l a t ,
and A m a jo r --a downward movement o f whole s t e p s — thus p r e
p a r in g f o r th e home k e y o f D m ajor, and th e r e tu r n o f
s e c t i o n A. In m easures if.8 th ro u g h 5>1> p e r c e p t ib le i n

Example 68, L i s z t ’ s u se o f d im in ish e d se v e n th and augmented
128
s i x t h chords p r o v id e s more d e t a i l e d exam p les. The G -sharp
d im in is h e d -s e v e n th chord, in m easures k 7 and is tr a n s

form ed to an augmented s i x t h chord in m easures U9 and 50 by
lo w e r in g th e B -n a tu r a l to a B - f l a t . He th e n p r o c e e d s to
D m in o r, but a fter w a r d s d e to u r s back t o th e G -sharp d im in

is h e d se v e n th chord i n m easure 53* f i n a l l y r e tu r n in g t o
D m inor and e v e n t u a lly t o th e A dom inant s e v e n th chord in
m easure 6 0 .
Example 6 8 . Domine salvum fa c regem ( f i r s t v e r s io n )

M eas. 1^6-51
f-fM * "J f ' '

131 r ~ J - = T T .I T D
di . e qua in . . vo. ca . ve . rLmua, qua in . . vo.ca .
i
ex . . xu . iu no*
—------ -------------tJ1.... -------------
'N --------- T ...... T ’- f f ,“ !l
f Jl H i i — ■■■t- t;---- r— —#------r——l—T*—| —i i . 1i 1> i l l —rl

y W - j -
tempre p
k R H**-" ........... fa - ..........
dim. dim.
f li ■: . rr=--------- -------- . ----------
The m a t e r ia l i s thu s e x te n d e d , and t o n a l in t e n t io n s a re

m o m en tarily ob scu red w ith a r e s u l t in g in c r e a s e o f t e n s i o n .
129
The wind ensem ble in v e r s io n two a s s ig n s th e l o g i c a l

in str u m e n ts t o t h e i r proper m o tiv e s , o th e r w is e s u s t a in in g
and su p p o r tin g th e v o i c e s o f th e male c h o r u s . In s e c t i o n A

a l l p a r ts p la y th e sta tem en t o f th e f i r s t m o tiv e (Example
65) in r e p ly t o th e c h o r u s. The horn s and tru m pets p la y
th e t r i a d i c m o tiv e (Example 66a) and break in t o fo u r p a r ts
on i t s r e p e t i t i o n in m easures 12 through ll* . At th e te n o r

s o lo in s e c t i o n B, th e c l a r i n e t accom panies th e v o ic e i n an
o b b lig a to s t y l e in q u a r te r n o te t r i p l e t s (Example 6 6 b ),
w h ile th e h o rn s and b a sso o n s s u s t a in th e t e x t u r e . The
c o n tr a b a s s e s are sc o re d w ith p i z z i c a t i on th e f i r s t b e a t
o f each m easu re, u n t i l measure 55 where R a ff s c o r e s Arco

(th e bow) a s th e cadence a p p ro a ch es. At th e r e tu r n of
s e c t i o n A, th e in str u m e n ts m a in ly s u s t a in in c o n tr a s t t o
t h e i r more a c t i v e r o le In th e f i r s t sta te m en t o f A. On
m easures 73 through 75* horns in F , tru m p e ts, and b a sso o n s
sound t h e f i r s t m o tiv e , and h orn s in C, tru m p ets, and tym pani
do th e same on m easures 82 and 83* The tym pani p la y o n ly

a t ca d en ces in D m ajor, bu t are tun ed f o r B m ajor in
measure 1 7 .
Te Deum I I
L i s z t ' s Te Deum I I fo r m ale chorus and o r g a n , w r itt e n
f o r th e church in 1853» f o l lo w s very c l o s e l y th e m elo d ic

scheme o f th e G regorian m elody (s e e n in Exam ples 69 and 7 0 ) .
130
Example 6 9 . Te Deum in t o n a t io n
4 -—
— a --* — T i s — * J r----v '__ I--------- a5_____»
— |______ - - ? —- |[ 3 ,
— -H--------- L U — B J____•*__ * ■
JLS------------1
m
e
-E -* r -------------------------------------
= ± = t , 9 ■ t - a
f «. - V c m 6 W* VV* i ’ATVC v t Wfc - <T* •■■HlV, T r ^ i
Example 70. Te Deum I I

M eas. 1 -7
Intonatio.
Tenor.
D e. .. um Uu . da .
L ike th e c h a n t, L i s z t rs Te Deum I I i s i n P hrygian mode, a l
thou gh th e organ accompaniment em ploys A and E m ajor chorda

a t cad en ce e n d in g s . The m usic f o r th e m ale ch oru s i s m o stly
u n iso n , b r e a k in g in to t h r e e p a r t s on im p o rta n t p a s s a g e s o f
t e x t , or where a c o n t r a s t i s w a r ra n ted . The organ i s used
in a su p p o r tiv e f a s h io n u n d e r lin in g c a d e n c e - p o in t s , impor
t a n t p h r a s e s , and in s u r in g th e p i t c h o f the s in g e r s . O ften ,
131
a t c a d e n c e s, L i s z t w ithd raw s th e t h i r d o f a t r i a d s u g g e s tin g
an e a r l y R e n a issa n c e o r m ed ie v a l a e s t h e t i c .
The form o f th e Te Deum I I i s sh aped by th e n a r r a tiv e
s t y l e o f th e p o e tr y v i s i b l e in Exam ple 71> and p o in t s tow ard
th e d i s t a n t c lim a x on m easure 2l|.8, "and p r a is e Your name in
t h i s w orld and i n th e w orld to c o m e.”
Example 71• Te Deum I I

M eas. 238-21^6
. d a . mus nomen tu.um in •a e . cu.
T h is i s f o llo w e d , a f t e r a fer m a ta on t h e t e x t , "God, keep

us t h i s day w ith o u t s in ," by a c o n t r a s t in g Langsam and
p ia n is s im o s e c t i o n (Example 7 2 ) . The t r a n s l a t i o n from th e
L a t in i s : "Lord, have m ercy upon u s , f o r our hope i s in

yo u ."
132
Example 7 2 . Te Pecan I I
M eas. 2 5 5 -2 5 9
M i . se . r e . re no.stri, D o . mi
r \
H ere, a Rom antic g e s tu r e i s L i s z t ’ s placem ent o f a ferm a ta

on t h e word, MD om ine.w He was o b v io u s ly n o t w i l l i n g t o l e t
th e w r i t t e n - i n r e ta r d o f th e d o tte d h a l f n o te s u f f i c e . The
Te Deum I I i s co n clu d ed w ith a str o n g accom panied u n iso n
p a ssa g e on a p la g a l c a d e n c e . I t s f i n a l E m ajor chord co n
t a i n s a k - 3 p a s s in g - t o n e , a mannerism t h a t r e c u r s th r o u g h
o u t t h e work (Example 7 3 ) .
Example 7 3 . Te Deum I I
M eas. 2 8 8 - 2 W
. I I I
mm
133
D uring th e c o u r se o f th e Te D eum I I , v a r io u s te c h n iq u e s
are used by L i s z t t o a c h ie v e v a r ie t y and c o n t r a s t . The
m e tr ic scheme i s 3 / 2 and 2 / 2 , and a f r e e u se o f th e ferm ata
i s em ployed {Example 7U) w henever an im portant word i s to

be a c c e n te d , or when th e com poser w ish e s a d ram atic p a u se .
Example 7k • Te Deum I I
M eas. 4U-5>I
vo.ce pro cla.mant: San . . ctus, San . . ctua,
The above exam ple a l s o i l l u s t r a t e s how th e organ accom pani
ment i s u t i l i z e d f o r d ram atic a c c e n t— in t h i s c a s e , on th e

word " S a n c tu s .” I t i s r e p e a te d th e t r a d i t i o n a l th r e e tim e s:
th e f i r s t tim e accom panied and i n p a r t s ; th e secon d in
u n iso n and a c a p p e lla ; th e t h ir d a g a in accom panied and in

p a r ts. C o n tra st i s a l s o a c h ie v e d , c o n v e r s e ly , by f o llo w in g
an accom panied s e c t i o n w ith a b o ld , unaccompanied u n iso n
p a s s a g e , a s on nTu Rex g l o r i a e , C h r is te ." The word
" C h r iste ," how ever, a s app aren t in Example 75»» i s p u lle d
back t o a p ia n is s im o , g i v in g th e e f f e c t o f dram atic pause
and i n c i d e n t a l l y em p h asizin g " C h r is t e .”
Example 75* Te Deum I I

Meas. 13U-TT7
g, > .-= ± s a 8 * •••

1
Tu Rex glo . ri.ae, Chri . •te,
a. n _ : :
c > l . . i ..... U J 8 . . . 7 ~-~ r—
L is z t th e n f o llo w s w ith a s tr o n g accom panied p a s sa g e , sue

ceeded in k in d by a r e f l e c t i v e , unaccompanied sta te m e n t.
In t h i s l a s t s e c t i o n th e ferm ata i s u sed e f f e c t i v e l y ,

p o in tin g up th e word "hominum” (Example 7 6 ) .
Example 7 6 . Te Deum I I
Meas. 11U6-1$2
U 6-I52
11. be i rxn.rium ho. m i. nem, non

/T\
135
S c h lu ssc h o r o f F a u st Symphony
On June 1 8 , 1 8 6 1 , L i s z t w rote t o A lfr e d D B r f f e l,
L e ip z ig ’ s m usic l i b r a r i a n , co n c er n in g th e S c h lu ssc h o r o f
th e F au st Symphony:
W h ilst g i v in g you my warmest th a n k s f o r th e

g r e a t p a in s you have ta k en w ith th e F a u st s c o r e
I h a v e , i n c o n c lu s io n , one more r e q u e s t t o make.
I w ish t o m o d ify th e p rosod y o f th e p a ssa g e
i n th e te n o r s o l o ,
each tim e , j u s t a s I have w r it t e n i t on th e

accom panying n o t e - s h e e t . I f I m istak e i t n o t ,
i t would in t h i s way be more s in g a b le and
’ w e i b l ic h e r ’ /m o re f e m in in e /.
P .3 . - The F a u st Symphony i s t o be g iv e n h e r e
on th e 6 th o f A u g u st.4 1
A lthou gh th e s c o r e was composed betw een August and

O ctob er, l8*>lj., L i s z t c o n tin u e d t o r e v i s e i t even th rou gh
th e f i r s t perform ance i n 1857* and th e secon d wf i r s t p e r

formance" o f 1 8 6 1 . Humphrey S e a r le s a y s :
1*1. L e t t e r s , I , U7lj-.
136
The f i r s t perform ance to o k p la c e in th e a lr e a d y -

m en tioned c o n c e r t on 5 S eptem ber, 18 5 7 ; but t h i s
was o n ly a k in d o f h a lf-w a y h o u s e , f o r L i s z t c o n
tin u e d t o r e v i s e and a l t e r th e w ork. By i8 6 0
th e r e was a lr e a d y a new v e r s io n o f i t f o r two
p ia n o s and a n o th er one i n 1861 f o r o r c h e s t r a ; in
t h i s y e a r th e se co n d ’ f i r s t perform ance* o f th e
F au st Symphony to o k p la c e in August a t th e ’ Com-
p o se r * s M ee tin g ’ in Weimar. The s c o r e appeared
s h o r t ly a fte r w a r d s , but L i s z t c o n tin u e d t o make
s l i g h t a l t e r a t i o n s t o th e work, a d d in g t e n b ars
t o th e slow movement a s l a t e a s 1 8 8 0 .4 2
The f i n a l c h o r u s , added i n 1 8 5 7 , i s from th e Chorus

M ystlcua o f G o eth e’ s F a u s t . L o u is M acN eice’ s t r a n s l a t i o n
o f th e alm ost u n tr a n s la ta b le poem i s :
A ll th a t i s p a st o f us/Was but r e f l e c t e d .
A ll t h a t was l o s t in u s/H ere i s c o r r e c t e d ;
A l l in d e s c r ib a b le s /H e r e we d e s c r y ;.
Woman’ s d iv in it y /L e a d s us on h i g h .43
The ch oru s i s shaped i n two broad s e c t i o n s , in w hich

th e t e x t i s r e p e a te d . A u n iso n m ale ch oru s s i n g s what a r e ,
in e f f e c t , p e d a l t o n e s a s th e te n o r s o l o i s t r e p e a t s a g a in
and a g a in th e f i n a l l i n e o f th e poem: "Woman’ s d i v i n i t y /
Leads us on h ig h (Das E w ig -W e ib lic h e /z ie h t uns h in a n ) ."
The t e n o r ' s m usic i s th e theme d is c u s s e d above in L i s z t '3
1*2. Humphrey S e a r le , "The O rc h e str a Works," Franz L i s z t ,

e d . Walker (New York: T a p lin g e r P u b lis h in g C o .,
1 9 7 0 ), 3 0 5 .
U3. I b id ., 309.
137
l e t t e r t o D B r f f e l, and i t perm eates th e t e x t u r e . It is

t o s s e d t o and f r o by th e in str u m e n ts and app ears in Example
77.
Example 7 7 . F a u st Symphony (S c h lu s s c h o r )
M eas. 1 8 -2 1
dolS e - - _ - - - — 1;
The a ll- p e r v a d in g theme i s th e u n i f i e r o f th e S c h lu s s c h o r .
and th e s t r e t c h e d - o u t t o n a l i t i e s in slow harm onic rhythm

move t h e work t o i t s c l o s e . I t s k ey scheme i s C, D - f l a t ,
B - f l a t , B, and a g a in C m ajor. A sid e from r e s ta te m e n ts o f
th e th em e, th e in str u m e n ts p la y a su p p o r tiv e r o le w ith th e
e x c e p t io n o f th e h a r p . L i s z t h o ld s back th e h a r p f s e n tr a n c e
u n t i l m easure $5, where i t b e g in s m o d e stly w ith a b rok en -
chord f i g u r a t i o n . At m easure 95> th e common tim e 1^/lj. i s r e

p la c e d by th e b road er im p lic a t io n o f i|./2 (s e e n in Example 7 8 );
h ere th e harp i s much more v i r t u o s i c and t h r u s t s th e S c h lu s s
chor t o i t s c o n c lu s io n .
Example 7 8 . F a u st Symphony (S c h lu s s c h o r )
M eas. 96
138
Weimar V o lk s lle d
An I n c id e n ta l c o m p o sitio n o f h i s t o r i c , but o f l i t t l e
m u s ic a l im portance i s th e Weimar V o l k s l le d . I t was r e q u e s t
ed by Grand Duke K arl A lexander o f Weimar w ith th e hope o f
d e v is in g a n a t io n a l anthem; c o n s e q u e n tly , L is z t sp en t a g r e a t
d e a l o f tim e on i t , p r e p a r in g v a r io u s e d i t io n s so th a t i t
c o u ld be perform ed in d o o r s , o u td o o r s , by c h ild r e n , by
a d u l t s , or by in d iv id u a l s i n g e r s . The f i r s t s e t t i n g was
f o r Mflnnerchor and wind en sem b le, n o t f o r th e v e r s io n f o r
s o lo v o ic e a v a ila b le h e r e . However, i t s form and harm onic

c o n te n t can be p e r c e iv e d .
In th e 18£7 e d i t i o n , p u b lish e d by Kflhn o f Weimar, th e
V o lk s lle d in c lu d e s f i v e v e r s e s (each w ith an e ig h t - b a r
p h r a s e ), and a coda o f e ig h t b a r s . I t i s in common tim e ,

and th e m arking a t th e s o n g 's head i s : " D is c r e te and r e s o
l u t e i n a calm march tem po." S tr o p h ic v a r ia t i o n i s i t s

u n if y in g e le m e n t. For exam p le, th e seco n d v e r s e v a r ie s
from th e f i r s t v e r s e by th e employment o f a p a s s in g aug
m ented t r i a d , a s e v id e n c e d i n Example 7 9 , a and b . The
t h ir d v e r s e changes i t s h ea d -m o tiv e and c o n ta in s a broken
ch o rd , a r p e g g ia te d accompaniment in c o n tr a s t t o th e b lo c k
c h o r d a l t e x tu r e in th e f i r s t and secon d v e r s e s ( s e e Examples
7 9 , a and b ) .
139
Example 7 9 . Weimar V o lk a lle d

a . Meas. 12-lij. ( f i r s t v e r se )
b. M eas. k ^ -k k (seco n d v e r se )
42- j
—
Example 8 0 . Weimar V o lk s lle d

a . M eas. 96-98 (f o u r th v e r s e )
----------J..
--- T.----- f j - ' ~ -ft" - ’“'
•' •* -F •*—
9 ^ =
Wb - ge Se-ger> <Ur et’f - eu*5 ve*- -
■"/ --—... 1t- — 1'-=■
-----
it;
TP ------- -
-t,TF---- : y h - — j---............
= 3 ^ I? - = f = ^
11+0
Example 8 0 . Weimar V o lk s lle d

b . M eas. 6^-67
S Strophe
Stttr-vtc, SWU-UwA ‘ o i - U*- W«A " \tM i w u -ftw
In th e fo u r t h v e r s e , s e e n in Example 8 0 a , L i s z t a p p lie s
h i s p e c u l i a r i t y o f t h i r d r e l a t i o n s h i p s , and d i s p l a c e s the
home k ey o f C major w ith E - f l a t m ajor. The f i f t h v e r s e ,
b e s id e s u s in g d r i v in g , r e p e a te d t r i a d s f o r a f i n a l (Example
80b) grand e n d in g , a l s o c o n ta in s an a d d it io n a l fo u r
m ea su res, p e r c e iv e d in Example 8 lb , betw een m easures 138

and 11+3 (compare 8 la and 8 l b ) . The t e x t t o th e f i f t h
v erse i s :
L et u s u n fu r l our banner:
"Today l e t us advance th e tim e I"
L et God alw ays c o n tin u e
W eimar's n o b le p r i n c e ' s h o u se!
The fou r-m easu re e x te n s io n i s an a ttem p t t o em p hasize th e

lin e : "Today l e t us advance th e tim e!" by r e p e a tin g i t
t w ic e m ore. The coda i s in C m ajor and i s s tr a ig h tf o r w a r d .
In th e commentary to C hapter I I I , P e te r Raabe o b served t h a t

th e Weimar V o lk s lle d n e v e r rea ch ed t h e p r i n c e ’ s e x p e c t a t io n
llfl
Example 8 1 . ¥elm ar V o lk s lle d

a . M eas. 79 -8 5 T fo u r th v e r s e )
?
i' $ i s - |k J ‘ Iri
o f a n o th er God Save th e Q ueen. I t I s n ot d i f f i c u l t to s e e
why i t f a i l e d . The m elody i s s t i l t e d , and i t i s t o o lo n g
and to o p e d a n tic t o in s p ir e a n a t io n a l i d e n t i f i c a t i o n . If
L i s z t c o u ld have r e p e a te d th e s i m p l i s t i c u t i l i t y o f Was 1 s t
d es D eutschen V a te r la n d , th e Weimar V o lk s lle d m ight have

been s u c c e s s f u l .
11*2
Example 8l . Weimar V o lk s lle d

b . Meas. 138—1I4.3 ( f i f t h v e r se )
The F e s tg e s a n g
The F e s tg e s a n g , fo r th e o p e n in g o f th e Tenth U n iv e r s a l
German T e a ch ers' M eetin g , f a r e s b e t t e r as a d e d ic a t o r y work
th a n d o es th e V o l k s l l e d . A lth ou gh th e t h r e e v e r s e s o f p o e tr y ,
by th e Weimar Court P oet Hoffmann von F a l l e r s l e b e n , have th e
1U3
same p a t r o n iz in g r in g a s th e C o r n e liu s t e x t , and a lth o u g h
i t s m u s ic a l tr e a tm e n t h a s many o f L i s z t ’ s c l i c h e s , i t i s a
w e ll-c r a fte d p ie c e .
L ik e most o f th e p a rt son gs s e t t o s t r o p h ic p o e tr y , th e
main so u rce o f u n it y and shape i s s t r o p h ic v a r ia t i o n — a l
though m ost o f th e v a r ia t i o n and c o n t r a s t in F e stg e sa n g

is saved u n t i l th e f i n a l moments o f th e t h ir d v e r s e . In
f a c t , a l l t h a t i s unique and o f r e a l i n t e r e s t can be found
in m easures 116 th rou gh 1 2 7 . Here i s lo c a t e d th e apex o f

harm onic a c t i v i t y , th e p la c e w h ere, as in so many o f L i s z t ’ s
p a rt s o n g s , am ateur c h o r a l s o c i e t i e s have had t o s tr u g g le

in th e name o f good i n t o n a t i o n . In each o f th e t h r e e
v e r s e s , F e s tg e s a n g p r o g r e s s e s th rou gh a number o f to n a l
c e n t e r s , u n t i l a d ra m a tic s h i f t from C - f l a t t o th e hom e-key
o f E - f l a t major o c c u r s . At t h i s p o i n t , as shown i n Example
8 2 , a B - f l a t p e d a l to n e i n th e organ and i n th e chorus
b a s s e s i s sounded, w h ile d im in ish e d se v e n th chords and
p a s s in g ch ord s in F and D m ajor r e tu r n t o E - f l a t m ajor in
m easure 1 2 1 . The ch oru s c o n tin u e s in much th e same way
u n t i l m easures 126 and 1 2 7 , when a d e c e p t iv e cad en ce r e ta r d s
a f i n a l e n d in g . From t h i s p o in t on , F e s tg e sa n g d r iv e s to
th e cadence w ith u n iso n s i n th e b a s s e s and b a r ito n e s
answered by th e f u l l ch oru s in p a r t s . The f i n a l cadence
i s p la g a l w ith th e t o n i c chord b r lg h t e n r ' by th e exp osu re
o f th e t h i r d in t h e f i r s t - t e n o r p a r t .
Ikk
Example 8 2 . F e stg e sa n g
Meas. 1 1 6-127
und
und
und Blii .
und Blii .
p dolce
ICO rit. te n .
/
z ie . len bei S o r.g e n und MUHn, die zu G o t. tes Ehr’ und der Mensch . . heit bliihVi,
zie . len bei Sor . gen und .die zu G o t. tes Ehr1 und der Mensch . . heit
zie . len bei. S o r . gen und MuHn, die zu G o t. tes Ehr1 und der M ensch. . heit bliiHn,
1 r r f f i
z ie .le n bei S o r.g e n und Miilfot die zu G o t. te s E hr’ und d e r M en sch . .h e it bliih’n,
poco rit.
i 5 a a. 1^
XT
Pedal, r>
Ftir M&nnergesang
L i s z t ' s u n p r e te n tio u s Fttr M flnnergesang, p u b lis h e d in
l 86 l by Kahnt, em bodies a number o f sm a ll p ie c e s ( f r a n k ly
w r i t t e n f o r p o p u la r consum ption) w hich are not o f th e
c a l i b e r o f Domine salvum f a c regem , Te Deum I I , or th e

Prom etheus C h o ru se s. T h e ir c h o r a l s o n o r it y , how ever, i s
alw ays w is e ly c o n c e iv e d and moments o f m u sic a l e x c e ll e n c e
are f r e q u e n t .
V e r e in s lle d
V e r e ln s lle d was composed fo r th e Neu-W eIm arverein and
c l e a r l y meant more t o L i s z t th a n th e u s u a l com m ission.
W ith in th e Weimar membership were f r ie n d s q u it e sy m p a th e tic
t o th e phenomenon o f Z ukunftm uslk. In m easures th rou gh
1| 8 , 10U th r o u g h 1 0 7 » and I 63 th ro u g h 166 th e m usic and t e x t

o f " t r o t z P h i li s t e r g e s c h r e i " had a r e a l m eaning fo r th e
L iszt-W agn er d i s c i p l e (Example 8 3 ) .
Example 8 3 . V e r e ln s lle d
Meas.
v m it Humor u n i e t-1
trotz Phi-li-ster-ge- jschrei, trotz Phi-Ii-ster- ge-schrei, trotz Phl-li-ster - ge - schrei,

esc. . . . . . . . . . . . . . a . A
tr.otz Phi-li-ster-gp- schrei,trotz phi.ii.ster-ge-schrei, trotz P hi-ii-ster-ge - schrei,

cresc.i.
pjrQt* Phi-li-ater-ge. nchrt>l,»rott Phi-li. ster.g e -schrei, trotz Phi-li- ster - ge - schrei,
trots Phi - l i- a t * r - f « . ichr«i,trots P h i-li-s te r-g « -s c h re i, trots P h i- li- s t e r - g e - schrei,
li+6
The f i r s t v e r s e t r a n s l a t e s :
L e t ’ s go! To a new l i f e , w ith sp r in g tim e in th e h e a r t I

A new e f f o r t i s f o r m anly courage and d e s i r e .
The h ea v en s are open t o u s , th e g o a l i s t r u t h f u l ,
T h erein hope i s rewarded and can never be s a t i s f i e d I
L i f t high*. D rink up!
So s h a l l i t b e , one f o r a l l ,
For a l l in th e V e r e in .
For o t h e r s , n e v e r , d e s p i t e th e P h i l i s t i n e ' s c r y !
So s h a l l i t be to d a y and a lw a y s.
V e r e ln s lle d h as th r e e v e r s e s . I t s t o n a l scheme b e g in s
in E - f l a t m ajor ( t r i p l e - m e t e r ) , ca d en ces in G m ajor, and,
in m od u latin g t o C m ajor, e n t e r s a d u p le-m etered s e c t i o n
marked, "Somewhat h e ld back and w ith e x p r e s s io n ." The p ie c e
th e n ad van ces t o a c lim a x on B - f l a t m ajor, r e tu r n s to E - f l a t
m ajor, d e p a r ts d i s c u r s i v e l y on " t r o tz P h i l i s t e r g e s c h r e i ,"
and r e tu r n s a g a in to E - f l a t m ajor.
V a r ie ty among th e th r e e v e r s e s i s a c h ie v e d th rou gh
s tr o p h ic v a r i a t i o n . M easures 9 th rou gh 17» in th e f i r s t

v e r s e , c o n tr a s t w ith m easures 66 th rou gh 76 and 125 th rou gh
135 in th e second and t h ir d v e r s e s , r e s p e c t i v e l y . The two
are a lik e ( s e e Example 81|, a and b ) . In m easure 12 o f th e
f i r s t v e r s e , L is z t p la c e d a B - f l a t dominant se v e n th chord
in t h ir d in v e r s io n r e s o l v i n g t o E - f l a t m ajor; in th e secon d
and t h ir d v e r s e s , on m easures 69 and 1 2 8 , he changes to a
D - f l a t dominant r e s o l v i n g t o G - f la t m ajor, which in tu r n

r e a c h e s G major (th ro u g h an o u t lin e d A -n a tu ra l d im in ish ed
chord in m easures 71 and 7 2 ) .
147
Example 8 4 . V e r e l n s l l e d ( f i r s t v e r s e )
a . M eas. 9 -1 7
JT
Brest! Ein nee - es ftrel.es

- A ------------^ --------
Brest! Bin
Sin nee -. es rf r e ii.. es
M - f f r
Brust! Bin nee-es fre i.e s Stre-ben, ein nee . es frei - es
jr> A
_ .. »>
m z i b 'S n e
Brest! Bin n ee.e s fre i-e s Stre-ben, ein nee - es fre i -
sw orete . .
l - f e s - B( -
Stre-ben ist M&n-ner-Mut end

£
Lest, ist
mm
Man-ner-Met end
mf cresc.
/ ' ■ T i l l ,f i rf 1 I
m
InA U na ..Vm U«tl
Stre-ben 1st Man-ner-Mut
Man-ner- end Lest, ist Man-ner-Met end
cresc . .
mf
$
Stre-ben ist Man-ner-Met end Lust, 1st Man-ner-Met end Lust.
”1f cresc.
Stre-ben ist
P
MKn-ner - Met end Lust,
P =Man
1st
¥ - ner - Met undLusi.
The s o n o r it y o f V e r e l n s l l e d i s fu r t h e r a id ed by a n o th er
o f th e com p oser’ s mannerisms p r e v a le n t i n h is v o c a l
s c o r in g — th e u se o f sp aced s i l e n c e betw een n o t e s , a s seen
in Example 85*
Example 8i|.. V e r e ln s lle d (se c o n d v e r s e )
b . M eas. 66-76
iM-
£
$ ja
m
Neu . es zu
A
ge . g tal. ten,
,
-MfeEEEiE
m
ja K e u .es zu g e . s ta l-te n ,
') h £ r n r f - r f # = g
doeh N eu. es zu ge - stal-ten, ja N e u .e s zu g e - s t a l- t e n ,
JL it - . - ^ 4,
£
doeh N e u .e s zu ge - sta l-te n , ja N e u .e s zu g e . s ta l-te n ,
IT
b(- i bw- p.-T^:
$ treibt machtig uns der Geist.
IT
&
v tre ib t vnachtii?
treibt machtig uns der Geist.
IT
3E m
treibt machtig uns der Geist.
H
treibt m adU ig uns der Geist___
Example 8 £ . V e r e ln s lle d
Meas. 1 -3
Lebhaft
jr
Frisch
EE&E
Frisch
jr .
11 > \ T
Frisch auf zu neu-em Le-ben, frisch
B fy*:■$ :|e £
Frisch aaf zu neu-em Le-ben, frisch
11+9
A c o u s t ic a l ly , more r ev e rb er a n c e i s r e a l i z e d , and declam a
t i o n o f t e x t i s Improved.
St&ndchen
V e r e ln s lle d was composed i n 1856 and Stflndchen
( " H tttte le in , s t i l l und k le in " ) i n 1 8 5 7 . W hile th e form er

was w r it t e n f o r la r g e m ale ch oru s i n the Mflnnerchor t r a d i
t i o n , St&ndchen i s S ch u b ertia n (F r e u n d e s k r e is ) w ith i t s
m a le -q u a r te t in tim a c y , and w ith i t s te n o r s o lo (a lth o u g h a
tr u e f i r s t - t e n o r p a rt i s in c lu d e d ) . A gain , u n ity and
v a r ie t y are dependent upon s tr o p h ic v a r ia t i o n w it h in the
t h r e e v e r s e s o f p o e tr y . The area o f g r e a t e s t v a r ie t y occu rs
from m easures 75 through 83 o f th e t h i r d v e r s e , a s compared
t o m easu res 7 th r o u g i 17 o f the f i r s t v e r s e and i*l th ro u g h

51 o f th e secon d v e r s e ( t h e two v e r s e s are a l i k e ) . (See
Exam ples 8 6 , a and b . ) B oth exam ples are s im ila r fo r th r e e
m ea su res. At m easure 78 o f Example 86b, th e l i n e o f th e

te n o r s o lo c h a n g e s, and th e f o llo w in g s i x m easures (com
p r e sse d from e ig h t m easures in Example 8 6 a —m easures 10
th rou gh 17) e f f e c t a r i s i n g , ch rom atic s e r i e s o f t h ir d s in
th e low b a s s e s and b a r it o n e s . At th e same t im e , th e te n o r
s o lo "rocks" betw een D1 and C -sharp1 , p r o v id in g an e x c e l
l e n t example o f w o r d -p a in tin g in e ln w le g e n ( t o r o c k one to
s le e p ). I t i s a g e n t l e , t u n e f u l p a r t song whose o n ly f a u l t
150
Example 86. Stftndchen ( f i r s t v e r s e )

a . M eas. T=T7---------
“"""r lKi*v
> -T > I (II I, ^
$
Wrnn du dir «H btrh - len Ilew-bent,ki>iiiil Icb nlmmrr gut dir
aTenoi*1.
Wrnn dn dir es slrh - Irn lirs-wbt,kiinnt Ich nlmmrr gut dir

. Tenor 11.
Wrnn strhlru lim

Biisst-. I
Solol r
t * * < f t g x L . f - " £ J’
brln, kiinnt lib nlmmr gat dir win.
■1—....b . ■ ■ r "P—
i r ----------- 1------gm—
srln, kiinul ich nimmcr pit dir srin. Kiinnt Ioh
best, kiinnt ich bIuimt gut dir win. Solo. . i

a, jj
n«i>
i ^ j j
3 —3'--i
-zjlp - • ___ _
' Kiinnt Ich nlmmrr pit dirM'in.
... p _ ._ j — _ - poc o cresc.
nigziii'udkliultciiil. Htit-te-lrin,behlui«dlch Mil, Hiit-te-lelii .chllrub dlob

Allc. i | poco cresc\
nlmmrr gilt dir win, Hut -tr-lrln,8chlirH<dlrh frln, Hiit- tr-lrlu,schilrbs dldi
poco cresc.
alimiili lilT zu riickJial t uinl • H

m m m
frln, law mlr krl - nrn Dliib bill - ein.
dim . i7>
£
r i,—r, f p m t
Dfeb .bin-ein.
frln,| Inbs mlr krl - nrn
w m dim.
l i e s i n i t s m o d u la tio n t o B - f l a t major on m easures 1 8 , $ 2 ,
and 81* (im m e d ia te ly f o llo w in g th e exam ples g iv e n a b o v e ).
L i s z t m ost l i k e l y meant i t as a t o n a l s u r p r is e , due t o a
n a tu r a l i n c l i n a t i o n to r e tu r n t o G m ajor. I t s m u s ic a l
p l a u s i b i l i t y , h ow ever, i s q u e s t io n a b le .
152
O ther C om p osition s from Fftr Mftnnergesang
The rem ain in g f i v e a v a i la b l e c o m p o s itio n s from Fttr

Mttnnergesang are Wir s ln d n i c h t Humien ( 18I4.2 ) , S o ld a t e n lle d
( I 8I4.I4.) , Saatengrftn (l81j.]i>), Der Gang um M itte r n a c h t (18^5)»

and G o ttea 1 s t d er O r ie n t ( I 8I4.2 ) . They a r e a l l e a r l i e r
p i e c e s r e v is e d and added t o th e l a t e r V e r e ln s lie d and
S tln d c h e n . L ike th e l a t t e r c o m p o s itio n s , th e y b e a r L i s z t ' s
in c lin a t io n fo r r o o ts -b y -th ir d s r e la t io n s h ip s , c a r e fu l
dynamic i n d i c a t i o n s , s t r o p h i c - v a r i a t i o n te c h n iq u e , and th e
o c c a s io n a l u se o f augm ented i n t e r v a l s , y e t t h e y a l l have
e le m e n ts o f I n d iv id u a l d i s t i n c t i v e n e s s .
Wir s ln d n ic h t Mumlen's p o in t o f d i s t i n c t i o n l i e s in
i t s c o n s t a n t ly c h a n g in g t o n a l schem e, and a s u r p r is in g modu
l a t i o n a t i t s c lim a x . Moving th rou gh C m in o r ’ , C, G, E - f l a t ,

B - f l a t , and C m ajor, t h e p a r t son g grow s t o a f o r t i s s i m o a t
m easure 2 8 . There o c c u r s a d ram atic change from C major t o
B m ajor—a n o th er L i s z t l a n g e s t u r e , but one th a t alw ays seems
c o r r e c t (Example 8 7 ) .
Example 8 7 . Wir s ln d n ic h t Mumlen

M eas. 2 7 -2 8
153
On m easure 36 a sim u lta n e o u s exam ple o f p h ra se e x t e n s io n ,
t h i r d - r e l a t i o n s h i p , and m a le -v o ic e s o n o r it y i s employed
as a h ig h A ! i s sung by th e f i r s t te n o r s im m ed ia tely a f t e r
th e C m ajor chord (Example 8 8 ) .
Example 8 8 . Wir alnd n i c h t Mumlen

M eas. 3 6 -3 7
S o l d a t e n ll e d , a lth o u g h d i f f e r e n t in many r e s p e c t s from

Wir s ln d n ic h t Mumlen, h as a s im ila r e n d in g . On m easures
67 and 6 8 , a f t e r a C m ajor t r i a d , a u n iso n A - f l a t i n the
b a ss and b a r it o n e , d i s c e r n i b l e in Example 8 9 , m om en tarily
h o ld s back th e f i n a l c a d e n c e , c r e a t in g a t h i r d - r e l a t i o n s h i p .
Example 8 9 . S o ld a t e n lle d
Meas. 67-6<5
J f' J t - rf- - —f > # p' F i ~
yon, *le- ken " xle-fcen *Ta *o«, J

j da
1 ,1-f, ni l r i 1 TT
L j _ J --------- (J
.
n.r
(
1
■S3
■ = !
r ------------1—
....... —
)w - i [hi i f t * -
15k
The u n iq u en ess o f S o ld a t e n lle d I s In i t s dynamic scheme
w hich p r o c ee d s from a f o r t e b e g in n in g t o a p ia n is sim o m iddle

s e c t i o n (w ith tru m p ets and ty m p a n i). The f i r s t id ea r e tu r n s
a t a f o r t i s s i m o — t h i s tim e w ith th e tru m p ets and tym panl of
th e p ia n is sim o s e c t i o n — and g r a d u a lly becomes s o f t e r p ro
t r a c t i n g a lo n g dim inu en do. S ile n c e betw een n o t e s , as i n

V e r e l n s l l e d , i s used th rou gh ou t S o l d a t e n ll e d .
Example 9 0 . S o ld a t e n lle d
M eas, 1 -2
S«hr lclihaft.
Baigra m !( bo-hra M iam i aid Z laaii,
Saatengrftn, l i k e StEndchen, f a l l s w ith in the male

q u a r te t g e n r e . I t i s k 3 m easures lo n g , Is i n th e key o f
A m ajor, and c o n s i s t s o f two s e c t i o n s — th e f i r s t In t r i p l e

and th e secon d In duple m ete r. W ithin th e d u p le-m etered
s e c t i o n l i e s t h e m ain a rea o f i n t e r e s t . U n lik e the o th e r
p ie c e s i n Pttr MBnnergesang, Saatengrttn makes u se o f a s e r i e s
o f p ed a l to n e s in t h e b a s s and b a r ito n e p a r t s . The p ed a l
t o n e s c o n tin u e u n t i l r ea c h in g a h a r m o n ic a lly in v o lv e d p a s
sage a t m easures 29 through 35* On th e p a s s a g e 's c o n c lu s io n
th e p e d a l r e - e n t e r s ( s e e Example 9 1 ) and th e work p r o c e e d s
t o I t s c o n c lu s io n .
Example 9 1 . Saatengrttn
M eas. 38-1)3--------
Friih
Q.
pr.«
The p e n u ltim a te m easure o f th e f i n a l cadence (m easure lj.2)

I s h a r m o n ic a lly a c t i v e w ith a p a s s in g n in t h on th e dominant
chord and a p a s s in g m a jo r -s e v e n th on the t o n i c .

Der Gang um M ltte r n a c h t i s th e b e s t o f th e Fflr Mflnner-
g esa n g c h o r u s e s . I t s shape i s a broad ABC form w ith a coda

marked Seh r langsam , and i t s t o n a l scheme i s C, E - f l a t
m ajor, C m in o r, C, A, and C m a jo r. The f i n a l s e c t i o n c o n
t a i n s a te n o r s o l o . The m ost un u su al f a c e t o f Der Gang um
M ltte r n a c h t i s it 's u n iq u e p h rase s t r u c t u r e , so p lan n ed b e
ca u se o f the p e s s i m i s t i c and r e f l e c t i v e n atu re o f Herwegh’ s

p o e tr y . In I t s A s e c t i o n , th e p h ra ses d iv id e in s i x - and
e ig h t-m e a su r e g ro u p in g s (m easures 1 th rou gh l £ ) on the t e x t
156
I sh r ie k e d w ith th e g h o st o f m id n ig h t
Up and down th e w ide and s t i l l s t r e e t s .
How r e a l i s t i c a l l y lau gh ed and wept th e p e o p le
h ere on a tim e .
Now, dream a g a in .
The t o n a l c e n te r s have moved from C m inor t o E - f l a t m ajor.

A r e p e t i t i o n o f t h e f i r s t six -m ea su r e p h ra se, now a t h i r d
h ig h e r , c o n tin u e s through m easure 25 on, " D esir e i s a

w ith e r e d f lo w e r ; th e cu p s have sto p p e d o v e r - f lo w in g ." The
o r i g i n a l p h rase r e tu r n s i n C m inor, and a c o d e t t a on "die
W elt i s t rattde, o l a s s t s i e trMxunen" ends a t m easure lj.7.
I t s tr a n s la tio n i s : " G rief moves a lo n g w ith th e sun, the
w orld i s t i r e d . 0 l e t i t dream I " S e c tio n s B and C have
a s im ila r d i s j o i n t e d ph rase s t r u c t u r e . The rem ain in g
tr a n s la tio n i s :
0 God o f p o v e r ty , l e t p o v e r ty dream,
0 God o f l o v e , l e t lo v e dream,
0 God o f freed om , l e t us a l l dream,
0 God o f dreams 1
L et us a l l dream.
The f i n a l l i n e i s sung throughout s e c t i o n C by th e te n o r

s o l o i s t who i s answered in c o n c e r te d f a s h io n by th e male
c h o r u s. Herwegh, a f i e r y German n a t i o n a l i s t , was e x ile d
t o Prance where he attem p ted to r a i s e an army fo r an i n
v a s io n of th e German s t a t e s . ^
. Howard E. Hugo, e d . , The L e t t e r s o f Franz L is z t to

Marie S a y n -W ittg e n s te in (Cam bridge: Harvard U n iv e r
s i t y P r e s s , 1953)» 2 9 0 .
157
G o eth e’ s G o tte s 1 s t d er O r ie n t , w ith i t s 1*7 m ea su r es,
i s th e n e x t s h o r t e s t work s t u d ie d from Piir Mflnnergesang

( S aaten grtin h a s 1*3 m e a s u r e s ). I t i s s tr a ig h tfo r w a r d harmon
i c a l l y and h o ld s no s p e c i a l s u r p r i s e s . I t s d is tin c tiv e n e s s

r e s i d e s in i t s ABB form al sh a p e , and in i t s c a r e f u l l y i n d i
c a te d dynamic m ark in gs, e v id e n t i n Example 9 2 .
Example 9 2 . G o tte s 1 s t d er O r ie n t
M eas. 1 - 1*
P ra tt* T .iuU .
Andante
m
G ot-tes
m
1st der
m
O - rl-eat!
w m
Got-led wider O r-rlitat!
J.r=~P ff= ~ V
The s e c t i o n B 's a re r e p e a te d i n 1 0 -m easure p h ra ses
(m easures 17 th rou gh 27 and 27 th rou gh 3 6 ) . On m easure

35 th e se co n d B v a r ie s from i t s c o u n te r p a r t ( i n m easure 25)
and p r e p a r es f o r th e B m ajor t o n a l i t y ap p roach in g i n the
c o d e tt a (Example 93> a and b ) .
Example 93* Got t e s 1 s t d e r O rien t

a . M eas. 25-27
UocW
158
Example 9 3 . G o tte s 1 s t der O rien t

b . M eas. 3 5 -3 7
do,
Ifa ■eaNlcser koek - lo-ket.
In th e m ale ch o ru s l i t e r a t u r e composed b etw een 1850

and 18 6 1 , new a s p e c ts o f L i s z t ' s t a l e n t s b e g in t o a s s e r t
t h e m s e lv e s . The P a ter n o s t e r I I i s a t r a n s i t i o n a l work

where th e com poser, in f lu e n c e d by th e a e s t h e t i c c o n f in e s o f
th e Roman C a th o lic Church, p u rsues a sim p le and d i r e c t
manner o f e x p r e s s io n . T h is p r i s t i n e and eco n o m ica l approach
t o c o m p o sitio n was a ls o pursued i n th e Te Deum I I o f 1853,
and p o in t s w ith e x p e c t a t io n t o th e m a le -v o ic e sa c r e d
l i t e r a t u r e o f th e l 8 6 0 ' s and 1 8 7 0 ' s .
A nother d i r e c t i o n ta k e n by L i s z t ' s c h o r a l w r it in g ap
p e a r s in th e la r g e r works f o r m ale ch o ru s and o r c h e s t r a .
The te n d e n c y t o draw ou t m a t e r ia ls i n a slo w e r harm onic
rhythm , t o v a r y and tr a n sfo r m them es and m o tiv e s , i s e v id e n t
i n th e Prom etheus C h o ru ses, th e f i n a l ch o ru s o f th e F aust
Symphony, and, t o a l e s s e r e x t e n t , in the Domlne salvum f a c
regem . L i s z t a ls o c o n tin u ed to tu r n h i s hand t o th e s m a lle r
159
and l e s s e s o t e r i c M ftnnerchorgesang, o f t e n w ith u n e x p e c te d ly
s a t i s f y i n g e f f e c t s , as In P er Gang uni M ltte r n a c h t. F u r th e r

m ore, I t can be seen t h a t V e r e I n a ile d , Stftndchen, and th e
o t h e r s se r v e d a purpose In h i s e x p e r im e n ta tio n w ith s o n o r i
t i e s , t o n a l r e l a t i o n s h i p s , and w it h harm onic langu age In
g e n e r a l.
I f t h e r e I s a d i v i s i o n w it h in th e m ale-ch oru s genre
t h a t l a c k s o r i g i n a l i t y , I t I s th e c o m p o sitio n s fo r s p e c i a l
o c c a s io n s . The F e s tc h o r and th e Weimar V o lk a lle d are In
t h i s c a te g o r y . A ccord in g to C h arles H alltf a t th e l 8ii£ p e r -
f o m a n c e s f o r th e B eeth oven Memorial C erem onies, t h i s was

tr u e In th e c a s e o f th e F e s tk a n ta ta f o r o r c h e s t r a and m ixed
v o ic e s . The w eakness w it h in t h i s d i v i s i o n , t h e r e f o r e , seems
t o have been t r a n s f e r r e d from th e decade o f t h e l8lf.0's to
th e 1 8 5 0 ’ s , and perhaps p o in t s w it h some s i g n i f i c a n c e toward

t h i s k in d o f s e c u la r i n c id e n t a l m u s ic .
160
Chapter IV
AN DIE KUNSTLER
Commentary
An d ie K iln stle r (To th e A r t i s t s ) , l i k e t h e m ale v o ic e

c o m p o sitio n s In th e Prom etheus Choruses and th e f i n a l c h o r u s
from th e Fau3t Symphony, i s a s i g n i f i c a n t work c o n c e iv e d
w it h in th e 18 5 0 -6 1 tim e span o f L i s z t ’ s m u s ic a l w r i t i n g s .
It is sc o re d f o r s o lo m ale q u a r te t, m ale c h o r u s, and
o r ch estr a . S e t t o th e p o e tr y o f S c h i l l e r , An d ie K ttn stler

was f i r s t perform ed a t K arlsru h e i n Jun e, 1 8 5 3 . A p u b lish e d
v e r s io n o f th e work was brought ou t by S c h le s in g e r o f B e r lin
In 185^ , and t h i r d and fo u r th e d i t i o n s by Kahnt o f L e ip z ig

were brought ou t from 1856 t o 18 6 5 .
The K arlsruh e perform ance was not s u c c e s s f u l . Raabe
c la im s t h a t L i s z t had n o t y e t fr e e d h im s e lf from c o lla b o r a

t i o n s w ith o th e r s on th e s u b je c t o f o r c h e s t r a t io n , and t h a t
th e f i r s t s c o r e , in stru m en ted by R a ff f o r wind en sem b le,
d i f f e r s from th e l a t e r e d i t i o n s o f 185U and 1865 f o r f u l l

o r c h e s tr a .^ A ccord in g t o P aula R ehberg, th e complement o f
1. Raabe, 1 3 2 .
161
p erform in g f o r c e s a t K arlsru h e was com prised o f 260 men from
th e K a r lsr u h e , Mannheim, and Darm stadt t h e a t e r o r c h e s tr a s

and c h o r u s e s . The combined f o r c e s had two m assed r e h e a r s a ls
under L is z t b e fo r e th e f i n a l p erform an ce. Rehberg g i v e s us
a r e a c t io n from th e p r e s s :
A p a r t o f th e p r e s s co u ld n ot fo r g o b lu s t e r in g
a t th e new ten d e n c y o f th e m usic and a l s o , in an
immoderated manner, a t i t s i n t e r p r e t e r s . I t was
s t a t e d t h a t i t was n o t enough f o r L is z t t o con
ta m in a te Weimar w ith i t , but t h a t he was now
a ls o a tte m p tin g t o i n f e c t f o r e ig n c i t i e s , and .
b e s i d e s —he u n d erstood n o th in g about c o n d u c tin g .'
L is z t answered t h i s l a s t ch arge in an open l e t t e r to
R ichard P ohl o f D resden i n w hich he n o te s th e c r i t i c ' s n a iv e
com plim ent t o th e e n se m b le 's e x c e ll e n c e w h ile c r i t i c i z i n g

h i s c o n d u c tin g a b i l i t i e s . He s t a t e s , in c o n c lu s io n , th a t
a co n d u cto r must be som ething o th e r than j u s t an ” im per
tu r b a b le b e a te r o f tim e ” :
W hatever e stee m , t h e r e f o r e , I may p r o f e s s f o r

many o f ray c o ll e a g u e s , and however g la d ly I may
r e c o g n iz e th e good s e r v i c e s th e y have ren d ered
and c o n tin u e t o r en d e r t o A r t, I do not t h in k
m y s e lf on t h a t accou nt o b lig e d to f o llo w t h e i r
exam ple in e v e r y p a r t i c u l a r —n e it h e r in th e
c h o ic e o f works t o be p erform ed , nor in th e
manner o f c o n c e iv in g and co n d u ctin g them . I
th in k I have a lr e a d y s a id to you th a t th e r e a l
ta s k o f a c o n d u cto r, a c c o r d in g t o my o p in io n ,
2. R ehberg, 27k •
162
c o n s i s t s In m aking h im s e lf o s t e n s i b l y q u a s i-
u s e l e s s . We are p i l o t s , and n o t m e c h a n ic s .3
A perform ance a t Weimar, on Septem ber 5 , l 8 £ 7 » was much

more s a t i s f y i n g ( a t C a rl A u gu st’ s 1 0 0 th b ir th d a y c e le b r a
t i o n , d is c u s s e d i n C hapter I I I ) . The r e v is e d 1051+ v e r s io n ,
u sed i n t h i s p erfo rm a n ce, was d e d ic a te d t o R ich ard Wagner,
who r e tu r n e d h i s th a n k s i n a l e t t e r t o L i s z t .
T h is , your a c c la m a tio n o f th e a r t i s t s , i s a
g r e a t , b e a u t i f u l , and m arvelou s s e c t i o n o f your
own a r t i s t ' s l i f e . You e x p r e ss i t , w it h body
and s o u l t o a t im e , to p erso n s--w h o w ish to
u n d erstan d you . You have done q u it e r i g h t l y
in rem oving S c h i l l e r ’ s v e r s e s from t h e i r l i t e r
ary e x i s t e n c e , s h o u tin g them t o th e w orld in
t r u m p e t -b la s ts lo u d and c l e a r . I know no one
who d o es such a t h in g now, and w ith su ch fo r c e
. . . . T h e r e fo r e , than k you f o r th e A r t i s t s :
I f e e l a s i f you gave them a s a g i f t to me a lo n e
and as i f no one e l s e would e x p e r ie n c e what you
th e r e b y have g iv e n th e w orld.U
The work r e c e iv e d numerous perform an ces t h e r e a f t e r . A

i
l e t t e r t o Franz B r e n d e l, d a ted February 2 0 , l&5h> d i s c u s s e s
an upcoming c o n c e r t a t L eip zig.** On March 2 , l 8£lj. L i s z t
s e n t a sc o r e and p a r ts t o L o u is K Shler o f K S n ig sb erg ,^ and
3. Pranz L i s z t , ’’L e t t e r on C o n d u c tin g ,” The C on du ctor’ s

A r t, e d . Bamberger (New York: M cGraw-Hill Book C o .,
1955), 68.
i*.. Raabe, 1 3 3 .
5. L e tte r s , I , 181.
6. I b id . , 183.
163
asked Johann H erbeck o f V ien n a , on June 2 , 18*>7» t o prepare

7
th e perform ance f o r th e Septem ber f e s t i v i t i e s a t Weimar.
To H e in r ic h P orges o f Prague he w r o te , on May 1 0 , 18^9:
For th e n e x t ’ m e d ic a l c o n c e r t ’ I w i l l i n g l y p la c e
m y s e lf a t your d i s p o s a l . P o s s ib ly we m ig h t, on
t h i s o c c a s io n , v e n tu r e on th e Symphonic Poem #1
. . . th e ch oru s An d ie K ftn stle r , and th e F au st
Symphony. The r e s p e c te d m ed ica l men would th u s p
ta k e th e i n i t i a t i v e in th e new m u s ic a l p a th o lo g y !
L is z t speaks o f a perform ance o f An d ie K ttn stler a t Jena f o r

g
November 1 1 , l8 £ 9 » and, much l a t e r i n 1 8 6 8 , d is c u s s e s a
p o s s i b l e c o n c e r t w ith B r e n d e l. T h is l a t t e r r e f e r e n c e r e
f l e c t s th e in c r e a s in g c r i t i c a l p r e ssu r e i n f l i c t e d upon L is z t
by h i s a d v e r s a r ie s .
C e r t a in ly th e r e p e t i t i o n o f th e 1 3 th Psalm m ight
be p e r m is s ib le and ev en a d van tageou s to m y s e lf,
as you k in d ly remark; a l s o I sh o u ld riot c a re to
r a is e any p r o t e s t a g a in s t th e chorus An d ie
K iin s tle r , and sim p ly b ecau se i t h as h it h e r t o
been more scream ed a t th a n h ea rd , f o r i t h as
been a c co u n ted one o f my most c u lp a b le h e r e s i e s
t o have s e t t h e s e words o f S c h i l l e r ’ s t o m usic
a f t e r M endelssohn and w ith o u t hum oring th e
custom ary t a s t e o f th e V ocal S o c i e t i e s . Paren
t h e t i c a l l y be i t sa id t h a t S c h i l l e r and ’Man
h o o d ’ s D i g n i t y ’ forb ad e me t o make t h i s com p osi
t i o n any p le a s a n t e r . I dreamt a tem p le and not
a k io s k !
7. I b i d . , 31*2.
8. I b id . , 380.
9. I b i d . , 1*02-1103.
16U
I f you run th e r i s k o f g iv in g th e A r t i s t ’s
Chorus i n A lten b u rg I must beg th e con d u ctor to
ta k e a l l p o s s i b l e c a re i n r e h e a r s in g I t — and to
aim a t th e m ost d i g n i f i e d composure in th e p e r
form an ce. L ik e r e v e r b e r a tin g m a r b le - p illa r s
must be th e e f f e c t o f th e s in g in g 11 °
The Music
In a l e t t e r to P e te r C o r n e liu s on February 1 9 , 1858*

L is z t w r o te: "By May w i l l appear a new e d i t i o n o f th e
K lln stler-C h o r (w ith some Im portant s i m p l i f i c a t i o n s and im
p ro v em en ts) Humphrey S e a r le l i s t s th e 1851* v e r s io n o f
th e S c h le s in g e r and an 1856 p u b lic a t io n by Kahnt, but I
h ave n ot i d e n t i f i e d th e 1858 e d i t i o n r e f e r r e d t o a b o v e.
The v e r s io n s a v a ila b le t o me f o r t h i s r e s e a r c h are th e 1851*
S c h le s ln g e r e d i t i o n , and a Kahnt e d i t i o n w ith th e d a te 1865
w r it t e n i n p e n c il on th e t i t l e p age. Whether th e l a t t e r
p u b lic a t io n i s th e 1856 e d i t i o n , or th e 1858 one m entioned

by L i s z t , or an 1865 e d i t i o n , rem ains i n q u e s t io n . The
Kahnt form at i s i n p r in t and th e e a r l i e r S c h le s in g e r , no
doubt in an e f f o r t t o e co n o m ize, i s a r e p r o d u c tio n o f a
m a n u scrip t co p y . Added t o th e Kahnt s c o r e , but m is s in g
In th e S c h le s ln g e r , i s th e f o llo w in g remark found above the
10. I b i d . , I I , 11*5.
11. I b id ., I , 360.
165
chorus p a r ts on page one: "N.B. At la r g e p erform an ces th e
s o lo v o i c e s sh o u ld be in c r e a s e d t h r e e - f o l d . ” The i n s t r u c
t i o n p ro b a b ly stem s from an e a r l i e r perform ance e x p e r ie n c e ,
w h erein th e s o lo v o ic e s were ob scu red by th e s o n o r i t i e s o f
a la r g e o r c h e s tr a and c h o r u s. At th e head o f b o th s c o r e s ,
on th e f i r s t page o f p r in te d m u sic, i s th e i n s c r i p t i o n :
"When b e a u t i f u l s o u ls e x p e r ie n c e b e a u ty , i t must be e x c e l
l e n t and p e r f e c t . ” In a forew ord to th e Kahnt p u b lic a t io n
o f An d ie K U n stle r , L is z t w r o te:
The composer has a ttem p ted t o g iv e th e s t a n z a s ,

ta k en from th e S c h i l l e r poem D ie K tln s tle r , a
m u sic a l r e n d e r in g t o t h e i r n o b le c h a r a c te r .
Whether or not he h as su cceed ed can be judged
o n ly by th o s e who s u i t a b l y cap tu re and empa
t h i z e w ith t h i s c h a r a c te r . However, toward th e
u su a l sta n d a rd s w hich one i s used to a p p ly in g
t o c h e e r f u l L le d e r t a f e l c o m p o s itio n s , a s w e l l
as toward the' p o p u la r demands o f s in g e r s and
l i s t e n e r s , who d e s ir e th e amusement o f la v is h e d
p r a is e , he must beware in ad van ce.
With th e p o s s i b l e perform ance I t i s r e
q u ested to put m ea n in g fu l and p o e t ic em phasis on
th e w ord s, as w e l l a s to p r e c i s e l y o b serv e th e
m u sic a l dynam ics, w ith s p e c i a l ca re to th e
sm a lle r c r e sc e n d o s (c h a r a c t e r iz e d by < ) e s p e
c i a l l y in th e pian o and p ia n is s im o , which sh ou ld
n ot s w e ll to o lo u d ly and g l a r i n g l y . For th e e n
lig h ten m en t o f stu d y in g t h i s , a p ia n o accom pani
ment o f th e sc o r e i s added; n a t u r a lly t h i s i s
d isp e n se d w ith d u rin g p erfo rm a n ces.
E s p e c i a ll y I n t e r e s t in g i n th e above q u o ta tio n i s L i s z t ’ s
r e fe r e n c e t o th e p op ular L l e d e r t a f e l t a s t e o f th e tim e , and
h i s c a r e f u l i n s t r u c t i o n c o n c er n in g th e trea tm en t o f t e x t
and dynamic m ark in gs.
166
B efore b e g in n in g a d i s c u s s i o n o f th e a c tu a l m u sic , a
t r a n s l a t i o n o f S c h i l l e r ' s An d ie K tin s tle r , v e r se by v e r s e ,

m ight se r v e a s a h e l p f u l g u id e . The f i r s t v e r s e r ea d s:
The h on or o f mankind i s in your hands:

P r o te c t i t !
As i t s in k s w ith you, a l s o does i t r is e ' .
P o e tr y ’ s h e a v e n ly magic
S e r v es a s a w orld d e s ig n ,
S i l e n t l y l in k i n g one t o th e ocean
Of g r e a t e r harmony!
In exam in in g th e two a v a ila b le c o p i e s , numerous exam
p l e s o f r e v i s i o n appear when com paring th e l8 6 £ Kahnt w ith
th e e a r l i e r l8 £ l; S c h le s ln g e r e d i t i o n . In th e l85>lj. p u b lic a
t i o n , m easures 1 th rou gh 11 a re r e p e a te d b e fo r e th e v o ic e s
e n te r . The l8 6 £ sc o r e b r in g s i n the s o lo q u a r te t im m ed iate
l y a f t e r measure 1 1 . A fr e q u e n t v a r ia n c e in th e two s c o r e s
i s found in t h e rew orking o f th e m e tr ic schem e. In m easures
17 th rou gh 23 o f th e Kahnt e d i t i o n , th e r e o c cu rs a c o n tin u a l
f l u c t u a t i o n from b / b t o 3 / k » w hereas th e S c h le s ln g e r r e t a i n s
th e e n t i r e c o u n te r p a r t (m easures 28 th rou gh 3U) in a b / b
m eter ( s e e Example 9U> a and b ) . The r e s u l t i n g e f f e c t i s
an improved d e c la m a tio n o f Mi s t i n eure Hand gegeb en / i t is
g iv e n in t o your h a n d s / .” The s ix t e e n t h n o te r e s t b e fo r e
"gegeben” p o in t s up th a t word more s u c c i n c t ly than d o e s th e
l8 £ l| s e t t i n g . Another u s e f u l a l t e r a t i o n o c c u r s in th e
harm onic tre a tm e n t o f measure 19 o f th e K ahnt, in c o n t r a s t
t o m easure 30 o f th e S c h le s in g e r .
167
Example 9l*. An d ie K tin a tier

a . l8 5 l|., M eas.
----------------- f
b. 1 8 6 5 , M eas. 1 7 -2 3
f_ r l | K . i i ^ - M l r *
i T P & .3 1 5 — ------- : * H i
rr» «
£ ^ «ft 5 « - ------------ — t' *
J . ... j . * J r A J L 2
» b r * n " ,1 ■ '^ V r ~ a l i ■ 7 ....... ; ..........y
M f - '- V - t j l
*WW
168
S in c e th e v o c a l f o r c e s o f An d ie K ftn stler embrace both

t h e m ale q u a r te t and m ale c h o r u s, th e a n tip h o n a l e f f e c t o f
s o l i so u n d in g a g a in s t t u t t i o f t e n o c c u r s, c r e a t in g a n o th er
p o in t o f d e p a r tu r e betw een th e two p erform in g e d i t i o n s . In
m easures 38 th r o u g h 1*1 o f th e K ahnt, th e c a p sto n e o f th e
f i r s t two l i n e s o f p o e tr y ”bew ahret S ie ! / p r o t e c t i t 7 n i s

em phasized w ith an a n tip h o n a l e f f e c t (Example 9 5 b ) . On th e
o th e r h an d , t h e S c h le s ln g e r , in m easures 1*9 th rou gh 53» u s e s
o n ly s o l o - q u a r t e t (Example 9 5 a ) .
Example 95• An d ie K ftn stler

a . 1851*, M eas. i*$-53
$ bt- -Walr
b. 1 8 6 5 , M eas. 38-1*1
Der
169
Not o n ly are th e v o ic e s r e w r it t e n , but th e s t r i n g p a r ts

above them a ls o have been r e v i s e d , a s e v id e n c e d in Example
9 6 , a and b . I n s te a d o f o n ly th e f i r s t v i o l i n c r e a tin g
movement, a s in th e l85ij. S c h le s ln g e r e d i t i o n , th e second
v i o l i n , v i o l a , and c e l l o p a r t s o f t h e 1865 Kahnt v e r s io n
c o n ta in i n t e r e s t a s w e l l .
Example 9 6 . An d ie K ttn stler

a . 1851+, Wea s . I # -53
I i
i
WMHtve
170
Example 9 6 . An d ie Klin g t le r
b . 1 8 6 £ , M eas. 3B-1+ L
^ i t & V r l l - r T T v f - — £— =------ •ij.-ft'f— cr !---t ' —t —C-K" —

V r -y -—- -
v* jA fe i a r r r ^ - |--.A =.-==V - L ( W fi
tzzrV -— — -
ij
v»,
M
Ak ^^ ^
g
i
- -♦ - * I* -k- i ~
xp to—1------\—
w * ■
I $ st ^
St
i ... ------- ■— -= tarjl j -

*
ÛJ- ...7.-* O - ■
sf
. § IS "
=¥*=\ 7.li^ '.d -— h z
As th e f i r s t v e r s e n ears i t s c l o s e , a change o f m eter
appears in th e Kahnt p u b lic a t io n not p r e se n t in th e S c h le -
s in g e r (Example 97» a and b ) . On m easures 1+7 th rou gh i+9 o f
th e K ahnt, a m e tr ic marking o f l+A to 6/1+ ( 3 /2 ) t o l+A i s

in d ic a te d in c o n tr a s t to th e sim p le 1+/1+ o f th e S c h le s ln g e r .
The 186$ Kahnt e f f e c t s a b u i l t - i n , n a tu r a l r e ta r d , and th e
change from duple t o t r i p l e m eter b r in g s about a change o f
pace th a t fu r th e r enhances th e r e s u l t . Of eq u a l im portance
i s th e em phasis o f d e c la m a tio n g iv e n th e noun, "W eltenplane
171
Îrorld plan op design^1’—the key word of the f i r s t verse

as i t approaches i t s l a s t lin e . Also of In te r e s t Is the
double-metered 6/2+ (3/2) marking, perhaps in d ic a tin g a sub
divided q u arte r or h a lf note conducting cue, to be used a t
th e d is c re tio n of the perform er.
Example 97• An die K tinstler

a . 185U, Meas. &0-62
b. 1865, Meas. 1*7-U9
1 1 *
Ok.- vst
This phenomenon of meter variance occurs also in measures

60-62, 211 - 2 1 3 , and 226-228 of th e 1865 v ersio n in c o n tra st
to the l85i|- e d itio n . Appearing fo r the f i r s t time in the
172
m ale ch oru s w orks s tu d ie d th u s f a r , t h i s m e tr ic com b in atio n

shows i t s e l f more and more i n th e c o m p o sitio n s o f th e l 8 6 0 ’ s
and l 8 7 0 * s .
The secon d v e r s e t r a n s l a t e s :
R e je c te d by i t s tim e
T ruth e s c a p e s t o th e poem,
And f i n d s s h e l t e r i n t h e f i n a l c h o r u s.
In th e h ig h abundance o f i t s sp le n d o r ,
Awesome i n i t s pure v e i l ,
I t r i s e s i n so n g , and aven ges i t s e l f
W ith s e a l i n g song
On th e co w a rd ly e a r o f i t s p e r s e c u t o r s .
As th e v e r s e b e g in s , a t r e m o lo - s la s h th rou gh t h e h a l f n o te
stem s in th e 185U- v e r s i o n i s r e p la c e d by w r it t e n - o u t e ig h t h
n o te s in th e 1865 e d i t i o n ( s e e Example 9 8 , a and b ) .
F urtherm ore, o v e r th e t e n o r s o lo i n measure 96 o f th e 1865
v e r s io n i s w r i t t e n e r n s t und f e a t b e to n t ( s t r e s s s i n c e r e l y
and s t r o n g l y ) . I t d oes n o t appear In th e e a r l i e r 185U
e d itio n .
Another occurrence a t the beginning of th e second
verse (seen in Example 99, a and b) i s the entrance o f the
h arp . The eig h th note arpeggios of the 1854 version are
rep laced by s ix te e n th note groupings (at 8va) in Kahnt*s
1865 p u b lic a tio n .
173
Example 98. An d ie K & nstler

a . 18£1*, M eas. 1 1 0 -1 1 3
V W ' -
t o r ::r4 = ;'-,., .......... ■ "■" "" —m i 1n r ........-

t-g ? ■
• III 11 1 < i'll »111« 9 • 1

— $— "I,,"
z C i _ ::.... ■ :,.fizrzT- _ .- z : J=
• 99 9 • • It 91 »
1----- --------- f r a ? '1 =
- ^ 3 p f e z : ■ tp : -
■ ■■ ■
Vcm iV - r v ■B a t — v/tv s W t -
r ■ ....... J —1--------m ------ —
nk
Example 9 8 . An d i e K ttn stler

b . l8 6 £ , M eas. 9 5 -9 8
c/wsV btkodi'
Example 9 9 . An d ie K & nstler

«. i8^, BitvrilySg.
175
Example 9 9 . An d ie K iin stle r

b . 1 8 6 5 , M eas. 162-105
In m easures lllj, th ro u g h 116 o f th e 1865 v e r s io n th e s o l o -

q u a r te t b a r ito n e p a r t I s r e w r it t e n , a s in Example 1 0 0 , a and
b (p erh ap s due t o o v e r b a la n c e cau sed by t h e b a r ito n e i n h i s
h ig h e r t e s s i t u r a a g a in s t th e d e sc e n d in g l i n e o f th e secon d
te n o r ).
Example 1 0 0 . An d ie K ttn stler

a . 185k, M eas. 129-131
b. 1 8 6 5 , Meas. 11^-116
m
fjv»— ScV-H I* ivrX * **o --v\twJCW .
176
The above r e v o ic in g I s a l s o r e f l e c t e d in th e c e l l o , v i o l a ,
and b a sso o n p a r t s a s th e y d ou b le i n th e b a r ito n e v o ic e *
In f a c t , m easures IU 4. th ro u g h 15U o f th e K ahnt, in c o n tr a s t

t o 129 th rou gh 150 o f th e S c h le s ln g e r , I s a c o m p le te ly r e
worked s e c t i o n . For in s t a n c e , where t h e c o n tr a b a ss ap p ears
i n th e l 8 $ k v e r s i o n , th e s o lo trombone r e p la c e s i t i n th e
1865 e d i t i o n , and where f l u t e s r e i n f o r c e th e v o c a l u n iso n in
m easures 1 1 8 -1 2 0 o f th e K ahnt, th e e a r l i e r e d i t i o n r e f r a i n s
from d o in g s o . A ls o i n m easures 13l+ th rou gh 138 i n th e 1865
v e r s io n , th e s c o r in g f o r tru m p e ts, trom bones, and horn s i s
in e ig h t h n o te t r i p l e t s , w hereas th e 1851). v e r s io n em ploys

h a l f n o t e s i n t h e trom bones and h o r n s , and u s e s a s h o r t
l i v e d b u g le c a l l f o r t h e tru m p et. The v o c a l l i n e s in t h i s
r e v is e d a rea have a l s o b een ch an ged . The e a r l i e r v e r s io n
i s sc o r e d f o r p r im a r ily a d o u b le chorus t e x t u r e , w h ile th e
l a t e r e d it io n , i s r e w r it t e n f o r s o l o u n iso n q u a r te t and
c h o r u s. However, a t m easure 1 2 6 , the u n iso n r e tu r n s t o th e
o r i g i n a l d o u b le -ch o ru s v o i c i n g . L i s z t o b v io u s ly d e c id e d t o
d im in is h th e b u sy n e ss o f th e p o ly c h o r a l t e x t u r e , t o r e i n
f o r c e th e theme w ith u n iso n s in g in g , and to s tr e n g th e n th e

g e n e r a l rhythm ic d r iv e o f th e ch o ru s w ith a more a c t iv e
b r a ss s e c t i o n . A f i n a l , minor r e v i s i o n i n th e second v e r s e
t h a t r e f l e c t s a t y p i c a l perform ance problem in s o n o r it y
o c cu rs on m easures 1 3 5 -1 3 7 o f th e Kahnt— c o n tr a s te d t o
177
13>0 - l f >2 o f th e S c h le s ln g e r ( s e e Example 1 0 1 , a and b ) . Here
th e v o c a l b a ss l i n e in th e 1865 v e r s io n i s brought up an
o c ta v e , fo r i t s im pact w ould o th e r w is e be l o s t a g a in s t th e
t r i p l e t s o f th e r e s c o r e d b r a s s p a r t s .
Example 1 0 1 . An d ie K lin stle r

a . l8£lj., M eas. l £ 0 - l £ 2
iff
dm i
siclv —
A .z A
♦ f - £ =£ H >
$
Sk h
S ic U * 4
I * J
The t h i r d v e r se em ploys th e l e a s t number o f l i n e s in
S c h i l l e r ’ s An d ie K ttn stle r .
You f r e e so n s o f th e str o n g m other,

Soar w ith a r e s o lv e d cou n ten an ce
To th e r a d ia n t s e a t o f th e h ig h e s t b e a u ty ’.
S t r iv e f o r no o th e r crown!
178
Example 1 0 1 . An d ie K tin stle r

b . 18 6 5 , Meas'. 1 3 5 -1 3 7
------
m
S’ltU *mY - V
A
& & ----- H
V-1-
•s
« -----
. /- .7__
Sick **vVS^^bs
A
f r
; J ft h
There a re a l s o a number o f r e v i s i o n s i n th e t h ir d
verse. The tru m p ets are a g a in g iv e n t r i p l e t s i n th e 1865
v e r s io n a t m easu res 153 th ro u g h 1 5 6 , in c o n tr a s t t o th e

d o t t e d e ig h t h and s i x t e e n t h n o te f i g u r e s i n m easures 167
th ro u g h 170 i n th e 185U e d i t i o n . As i n th e seco n d v e r s e ,
t h e r e i s an e x t e n s i v e l y r e v i s e d s e c t i o n . M easures 156
th ro u g h 168 i n th e l a t e r e d i t i o n a re c o n t r a s te d t o 172
th rou gh 19ty o f th e S c h le s ln g e r ( t h e 1865 v e r s io n i s t h e r e
f o r e sh o r te n e d by t e n m ea su res, a s l e s s r e p e t i t i o n o f th e
t e x t i s I n v o lv e d ) . The 185U e d i t i o n and th e Kehnt are b o th
179
In d o u b le -c h o r u s t e x t u r e h e r e , w ith th e form er a lt e r n a t in g
a 3 A and b / k m e tr ic p la n , w h ile th e l a t t e r rem ains i n k /k »

The r e s u l t i n g c o n t r a s t betw een t h e two v e r s io n s i s a l e s s
s e v e r e o v e r la p p in g o f s o l i and t u t t i i n th e 1865 v e r s io n
(Example 1 0 2 , a and b ) .
Example 1 0 2 . An d ie Kilns t i e r
a . 185U, M eas. W - I 8 0
The two s c o r e s come t o g e t h e r in m easures 19b (185U) and

168 (1 8 6 5 ). The form er w ith a change o f k ey s ig n a tu r e
t o E - f l a t m ajor and th e l a t t e r r e t a in in g i t s B m ajor s ig n a
tu r e but u s in g a c c i d e n t a l s p e r ta in in g t o E - f l a t .
180

b . 1 8 6 5 , Meas. lj> 6-lfcl
1—
f a
m
£rti-a SoV - \/\4 ScV~ h
K'AA1. i i 1 1 m 1" «"~=-----4"Hit =

PS; T ■■ ------- V
/
<
1 i ii $
f c j u - — t --
ap-T---..... P t J P P - Fr^'"P" f -4—
* Dlv'W'&M SoU - * a
A
fnttk------------ d~~. i. _4_.
■ftrt—^
The p o e tr y o f th e fo u r th v e r se t r a n s l a t e s :
R ise up w ith brave w in gs

H igh o v e r your c o u r se o f tim e I
In th e d is t a n c e th e p ro sp ero u s c e n tu r y
Dawns In your l o o k i n g - g l a s s .
Prom a th o u sa n d fo ld , ta n g le d ways
The r ic h v a r i e t i e s come forw ard to embrace you
At th e th ron e o f th e h ig h e s t u n io n .
R e v is io n s i n th e f o u r t h v e r s e b e g in a t m easures 192 through
19k o f th e Kahnt, where f l u t e s and v i o l i n s are sc o re d w ith

an a r p e g g ia te d f i g u r e , in c o n tr a s t t o th e s u s ta in e d t e x tu r e
o f t h e S c h le s ln g e r . The major r e v i s i o n o c c u r s betw een
l8 l
m easures 198 th rou gh 205 o f th e 1 8 6 5 , and m easures 221*

th ro u g h 21*6 o f th e 1851*. The Kahnt i s th e r e b y sh o r te n e d
c o n s id e r a b ly , due m a in ly to th e u se in th e f i r s t v e r s io n o f
th e e n t i r e t e x t b e fo r e r e tu r n in g a g a in t o "auf ta u s e n d fa c h
v e r sc h iu n g 'n e n Wegen /fr o m a th o u sa n d fo ld ta n g le d w a y s 7 ."
W ithin t h i s r e v is e d a r e a , th e c li m a c t i c l i n e of th e fo u r th
v e r s e , wdas kommende Jahrhundert au f / t h e app roachin g
cen tu ry /* 1 l s e s p e c i a l l y tra n sfo r m ed , as i s p e r c e iv e d in

Example 1 0 3 , a and b . The e a r l i e r v e r s io n em ploys o n ly th e
m ale q u a r te t o f s o l o i s t s , w hereas th e l a t e r e d i t i o n a c h ie v e s
added s o n o r it y by ad d in g th e m ain c h o r u s. Furtherm ore, the
d i r e c t i o n of th e m e lo d ic l i n e i s changed, o n ly one s t a t e
ment o f th e t e x t fragm en t i s su n g, and a l l v o ic e s are

brought t o t h e i r upper t e s s i t u r a on m easure 1 9 9 .
From t h i s p o in t on u n t i l th e f i n a l cadence o f An d ie
K iS n stler, th e r e v i s i o n s are m o stly in s tr u m e n ta l. At

m easures 206 th r o u g h 209 o f th e Kahnt v e r s io n , th e f i r s t
v i o l i n h a s been lo w ered an o c ta v e , th e v i o la h as a l e s s
a c t iv e r o l e , and a trum pet sta te m en t on m easures 21*8 through
250 i s c o m p le te ly d e l e t e d , p rob ab ly due t o the f a c t th a t
th e ch oru s p a r ts a r e marked p ia n is s im o . M easures 255

through 261 o f th e S c h le s ln g e r s c o r e s a s u s t a in e d b ra ss
accom panim ent. In th e 1865 Kahnt e d i t i o n , the b r a ss i s n ot
p r e s e n t and t h e f l u t e s and c l a r i n e t s appear in t h i r d s , w h ile
th e harp moves in t h ir t y - s e c o n d n o te a r p e g g io s .
182

a . I8$k, M eas. 22^ -228
AAA. j ,
m n $
p ¥
^ as £ o w \w tm ^ t ‘âVr a-^ Aas ÔWtMtwU “S«k»*
A i-J -J -i L - lA
£ £
¥ :F = S = f :
«
b. 186^, M eas. 1 9 8-201
^W
-•3 %-Wi-fr-Ul— Cl -A
f t ----- J—
-p----- » -- -L±i£z
r ..
*
~
r -T---
*
<Ja5 ê«k-«M t.vAc
ra-A a i._ ...
- ■NltrfLurf I: -
i^r-^-p" r t ■j l~ =
A
-J----- J—J=R
ipp y-f— ^-j f F ... "-fH -I.-. '—
ÂS IC OM *3<l«-W
V >v\— oau*£.*
-L -r
p m
m i
An d ie K ftn stler c o n ta in s many o f th e harm onic e le m e n ts
h e r e t o f o r e employed by L i s z t i n h i s m ale ch oru s w o rk s. The

t o n a l scheme i s b a sed on th e home key o f B m ajor, a lo n g
183
w ith r e l a t e d t o n a l i t i e s , and o c c a s io n a l movements o f w hole

s t e p s and r o o t s - b y - t h i r d s . There are s tr a ig h tfo r w a r d h a r
monic s e c t i o n s , and d i s c u r s i v e , ambiguous a r e a s where

d im in is h e d , augm ented, and enharm onic t r i a d s and se v e n th
chords make up th e warp and w oof of the t e x t u r e . An d ie
K ftn stle r , h ow ever, i s n o t b ased on a s t r o p h ic - v a r i a t i o n or
m o d ifie d t e r n a r y form al s t r u c t u r e . I t i s u n if ie d by two

them es th a t a r e d e v e lo p e d and p a ssed from v o ic e to i n s t r u
ment i n su ch a way t h a t S c h i l l e r ' s t e x t i s a llo w e d to p ro
ceed to a n a tu r a l c lim a x .
U s in g th e 18 6 £ Kahnt e d i t i o n o f An d ie K ftn stle r , th e

f i r s t o f t h e two them es ap p ears in th e i n i t i a l o r c h e s t r a l
u n iso n in m easures 1 th rou gh 6 (Example lOlj.). The second
theme i s f i r s t h eard in th e t e n o r , in m easures 17 through
20 (Example 9l*b), w h ile a n o th e r m elod y, fou n d in th e s o l o -

h o rn s and b a sso o n s of m easu res 102 th rou gh 1 0 5 , r e p r e s e n ts
th e g e n e r a l shape o f b oth id e a s (Example 1 0 5 ) . A c lo s e r
r e p r e s e n t a t io n o f th e f i r s t theme ap p ears in th e b a sso o n ,
trom bone, v i o l a , and c e l l o p a r t s o f m easures 12ty th rou gh
1 2 5 , as w e ll a s in th e c l a r i n e t , b a sso o n , and c e l l o p a r ts
o f m easures 180 th rou gh 183 (Example 1 0 6 , a and b ) . A
l i k e n e s s t o th e secon d K ftn stler theme (se e n in Example 10?)
app ears i n m easures 220 th rou gh 22l| in the f i r s t t e n o r of

th e s o lo q u a r te t (a s w e l l as in the c l a r i n e t p a r t d o u b lin g
Example lO h . An d i e K iin stle r
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187
Example 107* An d ie Kftnst1 er

1 8 6 5 , M eas. 220-221*
a b o v e ). The two them es are u sed th r o u g h o u t, both i n t h e i r

c o m p le te , n ea r c o m p le te , d e v elo p m en ta l o r fragm ented fo rm s-
a l l c o n t r ib u t in g t o th e form al grow th and shape o f An d ie
K ftn stle r .
Two in s tr u m e n ta l works are l i s t e d by S e a r le , in h i s
c o m p ila tio n o f L i s z t ’ s c o m p o sitio n s i n G rove’ s D ic tio n a r y
o f M usic and M u s ic ia n s , a s h a v in g a th e m a tic r e l a t i o n s h i p
w ith An d ie K ftn s tle r . Die I d e a l e , symphonic poem number 12

(1 8 5 7 ), c o n ta in s th e secon d theme from th e An d ie K ftn stle r
c h o r u s. In th e s c o r e o f D ie I d e a le a t l e t t e r G, m easures
160 through 1 6 6 , a l i k e n e s s t o Exam ples 10h and 107 app ears
in the s o lo c e l l o (Example 1 0 8 ) .
Example 1 0 8 , D ie I d e a le
Meas. 1160-1*515
6 0 -lF S
In th e Kftnst l e r - F e s t z u g zu r S c h l l l e r f e l e r o f 1857, b o th
them es appear numerous tim e s in f u l l form and in
188
fr a g m e n ta tio n . In th e exam ple s e l e c t e d (Example 1 0 9 , a and

b ) , th e f i r s t theme i s p la y e d as an o r c h e s t r a l u n iso n ( s e e
Example 10iy), and th e seco n d theme appears in a broad s o l o
is tic l i n e p la y e d by th e h orn in th e t r i o s e c t i o n .
Example 1 0 9 . K ftn stle r -P e stu n g

a . M eas. 15^12
r
-
1 K
( k- \ i 1 .4. ■> 3 /
+tK. 1
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■ : =-- j-=&i±
J JfVtAi- 4 --t
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189
Example 1 0 9 . K tin stie r -F e a tu n g

b . M eas. 1 18-121
35SB5E
An d ie K ttn stler was one o f Franz L i s z t ’ s m ost pop u lar
m ale ch oru s w ork s, as e v id e n c e d in th e many p erform an ces
and p erform in g e d i t i o n s a ffo r d e d i t . As a f e s t i v a l work
i t d o es e x tr e m e ly w e l l , compared and c o n tr a s t e d t o o th e r
p ie c e s t h a t f a l l w ith in t h i s g e n r e . I t was o f t e n r e v is e d
and im proved; i t a v o id s s t r o p h ic - v a r i a t i o n te c h n iq u e and

c o n ta in s i n s t e a d , two b o ld them es th a t are rew orked, f r a g
m ented, and d e v e lo p e d i n an adm irable f a s h io n . An d ie
K tin s tle r , l i k e th e Prom etheus C h oru ses, th e f i n a l ch oru s

from th e F au st Symphony, and th e Te Deum I I , i s a com p osi
t i o n th a t most c l e a r l y shows L i s z t ’ s m u sic a l grow th and

developm ent as a com poser in th e decade o f th e l 8 5 0 ’ s .
190
Chapter V
MALE CHORUS LITERATURE: THE SMALL
SACRED WORKS, l8 6 0 - l8 8 £
Commentary
Because o f L i s z t ' s u n ion w ith R ichard Wagner and th e
r e s u l t i n g Zukunft-M usik i d e a l , an o r g a n iz e d o p p o s it io n ,
r e p r e s e n tin g th e s o - c a l l e d c o n se r v a tism o f Schumann and
Brahms, became more and more v o c a l and m i l i t a n t . The
s p i r i t o f t h i s f a c t i o n i s f o r t h r i g h t l y s t a t e d in th e f i n a l
l e t t e r t o L i s z t from h i s form er c o n c e r tm a ste r a t Weimar,

th e d is t in g u is h e d v i o l i n i s t Joseph Joachim . Joachim had
r e s ig n e d h i s p o s t some tim e b e f o r e , and L i s z t had o f f e r e d
him an i n v i t a t i o n to perform a t t h e Septem ber *>, 1857,

c e le b r a t io n h o n o rin g C arl A ugust. Now s o lid ly a d is c ip le
o f Brahms, th e v i o l i n i s t s e n t L is z t th e f o llo w in g b lu n t
r e p ly :
So I s h a l l rem ain s i l e n t no lo n g e r on a s u b je c t
w h ich , I c o n f e s s to you, your manly s p i r i t had
th e r i g h t t o demand to know lo n g b e f o r e . Your
m usic I s e n t i r e l y a n t a g o n is t ic to me; i t c o n tr a
d i c t s e v e r y th in g w ith which th e s p i r i t s o f our
g r e a t ones have n o u rish e d my mind from my e a r l i
e s t y o u th . I f i t were th in k a b le th a t I co u ld
e v er be d e p r iv ed o f , th a t I sh o u ld e v e r have to
renounce a l l t h a t I have le a r n t to lo v e and honor
191
in t h e i r c r e a t i o n s , a l l th a t I f e e l m usic to
b e , your s t r a i n s would n o t f i l l one corn er
o f th e v a s t w a ste o f n o t h in g n e s s .1
The c u lm in a tio n o f t h i s c o n f l i c t f i n a l l y o ccu rr ed at

th e Weimar T h eater on December l £ , 1 8 £ 8 , d u rin g a p erform
ance o f P e te r C o rn eliu s* o p era , The Barber o f Bagdad. An

o r g a n iz e d o p p o s it io n l e d by f r ie n d s o f th e t h e a t e r ' s m anager,
Franz D in g e ls t e d t , so d is r u p te d th e m usic th a t L i s z t r e fu s e d
t o condu ct in th e t h e a t e r t h e r e a f t e r , and e v e n t u a lly r e -

2
sig n e d th e p o st o f K a p e llm e is te r .
The composer th ere u p o n s e t t l e d in Rome n e a r th e V a tica n
and began a stu d y fo r minor o r d e r s i n th e Roman C a th o lic

Church. From 1862 on he became a “r e g u la r g u e s t a t th e
M onastery o f t h e Madonna d e l R o sa r io on th e Monte Mario
n ear Rome, and i t was i n t h i s p e a c e fu l r e t r e a t t h a t L is z t
3
worked on m ost o f h i s r e l i g i o u s c o m p o s itio n s ." Always a
l o y a l son o f th e ch u rch , he n a t u r a l l y had s tr o n g b e l i e f s
about m u s ic 's r o l e i n an e c c l e s i a s t i c s e t t i n g . M usic, he
s a id :
1. Nora B lc k le y , t r a n s . , L e t t e r s from and t o Joseph

Joachim (London: M acm illan & C o ., L t d ., l 9 i U ) » ■1^7.
2. Raabe, £ 0 .
3. W alker, 3 1 8 .
192
sh ou ld be solem n , s tr o n g and e f f e c t i v e ; i t
sh ou ld combine t h e a t e r and church i n c o l o s s a l
p r o p o r tio n s , and a t th e same tim e d ram atic
and h o l y , s p le n d id ly r e v e a lin g and s im p le ,
f e s t i v e and s e r i o u s , f i e r y and u n r e s tr a in e d ,
storm y and r e s t f u l , c le a r and i n t i m a t e .4
In f a c t , a f t e r i8 6 0 , he d e d ic a te d h im s e lf t o th e r e
v i t a l i z i n g o f c h o r a l m usic in th e c h u rch , and became a

le a d e r in th e G erm an-speaking arm o f th e Roman C a th o lic
group f o r such a r e fo r m --th e C e c ilia n S o c i e t y . Dr. Franz
W itt, th e fou n d er and f i r s t p r e s id e n t o f th e s o c i e t y in

Germany (a c c o r d in g t o an a cco u n t by D r. O tto L lin in g ), once
t o a s t e d L i s z t i n t h e f o llo w in g manner: "The th r e e g r e a t e s t
o f my f r ie n d s are H ein e, B ism arck, and you. The one was a
g r e a t a r t i s t and n o t a h e r o , th e o th e r a h e r o and n o t an
a r tis t. You a lo n e , my F ran z, are b oth a r t i s t and h e r o .”'’
But L i s z t was n ever ta k en s e r i o u s l y by th e C e c ilia n
movement and h i s r e l i g i o u s c o m p o s itio n s , ev en i n t h e i r

s im p le s t and m ost r e f in e d s t a t e , were c o n s id e r e d to o t h e a t
r i c a l f o r th e church. Raabe comments upon t h i s enigm a:
"The C e c ilia n S o c ie t y went much f a r t h e r in th e l i m i t a t i o n
o f what was p o s s ib le in th e church th a n did L i s z t , whose
lj.. Raabe, llj.8.
5>. O tto L uning, "Franz L i s z t e in A p o s te l d es I d e a l e n ,”

N eu ^ a h rsb la tt d e r A llg e m e ln M u s ik g e s e lls c h a ft LXXXIV
193
works app eared s u s p ic io u s due t o t h e b o ld n e s s o f t h e i r con

s t r u c t io n ." ^
Sacred Chorus Music
The c h a r a c te r o f h i3 s a c r e d m ale chorus m usic i s a

m o d if ic a t io n o f i t s more fla m b o y a n t, s e c u la r c o u n te r p a r t —
a f a c t th a t L i s z t r e c o g n iz e d h i m s e l f . In a l e t t e r d a ted
A p r il llj., 1 8 6 3 , he s a id :
E v e r y th in g t h a t I have w r i t t e n fo r s e v e r a l y ea rs
p a s t shows so m eth in g o f a p r i s t i n e q u a l i t y which
i s a s l i t t l e t o be pardoned a s I am unable to
a lte r i t . T h is f a u l t , i t i s t r u e , i s th e l i f e -
n erv e o f my c o m p o s itio n s w h ich , i n f a c t , can o n ly
be what th e y are and n o th in g e l s e . '
A rthur H ervey, in h i s book on th e m usic o f L i s z t , r e

a f f ir m s t h i s l a t e r te n d e n c y : " A fter he had donned th e
c a sso c k and a s he grew o l d e r , he became more se re n e i n th e

e x p r e s s io n o f h i s t h o u g h ts , and h i s l a t e r works are o f t e n
s t r i c t l y d e v o t io n a l i n s t y l e and b ear e v id e n c e to a sim p le
Q
and n a iv e f a i t h . " In th e same s p i r i t , a g en re as o ld as
th e Roman C a th o lic Church more and more h e ld L i s z t s m u si
c a l i n t e r e s t and f u r t h e r in f lu e n c e d h i s s t y l i s t i c
6. Raabe, 13>0.
7. L e t t e r s , I I , lj.5,
8. Arthur H ervey, Franz L i s z t and H is M usic (London:
John Land C o ., i 9 l l ) » 1 2 1 .
19U
r e d e fin itio n . When s e l e c t i n g them es f o r h i s sa c r e d p i e c e s ,

he o f t e n c h o se G regorian Chant— e i t h e r i n a s u g g e s t iv e
shape or in i t s a c t u a l form . He was a l s o in d isa g re em e n t
w ith th e g e n e r a l e c c l e s i a s t i c perform ance o f c h a n t, and
s tr o v e t o r e c a p tu r e i t s in h er en t b e a u ty . Raabe q u o tes
Sambeth:
I t i s t r u l y a s t o n is h in g t h a t b eh in d t h i s a w fu l,
c o n s i s t e n t l y a r b it r a r y , u s u a lly d o g g ed ly s lo w ,
more sh o u ted th an sung r e c i t a t i o n o f th e
G regorian m elo d y , L i s z t h as been a b le to
s u sp e c t th e i n f i n i t e beau ty which r e s i d e s i n
t h e s e n o b le m e l o d ie s .9
Sambeth g o e s on t o sa y t h a t th e n a tu re o f G regorian Chant
in flu e n c e d th e e le m e n ts o f rhythm and m elody i n L i s z t ' s
l a t e r w ork s. Raabe c o n tin u e s :
He had , n e v e r t h e l e s s , t h i s somewhat p e d a n tic

jo y in su ch h i s t o r i c a l l i n k s , j u s t a s he to o k a
kin d o f d e l i g h t in making m u s ic a l, sym b olic a l
l u s io n s w h ich th e l i s t e n e r cou ld n ot p o s s i b l y
n o t ic e and e x p la in ; s o , f o r exam p le, when he
used th e G regorian in t o n a t io n (w hich he a l s o
used in th e Male Chorus M ass), i n th e Graner
Mass, in th e f i n a l chorus o f th e Dante Symphony,
and in t h e B a t t le o f th e H uns.
He w is h e s t h i s to be seen a s a ' t o n a l symbol o f

th e c r o s s , ' and l e t s i t resou n d w ith th e
'wonder o f th e r o s e s ' in order to in d ic a t e
9. Raabe, 1 ^ 0 .
195
th a t th e Count In te n d s t o do penance f o r h i s
s u s p ic io n o f E liz a b e t h by h i s p a r t i c i p a t i o n in
th e c r u sa d e . That h i s c r i t i c s l a i d more valu e
on su ch th in g s th an th e y a c t u a l l y d e se r v e d
brought him much u n n ecessa ry e n m ity .10
The f i r s t c o m p o sitio n to be c o n s id e r e d w ith in t h i s

p e r io d was in s p ir e d by L i s z t ' s p a tr o n s a i n t , S t . F ra n cis
o f P a u la , whose l i k e n e s s , p a in te d by S t e i n l e , hung at the
A lten b u rg a t Weimar ( th e house where L i s z t , th e P r in c e s s

and h er d a u g h ter l i v e d w h ile r e s id in g a t W eim ar).1^ The
p a in t in g i s d e s c r ib e d in th e sta te m en t o f h i s w i l l , w r itt e n
on Septem ber ll*, i 8 6 0 , and s e n t to th e P r in c e s s :
To my d au gh ter Cosima I b equ eath th e sk e tc h o f

S t e i n l e r e p r e s e n t in g S t . F ra n g o is de P a u le , my
p atron s a i n t ; he i s w alk in g on th e w a v e s, h i s
m antle sp read b en eath h i s f e e t , h o ld in g in one
hand a r e d -h o t c o a l, th e o th e r r a is e d , e it h e r to
a l l a y th e tem p est or t o b l e s s the menaced b o a t
men, h i s lo o k tu rn ed to heaven w here, in a g lo r y ,
s h in e s the redeem ing word ' C a r it a s .' T h is
s k e tc h h as alw ays sto o d on my w r it in g t a b l e .
Near i t i s an a n c ie n t h o u r - g la s s in ca rv ed wood
w ith fo u r g l a s s e s , which i s a l s o f o r my daughter
C osim a.12
The c o m p o sitio n in s p ir e d by S t . F r a n c is o f Paula i s

An den h e l l l g e n F ra n zlsk u s von Paul Gebet f o r male c h o ru s,
10. I b i d . , 11*1.
11. S it w e ll, 267.
12. L e t t e r s , I , 1*1}.0-1*1.
196
harmonium or o rg a n , th r e e trom b on es, and tym pani (ad l i b . ) .
I t was composed i n i8 6 0 a t th e l a t e s t , r e v i s e d in l8?U* and

p u b lish e d by Taborszky and P arsch i n 1875• The p o e tr y fo r
13
th e s e t t i n g i s a s c r ib e d to A lb e r t A pponyi. There a l s o
e x i s t s a p ia n o c o m p o sitio n fo r two h an d s, S t . F ra n c o is de
P aule mar chant sur l e s f l o t s , w hose coda s e c t i o n c o n t a in s
a theme from th e m ale chorus s e t t i n g .
C an tlco d e l s o l d l San F ra n cesco d 1A s s i s i . l i k e An den
h e l l l g e n F ra n zisk u s von P a u la , i s a m ale ch oru s work th a t
was a l s o l a t e r r e v i s e d ( i n t h i s c a s e , 1 8 8 0 -1 8 8 1 ). In 1881
L is z t w r o te : MI have reworked i t t o s im p lif y t o th e honor
o f th e b r e th r e n o f th e su n , th e s i s t e r s o f th e moon, the
s i s t e r s o f th e w a te r , th e b r o th e r s o f th e w in e , and the
b r o th e r s o f the f i r e — I c o n s id e r i t one o f my b e s t w orks.

Raabe, on th e o th e r hand, ranked th e c o m p o sitio n a ''low
p o s i t i o n ” as a r e s u l t o f L i s z t ' s s e lf -im p o s e d s i m p l i c i t y .
15
He found th e t e x t to be b a d ly d e c la im e d . I t Is sc o r e d
f o r b a r ito n e s o l o , male c h o r u s, o r c h e s t r a , and o r g a n , and

i s based on th e c h o r a le t u n e , In d u lc e J u b l l o . The theme
app ears a l s o i n two p i e c e s f o r p ia n o f o r t e , th e S t . Franco i s
13. Werke V, v i i i (C o l. 2 ) .
I lf. I b i d . . V (C o l. 1 ) .
15. Raabe, 1 6 2 .
197
d * A s s is i o f I 863 and th e A l l e l u i a e t Ave M aria o f 1 8 6 2 . A

tw o -p ia n o c o m p o sitio n P r e lu d lo p er i l C a n tlc o d e l s o l d l San
F ranceaco o f 1880 and Hoaanna from 1862 fo r organ and trom
bone a la o c o n ta in s th e C an tlco d e l s o l th em e.
A group o f fo u r sm a ll p i e c e s , c h r o n o l o g ic a l ly r e a c h in g
from 1863 th rou gh 1 8 6 5 , w i l l now be a r b i t r a r i l y d is c u s s e d .
Two v e r s io n s o f T h eo p h lle L andm esser’ s C h ristm as poem,
C h r ist 1 s t g e b o ren . w ere composed i n 1 8 6 3 . The f i r s t i s s e t

f o r male ch oru s and o rgan and th e seco n d f o r m ale v o i c e s
unaccom panied. A ccord in g to Dr. Wolfrum th e m a n u sc r ip t,
found a t th e L i s z t Museum, was p a rt o f a d o u b le -s c o r e w hich
in c lu d e d a n o th e r m ale chorus p i e c e , S la v ln o , s la v n o , s la v e n l
and bore t h e d a te 1 8 6 3 . W frum a ls o b e l i e v e s th a t th e un

accom panied v e r s io n o f C h r ist 1 s t geb oren i s a v a r i a t i o n o f
th e H lr te n g e sa n g e s an d er K rlppe from th e f i r s t p a r t o f th e
C hristm as o r a t o r i o , C h r lstu a . ^
S la v ln o , s la v n o , s l a v e n l was composed fo r th e m ille n a r y
o f S a in t s C y r il and M eth od iu s, and was s e t to a t e x t by

Count Orso Pucic* o f D u b rovn ic. I t was perform ed in Rome on
J u ly 3 , 1 8 6 3 , and i s s e t fo r male chorus and o rg a n . In a

l e t t e r t o F r e d e r ic k Sm etana, L is z t w r o te : "To Herr Smetana
I send a Mftnnerchor p ie c e , nam ely: The Slaverihymnus f o r th e
16. V erk e, V I, v i i (C o l. 2 ) .
198
1 ,0 0 0 t h A n n iv e r sa r y o f th e H oly C y r illu s and M ethod ius,

a p o s t l e s o f t h e S la v s , composed and perform ed f o r th e Church
o f th e H oly Hieronymus ( d ie S c h ia v o n i) . Rome, J u ly 3,

17
1 8 6 3 ,” Wolfrum c la im s t h a t L i s z t was not w e l l a c q u a in ted
w ith th e H ungarian la n g u a g e , and made a number o f m ista k e s
i n th e t e x t o f t h e o r i g i n a l m a n u sc r ip t. The sc o r e a v a i l
a b le in th e Gregg R e p r in t i s in German.
The l a s t o f th e fo u r sm a ll p i e c e s i s CruxI Hymne de
M a rin s. I t s t e x t c o n ta in s an a n c ie n t a p p ro b a tio n p r e se n te d
by Pope P iu s IX a lo n g w it h an accom panying v e r s e by M.
G uichon de G ran d p oin t, C om m issioner G eneral t o th e French
Navy. Edward W aters i n t h e Q u a r te r ly Jou rn al o f January,
1 9 6 9 , d e s c r ib e s t h e s c o r e (one t o fo u r male v o ic e s on a
s i n g le s t a f f ) , and v e r i f i e s th e f a c t t h a t L i s z t to o k g r e a t
c a re in i t s p r e p a r a tio n . W aters a l s o ad van ces th e su p p o s i
t i o n t h a t , b e c a u se th e com poser had j u s t com p leted h i s minor
o r d e r s two m onths b e f o r e , the a ssign m en t o f Crux! Hymne de
M arins was p erh ap s h is f i r s t d u ty and th e r e fo r e he ap -

10
proached i t w ith more th a n o r d in a r y c o n c er n . G randpoint
h im s e lf s o l i c i t e d th e P ope’ s a p p ro v a l t o u se S t . P e t e r ’ s
a p p r o b a tio n : "God h as b le s s e d a l l w a te rs and a l l them th a t
17. I b id . , x i i i (C o l. 1 ) .
18. Edward N. W aters, "Recent A c q u is it io n s o f th e M usic
D i v i s i o n ," The Q u a r te r ly J o u r n a l (2 6 /1 J a n ., 1 9 6 9 ) ,
2 2 -2 3 .
199
t r a v e l t h e r e o n ,n and th en a w aited th e w ork 's c o m p le tio n .
L i s z t f i n a l l y f i n i s h e d th e hymn on June 1 3 , 186$, and s e n t

t h e f o llo w in g n o te t o M. de G ran dp oin t, th e n t r a v e l in g in
I ta ly : " S ir : Your hymn i s com posed. T hursday, a f t e r th e
p r o c e s s io n o f Corpus Domine I s h a l l have th e hon or o f r e
c e iv in g you a t th e V a tic a n , and to c o n fe r w ith you on the
d e t a ils o f i t s p u b lic a tio n . P L .” L a te r L i s z t w rote a g a in :
"P ick up th e c o m p o sitio n a t your c o n v e n ie n c e . I have a l
rea d y made c o r r e c t io n s . I would p r e f e r th a t one a d o p t, f o r
th e m elody o f th e hymn, th e I t a l i a n p r o n u n c ia tio n . PL."

I t was perform ed a t B r e s t , P ran ce, f o r an a n n iv e r sa r y c e l e -
19
b r a tio n h o n o rin g th e F ren ch Navy.
In 1871 th e L e ip z ig p u b lis h e r , C. P . Kahnt, p r in t e d a

c o l l e c t i o n o f L i s z t ' s s h o r te r r e l i g i o u s p ie c e s under th e
t i t l e Neun K lr c h e sc h o r g e sfln g . They in c lu d e d Ave M arla
S t e l l a , f i r s t and secon d v e r s io n s (m ixed ch oru s w ith organ
and m ale ch oru s w ith o r g a n ); Ave Verum Corpus (m ixed ch oru s
and o r g a n ); L ib era me (m ale c h o r u s, added t o th e Requiem ) ;
M lhl autem ad h aerere (male ch o ru s and o r g a n ); 0 s a l u t a r l e
h o s t l a , f i r s t and secon d v e r s io n s (women's chorus and m ixed
chorus w ith o r g a n ); Pro Papa (m ixed chorus and o r g a n ); and
Tantum ergo (m ale ch oru s and o r g a n ).
!9 . Werke, V I, v i i i (C o l. 1 ) .
200
L a te r , i n 1 8 8 2 , Kahnt added Anlma C h r is t i s a n c t l f l c a
me (se c o n d v e r s io n f o r male ch o ru s and o r g a n ), Dominus

c o n s e r v e t eum (m ixed chorus and o r g a n ), and Tu e s P etrus
(u n iso n m ale chorus and o r g a n ), to com p rise th e Zwolf
K lrch en ch orgesftn gg. Of t h e s e , s i x are f o r male c h o r u s, f i v e
o f which w i l l now be d is c u s s e d . The L ib e ra me w i l l be con
s id e r e d as p a rt o f th e Requiem f o r Male V o ic e s .
Both S e a r le and Wolfrum d ate the male chorus v e r s io n
o f Ave m arls s t e l l a a s 1 8 6 8 , w h ile the e a r l i e r mixed chorus
s e t t i n g was w r itte n f o r th e V a tica n in 1865 or 1 8 6 6 . It
was p u b lish e d by Repos o f P a ris in 1868 ( l a t e r by Kahnt in

1871 and 1 8 8 2 ). In a l e t t e r to Repos on J u ly 1 , 1868,
L i s z t w rote:
As you are s t i l l kind enough t o remember about

th e Ave m aris s t e l l a i t wo uld be in e x c u sa b le
o f me to f o r g e t i t . My f i r s t m an u scrip t h a v in g
gone a s t r a y I sp en t th e whole of y e ste r d a y in
r e w r itin g t h i s v e r y sim p le son g, o f w hich you
w i l l r e c e iv e two v e r s io n s a s one by the n e x t
p o s s i b l e o c c a s io n ; one fo r m ezzo-soprano v o ic e
w ith p ian o or harmonium accom panim ent, th e
o th e r f o r fo u r male v o i c e s w ith a l i t t l e organ
accom panim ent. In t h i s l a t t e r p le a s e ex cu se
my very bad w r i t i n g , over and above what may
be d e f e c t iv e in the c o m p o s itio n .20
20. L e tte r s, I I , 152.
201
He th en com p lain s o f th e la c k o f good c o p y is t s in

I t a l y as opposed to Germany (th e V a tica n m ost l i k e l y c o u ld
n ot m atch th e fu n d s a v a i la b l e a t the Weimar c o u r t o f Karl
A lexander f o r t h i s s e r v i c e ) , and asked fo r th e p r o o fs o f
Ave m arls s t e l l a upon t h e i r p r i n t i n g . They were r e c e iv e d
and r e tu r n e d on August 2 6 , 1 8 6 8 , w ith th e ad m o n itio n :

" E x actitu d e in e d i t i o n s i s a d u ty o f th e p r o f e s s io n to o
21
o f t e n n e g le c t e d ." To V e c c h i o t t i , d ir e c t o r in th e L o r e tto
C hapel, L i s z t s a id : " It i s a gay b a r c a r o le in th e R o s s in ia n
s ty le .
The M lhl autem ad h aerere i s d e s c r ib e d by P e te r Raabe

as a work h a v in g a b e a u ty , s i m p l i c i t y , and d i g n i t y not
found in "modern c h o r a l m u s i e ." ^ I t was com posed, l i k e th e
Ave m arls s t e l l a , in 1868 and was l ik e w is e p u b lis h e d by
Kahnt i n 1871 and 1882 in th e Nine and Twelve C hurch-Choir

S o n g s. L is z t w rote to th e P r in c e s s i n 1868:
I have w r itt e n two s m a ll p ages o f m usic i n th r e e

d a y s . I t i s an o f f e r t o r y fo r fou r m ale v o ic e s
w ith an organ accompaniment fo r th e Mass o f S t .
F r a n c is o f A s s i s i . The t e x t i s red u ced from a
v e r s e from Psalm s e v e n ty -tw o to an extrem e s im p l i
f i c a t i o n . For th e l a s t w ords, ’ sp ea mea,* i t was
n e c e s s a r y f o r me t o s e a r c h to f in d an accen t
21. I b id .,
22. B r i e f e , V I, 1 7 1 .
23. Raabe, 1 6 1 .
202
c o r r e sp o n d in g t o my f e e l i n g s . I w ish ed t o have
n e it h e r r e p o se n or g r e a t a g i t a t i o n , sim p le and
abundant, te n d e r and g r a v e, a rd en t and c h a s t e
a l l to g e th e r .2 q -
On August 2 6 , 1 8 6 6 , he w ro te t o Repos m e n tio n in g , a t th e

same t im e , the Requiem f o r Male V o ic e s .
I w i l l sen d to you, by th e f i r s t oppor

t u n i t y , a s h o r t o f f e r t o r y ( o f some f o r t y b a r s)
f o r m en's v o i c e s . The t e x t form s p a r t o f th e
s e r v ic e fo r S t . F r a n c is —M lhl autem ad h a erere
Deo bonum e s t and I composed i t l a t e l y a t A s s i s i .
In^T B ouF T 'w eek’ s tim e I s h a l l be back i n Rome
where I l e f t my m a n u sc rip ts; amongst o t h e r s a
Requiem f o r m en's v o ic e s w ith organ accom pani
m ent. The s t y l e o f i t i s v e ry s im p le , and
w h atever g o o d w ill one b r in g s to i t th e e x e c u
t i o n w i l l a l s o be very s im p le . I f i t would s u it
you t o p u b lis h t h i s Requiem ( o f about some
t h i r t y s m a ll pages o f p r in t ) I w i l l send i t
t o you w it h th e o f f e r t o r y o f S t . F r a n c i s .2?
Humphrey S e a r le d oes n o t m ention Repos a s a p u b lis h e r o f

M lhl autem a d h a erere th ou gh L is z t v o ic e s e v e r y in t e n t io n o f
se n d in g i t to F a r ia . Perhaps the agreem ent was n ev er co n
summated.
The f i n a l t h r e e m ale ch oru s p ie c e s from the Twelve
C hurch-C holr S on gs- - Tantum e r g o . Anlma C h r is t 1 s a n c t l f l c a
me, and Tu e s P e tr u s —were composed in th e y e a r s 1 8 6 9 , I 87I4.,
and 1 8 8 0 , r e s p e c t i v e l y . In an e a r l y v e r s io n o f Tantum e r g o ,
2k- B r ie f e , V I, 1 7 9 .
25. L e t t e r s , I I , 1*>U*
203
p u b lis h e d by P u s t e t , a d e d ic a t io n was i n s c r ib e d to D r. Franz
W itt, p r e s id e n t o f th e German C a e c i l ia S o c i e t y . The f i r s t

v e r s io n o f Anlma C h r is t 1 s a n c t l f i c a me was d e d ic a te d t o
F a th e r Joseph Mohr, and th e Tu e s P etru s to Pope Leo X I I I .

On Janu ary 12, 1 8 8 1 , L i s z t w rote t o the P ope: "Very
S a i n t l y F a th e r : The s a i n t l y t e x t s Domlnus c o n s e r v e t eum and
Tu e s P e tr u s a re c o n s e c r a te d t o th e a p o s t le S t . L ie g e . I
have composed t h e s e f o r c h o ir s f o r e a s y and p o p u la r e x e c u
t i o n , and p la c e t h i s n o t a t io n a t your s a i n t l y f e e t in a l l
h u m ilit y , o b e is a n c e and f a i t h f u l n e s s a s a C a t h o l i c .” I t was

26
w r i t t e n on January 1 2 , 1 8 8 1 . The m a n u scrip t was prepared
by the p r i n t e r M a n g o n e lli and a c c o r d in g t o Wolfrum i t was
b e a u t i f u l l y d e s ig n e d , and, t h e r e f o r e , p r o b a b ly in te n d e d for
27
th e P ope.
Beyond t h e Nine and Tw elve C hurch-C hoir S o n g s, th e r e
rem ain f i v e s h o r t sa c r e d works f o r m ale v o i c e s : th e seco n d
v e r s io n o f P a te r n o s t e r I I I ( 1 8 6 9 ); numbers 1 , k t 5> and 6
o f t h e Seven Sacram ents (1 8 7 8 ); O ssa A rid a (1 8 7 9 ); Nun
dan ket a l i e G ott ( 1 8 8 3 ) ; and Pax voblscu m ( 1 8 8 5 ) .
P a te r n o s t e r I I I was composed In tw o v e r s i o n s , th e
f i r s t f o r m ixed ch o ru s and organ and th e seco n d f o r m ale
26. I b id ., V III, 379.
27. Werke, V I, i x (C o l. 2 ) .
20ij.
chorus and o r g a n . I t was w r it t e n f o r Madame J e s s i e L a u s s o t,
d i r e c t o r o f th e C h erub in i S o c ie t y in F lo r e n c e , and was sen t

t o h er a lo n g w ith a copy o f th e Ave M arla I I . On November 19,
1 8 6 9 , L i s z t w rote t o Carl G i l l e : "Two sm a ll l i g h t and harm
l e s s c h o r a l so n g s ( P ater n o s t e r and Ave M arla) appear s id e
by s i d e . They are meant f o r Madame L a u s s o t, d ir e c t o r o f the

28
F lo r e n tin e C h eru b in i S o c ie t y . . . ." In a l e t t e r to
Madame L a u sso t, he s a id :
Dear Madame,
I can n ot t e l l you how your g e n e r o s it y o f
mind and h e a r t to u c h e s me. The fa v o r a b le r e
c e p tio n you have o b ta in e d a t F lo r e n c e fo r th e
B e a titu d e s and th e P a ter N o s te r i s a l i n k the
more in th e c h a in o f my m u s ic a l o b l i g a t io n s to
you, d ear and v a l i a n t M aestra. W ill you k in d ly
convey my b e s t th an k s to your c o - o p e r a t o r s .
As a s l i g h t m u sic a l i n d ic a t io n o b serv e th a t
in th e P a te r N o s te r I sim p ly m odulate and d e v e lo p
som ew hat,— in th e somewhat c o n fin e d l i m i t s o f a
se n tim en t o f t r u s t i n g and p io u s su b m issio n — the
G regorian in t o n a tio n as sung in a l l our ch u rch es
p o t 'W v\ovV »v <î\ I S »vv C * * |ts
f o llo w in g th e t r a d i t i o n a l in t o n a t io n s f o r each
v e r s e . 29
The m ale ch o ru s v e r s io n o f P a ter n o s t e r I I I was n ot pub

l i s h e d u n t i l 1936 by B r e itk o p f 9c H ftr te l. However, Wolfrum
28. I b i d . , x i i (C o l. 1 ) .
29. B r ie f e , I I , 1 2 1 .
205
n o te s t h a t P u s te t o f R egen sb urg—th e p u b lis h e r o f many

C a e c ilia n S o c ie t y p i e c e s — su p p o se d ly brought out the f i r s t
v e r s io n , a lo n g w ith th e Ave M aria I I in 1870.

The Seven S a cra m en ts, r e s p o n s e s w ith organ or harmonium
f o r v a r io u s c o m b in a tio n s o f v o i c e s , was composed in 1878 at

V ille d 'E s te . The E u c h a r ls ta and the Matrlmonlum were sung
by th e B u rg k a p e lle i n Vienna under th e d i r e c t io n o f
H e llm e sb er g er on A p r il 8 , 1 8 7 9 , and th e Seven S a cra m en ts,

i n i t s e n t i r e t y , was perform ed a t Weimar on J u ly 1 0 , 1879.
A sm a ll lit h o g r a p h o f numbers 3 and 7 (E u c h a r is ta and
M atrimonlum) was d is c o v e r e d s e p a r a t e ly . On th e t i t l e page
o f th e Matrlmonlum app ears L i s z t ’ s in s t r u c t io n s "Not y e t

t o be p u b lis h e d . Decem ber, 1 8 8 ^ .” Wolfrum th ou gh t th a t
th e lith o g r a p h s p o s s i b l y s u g g e s t th a t th e Sacrament a were
a t f i r s t w r itt e n f o r a sm a ll c i r c l e o f f r i e n d s . i n a
l e t t e r t o Marie L ip s iu s (La Mara) from Budapest in February
o f 1 8 7 9 , L i s z t w r o te :
In c o n c lu s io n a l s o th e f o llo w in g memoranda
f o r La Mara: W ithout a w r i t t e n engagem ent, y e t
in d ee d m o r a lly bound, s in c e ’ 71 I spend s e v e r a l
months o f e v e r y w in te r i n B u d ap est, from A p r il
to J u ly in Weimar, th e n t h e autumn m onths, and
m ore, c h i e f l y In th e V i l l a d ’E s te n e a r Rome,
where H is Em inence C ard in al H ohenlohe a ff o r d s
me th e k in d e s t r e c e p t io n . There I w rote th e
30. Werke, V I I, x i i (C o l. 1 ) .
206
C h ristm a s-T re e , th e V ia c r u c l s , th e R esp o n ses

t o th e Seven Sacram ends, e t c . These th r e e
works a re q u ite r ea d y and in d eed b e a u t i f u l l y
c o p ie d , as w e l l a s th e C an tlco d e l S o l o f th e
m a r v e llo u s S t. F r a n c is o f A s s i s i . 31
In th e q u o ta tio n ab ove, we le a r n n o t o n ly o f th e com p osi

t i o n s i n q u e s t io n , but a l s o o f L i s z t ' s v i e t r lf u r q u d e —h i s
th r e e -p r o n g e d e x is t e n c e betw een Weimar, B u d ap est, and Rome
d u rin g th e l a s t f i f t e e n y e a r s o f h i s l i f e .
In l88i|., th e Seven Sacram ents, R o s a r io , and th e V ia
c r u c ls were o f f e r e d t o th e R egensburg p u b lis h e r , P u s te t,
o n ly to be r e j e c t e d — a sh ock and a d isa p p o in tm en t to L i s z t
in h i s o ld a g e , a c c o r d in g t o Alan W alker. On th e o th e r
hand, P e te r Raabe th ou gh t t h a t , in th e c a s e o f th e Seven
Sacram ents and th e R o s a r io , th e w orks them :.:elves were o v e r ly

s i m p l i f ie d and i n s i p i d : "That w hich can d is p e n s e w ith a l l
adornm ents must be in i t s e l f v ery b e a u t i f u l , and n e it h e r

work h as t h a t . " ^
The O ssa a r ld a , f o r u n iso n male ch oru s and organ (fo u r
hands and p e d a l) was composed in 1879 (an au tograp h copy i n
th e L i s z t Museum had sk e tc h f o r b r a s s in s tr u m e n t s ) . T h is
l a t e work c o n ta in s e le m e n ts o f harmonic in n o v a tio n and w i l l
be d is c u s s e d l a t e r . L i s z t h im s e lf s a id : "Sadly my
31. L e t t e r s , I I , 3^9.
32. W alker, 3*|2.
33- Raabe, 1 6 2 .
207
c o m p o sitio n i s im p o s s ib le t o e x e c u t e , and cannot make th e
t e e t h o f th e c r i t i c s g r im a c e .’1^ Nun danket a l l e G ott fo r

o rgan , m ale or m ixed c h o r u s, b r a ss and tym pani (ad l i b . )
was composed in 1883 f o r th e d e d ic a t io n o f th e g r e a t organ
a t R iga i n I 88I4., and i s p e r s o n a lly d e d ic a te d t o th e p r iv y
c o u n c i ll o r C arl H ase. Pax voblscum f o r male chorus and

organ (ad l i b . ) was w r it t e n in l 883> and was d e d ic a te d t o
th e co n d u cto r o f th e S tr a sb o u r g Male Chorus, H err H i l p e r t .
The Music
C a n tlco d e l s o l d l San F ra n cesco d ' A s s i a l and

An den h e l ll g e n f f r a n z I s k u s von fraula
An den h e l l l g e n F ra n zisk u s von P aula and C a n tlco d e l
s o l d l San F ra n cesco d A s s i s i , t h e most a m b itio u s o f L i s z t ’ s
sm a ll sa c r e d works f o r m ale c h o r u s, are a stu d y in c o n t r a s t s .
They b o th em ploy th e o u te r shape o f a tr o p h ic v a r i a t i o n , but
h e r e s i m i l a r i t y e n d s. The f a c t t h a t th e form er i s s e t t o
th r e e v e r s e s o f t e x t and th e l a t t e r t o se v en a t once su g
g e s t s a c o n c is e c o m p o sitio n v e r s u s a more ex ten d ed o n e .
H erein l i e s th e w orth o f An den h e i l i g e n F ra n zisk u s von Paula
in com p arison t o th e draw n-out C an tlco d e l s o l d l San
F ra n cesco d ’A a s l a l . A lth ou gh th e l a t t e r i s u n if ie d by th e
u se o f th e c h o r a le m elod y, In d u lc e j u b ilo ( s e e Example 1 1 0 ) ,
3k- B r i e f e , V I I , 393-
208
Example 1 1 0 . C a n tlc o d e l s o l d l San F ra n cesco d ’A s s ia l

M eas. 1 6 8 -1 7 5
\M tu tC t
S t\ ^0cU -<^fc - l o - b f T <lwJn o J - U * 6 -* -S tK ifrf*
! r-r rv k !J i _ - j
209
Example 110 ( c o n t 1d .)
210
and i s fu r t h e r v a r ie d by a rhythm ic m otive (s e e n in th e
o r c h e s tr a p a r t s o f Example 1 1 0 ) , and furtherm ore i s

str e n g th e n e d by th e w ise s h i f t i n g o f to n a l c e n t e r s , i t is
n o t a s e f f e c t i v e a work as An den h e i l i g e n F r a n z ls k u s .
C a n tlc o d e l 30I d l San F ra n cesco d ' A s s i s i i s sc o re d
f o r o r c h e s t r a , organ , b a r ito n e s o l o , and u n iso n male c h o r u s.
An den h e i l i g e n F ran zisk u 3 von Paula d oes not depend upon
o r c h e s t r a l s o n o r it y or d r iv in g c h o r a l u n iso n s to make i t s
p o in t ; i t in s t e a d ta k e s advan tage of th e d i s c i p l i n e o f a
s h o r te r t e x t , and u t i l i z e s a c o n tin u o u s u n if y in g m otive
a s s e e n in Example 11 1 a .
A nother d e v ic e used in An den h e i l i g e n F ra n zlsk u s von
P aula i s L i s z t ' s g e n e r a l ten d en cy to com press and vary
p h rase l e n g t h s . T h is i s e v id e n t when, a f t e r th e f i r s t and

seco n d v e r s e s are s e t in an i d e n t i c a l 7 -U -8 -8 m easure p a t
t e r n , and a f t e r th e t h i r d v e r s e i s g iv e n a c o n t r a s t in g 7=7-7
sh a p e, two 8 -6 p h ra ses occur in th e co d a . An a d d it io n a l
mannerism app ears in th e cadence of th e seco n d v e r s e , when
an o u t lin e d d im in ish e d se v e n th chord ( s e e Example 111b) con
t r a s t s w ith th e f i r s t v e r s e ' s t r a d i t i o n a l to n ic -d o m in a n t
e n d in g .
211
Example 1 1 1 . An den h e i l i g e n Franz Isk u s von Paula

a . Meas. 8 - l 6
A l l e g r o a g ita to . Rasch.'
CHO R >,
lib e r M ee.res F lu .tc n w an.deist du im _ Sturm!
U.ber M ee.res F lu .te n w an.delst du im _ Sturm!

>.
F lu .te n w an.delst du im_ Sturm!
l ib e r Mee.res F lu .te n w an.delst du im _ Sturm!
b. Meas.
CHOROHNE SO U
dim. P riten.______
Sieh, die heilge Flammewankt in uns.rer Hand! Sieh, die heilge Flam m ewankt in uns„rer Hand I
d in t. P
Sieh, die hedge Flamm ewankt in una.rer Hand! Sieh, d ie heilge Flam m ew ankt tn uns.rer
dim.
1*4.
Sieh, die hedge Flammewankt in uns.rer Hand! Sieh, die heilge Flamm ewankt in ung.rer Hand!
dim. P L
Sieh, die heilge Flammewankt m una.rer Hand! Sieh, die heilge Flamm ewankt in uns.rerH and!
Four Sm all S acred Works (1 8 6 3 -6 5 )
Compared t o C a n tlco d e l S o l d l San F ran cesco d ' A s s i s i
and An den h e i l i g e n F ra n zlsk u s von P a u la , th e fo u r sm a ll
sa c r e d works o f 1 8 6 3 -6 5 are q u it e m o d est. Each h as I t s

i n t e r e s t i n g moments, how ever, and a g a in th e y r e f l e c t L i s z t ' s
212
knowledge o f male v o ic e s o n o r it y , and h i s s k i l l i n p r e s e n t

in g an in n o v a tiv e and p r o p h e tic harm onic la n g u a g e . Two male
ch o ru s s e t t i n g s o f C h r lstu s i s g eb o ren d i f f e r both i n

m elo d ic and harmonic r e s p e c t s . The f i r s t v e r s io n ( s e e
Example 112a) w ith organ accom panim ent, h as a slo w e r q u a r te r
n o te u n it o f b e a t compared t o th e e ig h th n o te p u ls e o f th e
unaccom panied secon d v e r s i o n ( s e e Example 1 1 2 b ). F u r th e r
m ore, th e seco n d v e r s io n h as a q u ick er harm onic rhythm and
ends w ith a sy n co p a ted trea tm en t o f i t s f i n a l p h r a s e , con
t r a s t i n g w it h th e f i r s t v e r s i o n ’ s s h i f t o f t o n a l i t y and
common tim e r e g u l a r i t y .
Example 1 1 2 . C h r lstu s 1 s t g eb o ren ( f i r s t v e r s io n )

a . M eas. 8-13
213
Example 1 1 2 . C h r lstu s l e t geb o ren (se c o n d v e r s io n )

b. M eas. 8 -1 2
Vo -
VcM w . tdUs ScWo»ti»^qjA'vvt>\
A lthough th e seco n d v e r s io n i s t o be su n g a c a p p e lla , L is z t

in c lu d e d a s h o r t organ p o s t lu d e . At th e f i n a l fo u r b ars
o f t h e f i r s t v e r s i o n , he n o te d : ”M.B. The l a s t fo u r
m easures may be sung f o r t e or p ia n o ad l ib it u m .
S la v ln o , s la v n o , s l a v e n i l i s t h i r t y - e i g h t m easu res in
le n g t h and rem ain s unaccom panied u n t i l a c lim a c t ic t o n a l
s h i f t t o G m ajor o c c u r s on th e t e x t , nG lory t o S la v ic b ir t h !
G lory t o C y r i l l , M e th o d iu s!” Here th e organ i s added to a
g e n e r a l f o r t i s s i m o th u s f u l f i l l i n g i t s t y p i c a l L i s z t ia n
su p p o r tiv e r o l e . At t h e c o n c lu s io n o f t h i s sm a ll c h o r u s,
a p a ssa g e (shown in Example 113) p r e s e n t s a m in ia tu r e i l l u s
t r a t i o n o f th e W agn er-L iszt harm onic la n g u a g e . Of fu r th e r
i n t e r e s t in th e above example i s the p lacem en t o f the
3$. Werke, V I, 1*0.
21U
Example 1 1 3 . S la v ln o , s la v n o , S l a v e n i l
M eas. 3b-3&
ten.
du!
s la .v a Ki ri . lu, dul
s la .v a Ki dul
r\
sla .v a K i . ri . lu,
ten.
_o_
ferraata a f t e r th e f i n a l ch ord , p erh ap s t o rem ind p erform ers

t h a t a moment o f s i l e n c e i s n e c e s s a r y b e fo r e b rea k in g th e
mood o f a e s t h e t i c s u sp e n sio n .
L a st o f th e fo u r p ie c e s composed b etw een 1863 and 1865
i s Crux1. Hymne d es M a rin s. I t c o n ta in s two v e r s e s and i s
f o llo w e d by S t . P e t e r 's a p p ro b a tio n t o a l l who t r a v e l on th e
seas. The f i r s t v e r s e i s i n u n is o n and i s in th e P hrygian
mode. A n o te a t th e s t r o p h e 's end warns th e s in g e r t h a t ,
s in c e th e f i n a l n o te i s E , th e P and G must n o t be sh arp ed .
The secon d v e r s e i s in A major and expands from a u n iso n

t o two and th r e e p a r t s . F i n a l l y , the a p p ro b a tio n i s s e t in
du p le m eter in c o n tr a s t t o the t r i p l e m eter o f th e f i r s t and
secon d v e r s e s . I t ends on a s t r o n g , f i v e - v o i c e d c a d e n c e .
215
C om p osition from th e Nine and Twelve

C horch-C holr Songs
The s i x m a le -v o ic e p i e c e s from Nine C hurch-Choir Songs
and Twelve C hurch-C hoir S o n g s,. 1871 and 1882 r e s p e c t i v e l y ,

l i k e m ost o f t h e l a t e r c h o r a l works c o n ta in L i s z t ' s m ature
s ty le . S k i l l f u l s u s p e n s io n s , common to n e tr e a tm e n t o f
s h i f t i n g t o n a l a r e a s , f a l s e chord s p e l l i n g s , a m b ig u ity o f
key c e n t e r s , m odal h a rm o n ies, c h ro m a ticism , and th e e v e r

p r e se n t n a tu r a l i n s t i n c t f o r j u d ic io u s v o ic e le a d in g s are
found w it h in t h e s e sh o rt c h o r u s e s . Ave m a rls s t e l l a and
M lhl autem a d h a e r e r e , a lo n g w ith th e f i r s t v e r s io n o f Anlma
C h r l s t l , s a n c t i f l c a me, a re th e more i n t e r e s t i n g o f th e s i x
w orks. They are a e s t h e t i c a l l y more co m p lete th an th e o t h e r s
and a r e g e n e r a lly in a f o u r - v o ic e d te x tu r e v ersu s th e t e n
dency tow ard u n is o n s in Tantum e r g o , Tu e s P e t r u s , and th e
second v e r s io n o f Anlma C h r l s t l . The f i r s t two m entioned

a re in s t r o p h ic v a r i a t i o n (Ave m arls s t e l l a h as t h r e e v e r s e s
and M lhi autem a d h aerere h a s tw o ); both v e r s io n s o f Anlma

C h r l s t l , due t o th e c o n tin u o u s n a tu r e o f th e p o e t r y , are in
fo u r s e c t i o n s and are th ro u g h com posed.
Each work h a s d i s t i n c t i v e e le m e n ts . Ave m a rls s t e l l a ,
in i t s seco n d s e c t i o n , f lo w s from B - f l a t m ajor t o P major
t o a s u g g e s t io n o f th e P hrygian mode (s e e Example 111;).
216
Example 111}.. Ave m a rls s t e l l a

M eas. 24-29
bo.iia cuncla
pro.fer lu.men b o .n a cuncta
m a .la nostra p e l. le,
Sol.ve virucla re . is, m a .la nostra p e l.le ,
A s im ila r o c cu rr en ce appears in th e coda a t m easure 73» hut
th e P hrygian d e f i n i t i o n i s n ot fir m . The i n t e r e s t i n g
a s p e c t s o f M ihi autem adh aerere are e s p e c i a l l y e v id e n t a t
cadence p o in t s ( s e e Example 115, a and b ) .
Example 1 1 5 . Mihi autem ad h aerere

a . Meas. 18-21
spem __ me .
spem _ me . . am..
spem — me . am .
spem . am .
217
Example 115?. M ihi autem ad h aerere

b. M eas. 1*1*-1*8
spem __ me . a m .___
spem ,— spem __ me „ am.
spem,— spem __ me . . am.
spem,— spem __ me . -
unjw cgît f iii rtt.
In m easure 35 o f th e second s e c t i o n , L i s z t makes I n t e r e s t

Ing use o f th e augmented s i x t h ch ord .
Example 1 1 6 , M ihi autem ad h aerere

Meas. 3 5 -3 7
spem me . J am,
spem me . am,
PP
218
The two v e r s io n s o f Anlma C h r l s t l s a n c t i f i e s me are
d i s s i m i l a r in t h a t th e secon d I s o f much l e s s con seq u en ce

th a n th e f i r s t . Both b e g in in E m inor and e v e n t u a lly c lim a x
in th e r e l a t i v e m ajor, bu t w hereas th e se c o n d v e r s i o n i s
p r im a r ily in u n is o n , th e f i r s t v e r s io n g r a d u a lly b u ild s t o
an area o f harm onic i n t e n s i t y t h a t i s la c k in g in th e o th e r .
As each v e r s io n a r r iv e s a t i t s E major sum m it, t h e c o n te n t
o f e a c h (a s se en in Example 117> a and b ) i s a p p a r e n t.
S in c e L i s z t o c c a s i o n a l l y composed f o r in e x p e r ie n c e d
ch u rch c h o i r s , p o s s i b l y th e secon d v e r s io n was in te n d ed f o r
t h i s p u r p o se . The f i r s t v e r s io n i s in common tim e and i s
5>9 m easures lo n g . The se co n d v e r s io n i s in t r i p l e m eter
ch a n gin g to a l i a breve a t th e s h i f t o f k e y , and i s 126
m easures in le n g t h .
The rem ain in g m a le -v o ic e c h o r u se s from th e N in e - and
Tw elve C hurch-Cholr Songs c o l l e c t i o n s are o f l e s s im p o rta n ce.

Tu e s P e tr u s i s a u n ison chorus su p p orted by th e organ ,
and i s b o th in D orian and major mode. Tan turn e r g o i s a
f o u r - v o ic e d work w ith a s t r i k i n g f i n a l cad en ce ( s e e
Example 1 1 8 ) .
219
Example 117• Anlma C h r ls t l s a n c f c lflc a me ( f i r s t v e r s io n )

a . M eas. kk~52
A- ^
H ? ---------------- 1
p f T t E r r f t v r f r ~H
~ ~~ j« » . ^ _ _ V — is
*
7 * L L -L _ C -tE f ' J 7
^T E — ~ —
>7 j T
M
“m ml A . --------- ■ d — -- --------- : * - --- -- -
J — *— 1— \t-f- F f T r y
Lt„. f .... J - -
~ ^ u - - > . ( i t m J * v -------------- — Cv«* «**«+<$ -------- J S
f f r r» ) i j X “t f f -
• I -------- v 1 [
^ j j j -
* 1
-------- & t^ r -
\ao»dOM\ U « -OOAM
A
-dtlK lav
Example 1 1 7 . Anlma C h r l s t l a a n c t l f l c a me (se co n d
v e r s io n )
b. M eas. 88-10!*
Y <U V < e iy r
permission of the copyright owner. Further reproduction prohibited without permission.

221
Example 1 1 8 . Tanturn ergo

Me a s . iflf. -i|.7
un ■boco riien. pp^
A. .m e n .
r>Pr\
A.
M A. ■men.
Wr-,
. men.
unpoco riten.
sr
Sm all Sacred Works (1 8 6 0 -6 5 )

Of the s m a ll sa cred works composed b etw een i8 6 0 and
1885» P ater n o s t e r I I I , Seven Sacram en ts. Ossa a r id a , Nun

danket a l l e G o t t , and Pax voblscum rem ain f o r o b s e r v a tio n
and a n a l y s i s . Both P a ter n o s te r I I I and Pax voblscum are

sim p le c h o r u se s w ith org a n accom panim ent, ad lib it u m .
P resen t are th e L i s z t i a n i n t e r v a l l i c t o n a l changes o f whole
s te p s and t h i r d s , and, a lth o u g h th e r e are rew ard in g moments,
n o th in g t r u l y s i g n i f i c a n t h ap p en s.
Nun danket a l l e G ott i s a f e s t i v a l p ie c e q u ite p o s s ib ly
prepared q u ic k ly f o r a s p e c i a l o c c a s io n . In t h i s c a se i t
was f o r th e d e d ic a t io n o f th e g r e a t organ a t R ig a . Appar
e n t ly t h i s i s why the m usic f o r organ seem s t o be the m ost
222
i n t e r e s t i n g (in s tr u m e n ta tio n c a l l s f o r a se v e n -p a r t m ixed
chorus* o r g a n , tr u m p e ts, trom b ones, tu b a , and ty m p a n l). When

t h e v o i c e s and b r a ss e n t e r , a t h e a t r i c a l clim a x i s c r e a t e d ,
but i t i s a d u p lic a t io n o f what h as gone on b e f o r e . Nun
danket a l l e G ott q u a l i f i e s a s a m ale ch oru s p ie c e owing to
L i s z t ' s n o te on page £ o f th e s c o r e : “I n th e ab sen ce o f

c h o r u s, t h e organ may p la y t o t h e en d . A lso the chorus may
be perform ed by m ale v o ic e s a l o n e .” In th e 106 m easures o f
th e in t r o d u c t io n , th e organ p la y s an e x te n d ed r o n d o -lik e
s e c t i o n w h erein c h o r d a l and c o n tr a p u n ta l t e x t u r e s , p e d a l-
work, echo s t o p s , and manual t r i l l s are m a n ip u la ted . M usic
a l l y o f i n t e r e s t ( s e e Example 119) i s a s h o r t d ev elo p m en ta l
a r e a p r e c e d in g th e e n tr a n c e of th e t o t a l f o r c e s .
Example 119* Nun danket a l l e G ott

M eas. 55»-6l '
nicht
Echo
mm pp
mm- ppp pp
h i t *'!• r t f r^ -r '
As th e v o i c e s and b r a ss in str u m e n ts j o in th e o r g a n , th e
m elody o f Nun danket a l l e G ott in tr o d u c e s th e f i n a l s t a t e

ment o f th e ron d o-th em e. A cod a ends th e p i e c e .
223
Of more v a lu e are th e c h o r u se s c o n ta in e d In Seven

S a cra m en ts, and th e h a r m o n ic a lly in n o v a tiv e O ssa a r ld a . S ix
o f th e p i e c e s from Seven Sacram ents are f o r m ale v o i c e s ,

t h e lo n e e x c e p t io n b e in g th e E u c h a r is ta . It is sc o r e d f o r
a f i v e - p a r t m ixed c h o r u s. The o rd er of th e Sacram ents Is
B ap tlsm a, C o n flr m a tlo , E u c h a r is ta , P o e n lt e n t l o , Extreme

U n c t lo , Ordo, and Matrimonium. L i s z t was in s p ir e d t o com
p o se t h i s s e r i e s o f c h o r u se s by one o f h i s f r i e n d s , th e
p a in t e r O verbeck, and s t a t e s i n th e forew ord o f th e s c o r e :
One day O verbeck e x p la in e d to me h i s c o m p o sitio n

o f th e Seven Sacram ents w h erein he e n c lo s e d a l l
sym bols and i l l u s i o n s o f h i s t o r i c a l and m y s t ic a l
f a c t , t o t a l l y a f r e s c o o f concord ance b etw een
th e o ld and new t e s t a m e n t s . I was im p ressed by
h i s work and prom ised him th a t I w ould rep rod u ce
th e same s u b j e c t In my a r t , m u sic .3°
These c h o r u s e s , a s L i s z t s a y s in h i s fo re w o r d , can be sung

in church o r c h a p e l b e fo r e o r du rin g th e d is p e n s a t io n o f the
sa cra m en ts. The Extrema U n c tlo I s t o p reced e the a b s o lu tio n
37
a t fu n e r a ls .
B aptlsm a makes u se o f m ale c h o r u s, q u a r te t o f male
s o l o i s t s , a b a r ito n e s o l o , and an organ p o s t lu d e . The change

o f t o n a l i t i e s i s q u ite t y p i c a l o f L i s z t , m oving from C t o B
36. Werke, VII, 1*7.
37. Ib id ., 1*7.
221*
t o E m ajor, c u lm in a tin g on a m is s p e lle d jump o f a major

t h i r d to A - f l a t m ajor. C o n fir m a tio , secon d o f th e S a c r a
m en ts, c o n t a in s th e t e x t and m usic o f th e L a tin Hymn Veni

■3 O
c r e a to r s p l r l t u s . It is sc o r e d f o r a male chorus and
s o l o i s t s , and in c lu d e s an ad l ib i t u m soprano and a l t o s t a f f
( t o be sung e i t h e r by women o r b o y s an o c ta v e above th e f i r s t
te n o r p a r t ) . A l l th e c h o r u se s a r e t o n a l l y r e l a t e d and can
move from one to a n o th e r sm o o th ly . For exam p le, th e

P o e n it e n t io i s p r e ce d e d b y E u c h a r ls t a , a chorus en d in g in
D m ajor. As P o e n ite n t io b e g in s , a ch ro m a tic l i n e ( i n th e
l e f t - h a n d manual o f th e organ ) p r e p a r es t h e e n tr a n c e o f a
G m inor chord in th e m ale v o i c e s ( s e e Example 1 2 0 ).
Example 1 2 0 . P o e n it e n t io
M eas. 1 - 8
CHOR
Tenor.
C on.fi . te .
CHOR M — *«-
I C on.fi . te .
CHOR „ /c /L _ b e .
C o n .fi . te .
Lento assai.
p sotto voce
Orgel. Obutk. ( FI . irav. &' u. Bordun 1 6 ’)
38. wV eni c r e a t o r s p i r i t u s ,'* The L ib e r U s u a l l s , e d .

B e n e d ic tin e s o f S o le sm e s TTournaT! b e s c le e & C ie ,
1 9 5 6 ), 88^ .
225
L a te r , a s th e ch oru s ap p roach es th e f i n a l ca d en ce (I n
Example 1 2 1 ) , L i s z t u t i l i z e s a common to n e B - f l a t w h ich

p r o c ee d s from t o n a l i t i e s o f G - f la t and E - f l a t m a jo r. An
augmented s i x t h chord a ls o ap p ears in th e f i n a l r e s o l u t i o n .
Example 1 2 1 . P o e n lt e n t lo
M eas. 66 -7 8
!*»’« -
tr -
trt
226
Example 1 2 1 . P o e n lt e n t lo ( c o n t ' d .)
Meas. 79-82
d im .
■net.
m e.
m ti-
dim.
m e.
m et. - tier.
11
w e g : H o h lfl. S '
In Extrema U n ctlo a h in t o f th e famous " c r o ss m otive"

o c cu rs in m easures llj. through 1 6 , a lth o u g h th e id e a a scen d s
ste p w is e in t h i s in s ta n c e and la c k s th e to p in t e r v a l o f a
th ir d . A nother L is z t h a llm a rk , th e augmented t r i a d , appears
in th e f i n a l cadence (s e e Example 1 2 2 ) .
Example 1 2 2 . In Extrem a U n ctlo

Meas. 7J+-79
r e . mit . ten . tur

w i r d mu Teil ihm de.
re . mit . ten . tur e.

w i r d mu Teil ihm Gna.
r e . mit . ten . tur

w i r d mu Teil ih n t
227
Ordo and Matrlmonlum c l o s e th e Seven Sacram ents and
embrace d i s t i n c t q u a l i t i e s o f t h e i r own. The fo rm er, a l

thou gh o f t e n moving i n u n iso n s to an accompaniment o f q u ar
t e r n o t e s , em p loys a fo u r tee n -m e a su re c o n tr a p u n ta l s e c t io n ;
th e l a t t e r i s c o n s tr u c te d a n t ip h o n a lly w ith t h e ch oru s
e i t h e r an sw erin g th e o rg a n , or the m ezzo-sop ran o s o lo l i n e .
A gain , in Matrlmonlum, th e augmented s i x t h a p p e a r s—t h i s
tim e r e s o l v i n g d i r e c t l y to th e t o n ic ( s e e Example 1 2 3 ).
Example 1 2 3 . Matrlmonlum
M eas. 5 0 -5 3
Wolfram d e c la r e s t h a t t h r e e c o p ie s o f O ssa a r ld a were
a v a i la b l e a t th e L i s z t Museum a t Weimar i n 19 1 9 . M anuscript

A was sc o r e d f o r u n iso n m ale v o i c e s and organ , f o r fo u r
h a n d s. The t e x t was u n d e r la id i n th r e e la n g u a g e s , L a t in ,
German and F ren ch . The f i n a l s i x m easures were c r o s s e d out
i n red p e n c i l , r e p la c e d by f i v e a d d it io n a l m ea su res, and
c r o s s e d ou t a g a in . V e r s io n B was f o r p ia n o f o r t e (f o u r han ds)
and u n iso n male c h o r u s, t h i s tim e in German and French ( t h i s

v e r s io n was p r o b a b ly m eant fo r th e c o n c e r t h a l l r a th e r th a n
228
f o r th e c h u r c h ). A t h i r d s k e tc h , C, was c o p ie d in a hand
o th e r th a n L i s z t ' s and was o r c h e s t r a t e d f o r four h o r n s , two
tr u m p e ts, two te n o r trom bones, b a ss trom bone, tym pan i, m ixed

c h o r u s, and two s i m p l i f i e d organ p a r t s . A ccord in g to Dr.
Wolfrum, i t was a p p a r e n tly meant f o r an I t a l i a n p e rfo rm a n ce.
A g a in , th r e e t e x t s —L a t in , German, and F ren ch —were p rovid ed ,
The p r e s e n t e d i t i o n r e f l e c t s th e m anuscript o f v e r s io n A.
The e d i t o r s u g g e s t s , a t measure 3 6 , th a t th e o r g a n 's p e d a l-
c o u p le r n o t be u se d , o th e r w ise the manual t r i l l above would
be im p o s s ib le to p la y . Wolfrum a l s o e d it e d the organ p ed al
i n m easure $6 ( s e e Example 121+), c a u s in g i t to c o in c id e w ith
■
jq
t h e manual p a r ts above i t .
Example 1 2 k • O ssa a r ld a
M eas. 5>6 in s t e a d o f
iipi
M u s ic a lly , th e un u su al and c o n t r o v e r s ia l c h a r a c t e r i s t i c
o f O ssa a r ld a i s th e use o f p ile d t h i r d s i n th e openin g
tw e n ty m easures o f th e in t r o d u c t io n ( s e e Example 1 2 £ ) .
L is z t s a id , w h ile a t V i l l a d 'E s te in O ctober o f 1879s
39. Werke, V I, x i (C o l. 1 ) .
229
" P r o fe s s o r s and s tu d e n ts i n th e c o n s e r v a to r y have not ap
proved o f th e c o n tin u o u s t h ir d - w is e s t r u c t u r e o f th e f i r s t
..^0
tw e n ty m ea su res: n e v e r t h e l e s s . . . • " Rehberg compares
L i s z t ' s te n d e n c y f o r b it o n a l c o m b in a tio n s i n some of h is
l a t e r works t o R ich ard S tr a u s s and D a riu s M ilhaud, and
l i k e n s t h e exam ple i n O ssa a r id a to S c h o e n b e r g 's ch ord s

in f o u r t h s .^ However, w ith th e e x c e p tio n of t h e in tr o d u c
t i o n in O ssa a r ld a , t h e rem a in in g m usic i s q u it e t o n a l and
w ith o u t any m u s ic a l in n o v a t io n .
1*0. I b i d . , x i (C o l. 1 ) .
1*1. R ehberg, 5 9 6 .
230
Example 125• Oasa a r ld a

M eas. 1 -1 7
Ossa arida
fiir M&nnerchor und Orgel zu 4 Handen (mit Pedal).
Franz Liszt.
J Lento.
Chorus virorum.
Tenorcs et Bassi
unisoni.
Miinnerchor.
Tenore, Basse
einstimmig.
Choeur d’hommes.
Tenors, Basses
a runisson.
Lento.
Primo.
Orgel Lento.
Secondo.
Pedale.
= = = = = — — -—
I -^ v f f M 'J j = £
-~\-z
k -
\i i j - j-i 4 -----••
—
L
fPe-------- ^ \=
===
^^Bt L , ¥ = 1
' - f = ^ 1“= *
Example 1 2 £ . O ssa a r ld a ( c o n t ’ d . )
M eas. 1 -1 7
o« .
Ihr. ver .
O s . s e « m ents
f f
232
Chapter VI
MASS FOR FOUR-VOICE MALE CHORUS AND ORGAN
Commentary
Ralph Woodward, in h i s th e sis The Large Sacred Choral

Works of Franz L i s z t , d ec la res: ’’Franz L i s z t 's career as a
church composer was launched in l 8ij.8 with h is MSnnerchor-
messe . . . Although three smaller pieces for male
chorus preceded the Mass (Pater n o s t e r , Ave Marla, and Hymne
de 1 ' enfant X son r e v e l l a l l composed in l81j.6), a l l three
are minuscule indeed by comparison, and are alik e in kind
to the n&ive Mftnnerchor choruses of the 1811.0 ' s. The I 8I4.8
Male Chorus Mass, however, was not allowed to remain in i t s
o rig in a l s t a t e . I t was rev ised in 1853 and a lte re d and im
proved extensively by 1869. Breitkopf & HUrtel provided the
f i r s t pub lication of the Male Chorus Mass in 1853, and Repos
of P aris republished i t in i t s fin ish e d e d itio n in 1 8 7 0 . At
about the same time Hftrtel brought i t out in a second e d i
tio n and called i t "Edition Nova."^
1. Woodward, 6 6 .
2. Humphrey S earle, "Franz L is z t," Grove's Dictionary of
Music and Musicians, 5th e d ., E. Blom, V (New York: S t.
M artin's Press, 1^54)» 265.
233
The perform ance h i s t o r y o f L i s z t ’ s f i r s t mass i s i n t e r

e s t i n g in t h a t i t spans a p e r io d o f t h i r t y - t h r e e y e a rs b e
tw een 1852 and 1885, and n ot o n ly t r a c e s i t s own h i s t o r y o f

r e v i s i o n , but r e c o r d s a number o f o th e r e v e n ts both h i s t o r i c
and m u s ic a l. The f i r s t perform ance o f the Mass to o k p la c e
a t th e Weimar C a th o lic Church in 1852 where th e P r e s id e n t o f

th e F rench R e p u b lic , l a t e r t o become N apoleon I I I , was b e in g
honored on th e o c c a s io n o f h i s b ir th d a y .^ in June o f 1865,
e i t h e r on th e 1 9 th or 2 0 th o f t h a t month, L i s z t w rote to
Madame X (Agnes K lin d w o r th ): "Next Monday I s h a l l go to
Jena where my Mass i s b e in g perform ed (th e one p u b lish e d by
H ftrtel two y e a r s ago) a t If. o ’ c lo c k . I s h a l l p ro b a b ly w r ite

t o you a f t e r i t s r e p e t i t i o n ." ^ A f te r t h i s seco n d perform
a n c e , t h e f i r s t o f s e v e r a l to be o f f e r e d a t J en a, a t h i r d
o ccu rred in P e st on Septem ber o f l8 £ 6 a t the c o n s e c r a t io n
o f th e Hermine C h ap el, in memory o f th e d e c e a se d A rchduchess
H eroine* "daughter o f th e P a la n tin Josep h and th e s i s t e r o f

Archduke, E t ie n n e . The C ard in al P rin c e P rim ate o f Hungary
o f f ic ia t e d ," ^ In a l e t t e r to h i s c o u s in , Eduard L i s z t , a
c l o s e f r ie n d and h i s f i n a n c i a l s e c r e t a r y , L i s z t m en tion s
3. I b id ., 265.
k. B r ie fe , I I I , 291.
5. I b id . , I I I , 81.
23b
t h i s perform ance and added t h a t , " W itten b erger w i l l accom
pany i t on th e physharm onica o f t h e o rgan g e n u s .’’^ (The
physharm onica was an o ld e r r e l a t i v e o f th e n in e t e e n t h -c e n t u r y

harmonium and d a te s from l 8 l 8 . ^ )
Johann H erbeck, H o f-c a p e llm e lste r a t V ienna and a noted
A u str ia n con d u ctor and com p oser, was a f r ie n d o f L i s z t ' s and
was e n t h r a lle d w ith th e Male Chorus M ass. S in ce h i s co n
d u c tin g d u t i e s in c lu d e d th e Male Chorus S o c ie t y o f V ienna,

he was e s p e c i a l l y e a g e r t o p e r fo r a th e w ork. On January 12,
l8f>7» L i s z t c a u tio n e d a g a in s t a t o o prem ature p erform an ce,
and th u s g i v e s us i n s i g h t t o h i s know ledge o f c h o r a l t e c h

n iq u e s and v o c a l p rob lem s, p r im a r ily d i f f i c u l t i e s in in t o n a
t i o n w hich are in h e r e n t to th e in n e r v o i c e s :
There i s not th e s l i g h t e s t h u rr y abou t the M ass,

and I f e a r t h a t th e p r e p a r a tio n o f t h i s work w i l l
c o s t you and your s i n g e r s some t r o u b l e . B efo re
a l l e l s e i t r e q u ir e s th e u tm ost c e r t a i n t y in i n
t o n a t io n , w hich can o n ly be a t t a in e d by p r a c t i c in g
th e p a r ts s i n g l y ( e s p e c i a l l y th e m idd le p a r t s ,
secon d te n o r and f i r s t b a s s ) — and th e n , above a l l ,
r e l i g i o u s a b s o r p tio n , m e d it a t io n , e x p a n s io n ,
e c s t a s y , shadow, l i g h t , s o a r i n g - - i n a word,
C a th o lic d e v o tio n and i n s p i r a t i o n . The Credo,
a s i f b u i l t on a r o c k , sh o u ld sound a s s t e a d f a s t
as th e dogma i t s e l f ; a m y s tic and e c s t a t i c jo y
should pervade th e S a n ctu s; th e Agnus D ei (a s
6. L e tte r s , I , 298.
7. W i l l i A p e l, ’’Harmonium,” Harvard D ic tio n a r y o f M u sic,
2nd e d . , e d . W i ll i A p el (Cam bridge, M a ss.: Belknap
P re ss, 1 9 6 9 ), 371.
235
w e l l as th e M iserere in th e G lo r ia ) sh ou ld be
a c c e n tu a te d , in a te n d e r and d e e p ly e l e g i a c
manner, by th e m ost f e r v e n t sympathy w ith t h e
P a ssio n o f C h r is t; and th e Dona N o b is Pacem,
e x p r e s s iv e o f r e c o n c i l i a t i o n and f u l l o f f a i t h ,
sh ou ld f l o a t away l i k e s w e e t - s m e llin g i n c e n s e .
The church com poser i s b o th p rea ch er and p r i e s t ,
and what th e word f a i l s t o b r in g t o our powers
o f p e r c e p tio n th e to n e makes w inged and c l e a r .
You know a l l o f t h i s a t l e a s t a s w e ll a s
I d o, and I must a p o lo g is e fo r r e p e a tin g i t t o
you. I f th e e x te n t o f th e chorus a llo w s i t ,
i t m igh t p erhaps be d e s ir a b le to add a few more
w ind in str u m e n ts ( c l a r i n e t s , b a s s o o n s , h o r n s ,
in d eed even a few trom bones) t o su p p ort th e
v o ic e s m ore. I f you th in k so t o o , p le a s e send
me a l i n e t o s a y s o , and I w i l l a t on ce send
you a sc o r e o f th e w ind in s tr u m e n ts . You s h a l l
have t h e v o c a l p a r ts from Jena im m e d ia te ly .
For to d a y a c c e p t once more my b e s t th a n k s , t o
g e th e r w ith th e a ssu r a n c e o f the h ig h e s t e ste e m
of
Yours e v e r , o
F. L is z t 0
W ithin th e same l e t t e r L i s z t i n d ic a t e s t h a t in s tr u m e n ta l
su pp ort fo r th e v o i c e s was b e in g c o n tem p la ted a s e a r ly a s
th e above d a t e . L a te r i n A p r il o f t h a t y e a r , he spoke to
Eduard L is z t about th e p o s s i b i l i t y o f in str u m e n ts fo r th e

Mass but c o u ld n 't make up h i s mind a s t o t h e i r c o m b in a tio n s .
I ought p r o p e r ly to h e a r the V ienna ch o ru s i n

ord er to h i t t h e r i g h t p r o p o r tio n , which i s
v e r y v a r io u s , a c c o r d in g to th e s i z e o f th e
ch u rch , and a ls o the c l a s s o f in s tr u m e n ts , and
the l e a s o r g r e a t e r a b i l i t y o f th e m u s ic ia n s .
I t would be v e r y a g r e e a b le to me i f H erbeck,
8. L e t t e r s , I , 3 1 5 -6 .
236
who app ears t o ta k e an i n t e r e s t i n my work,

would ta k e th e d e c i s i o n upon h im s e lf a c c o r d in g
l y t o do what he th in k s b e s t , and would e it h e r
k e sp in the p r in te d organ accom panim ent, or
w r ite a sm a ll a d d it io n a l sc o r e as su p p ort to
th e v o i c e s . In t h e l a t t e r c a se I th in k th a t
h o r n s , c l a r i n e t s , o b o e s, and b a sso o n s cannot
be d is p e n se d w it h , and th a t prob ab ly trom bones
would a l s o make a good e f f e c t in th e K yrie and
Credo.
Remember me most k in d ly to H erbeck, and
t e l l him my id e a a s w e ll as my r e q u e s t . In th e
stu d y in g o f th e Mass he w i l l b e s t a s c e r t a in
which p a s sa g e s m ost r e q u ir e a su p p o r tiv e
accom panim ent. °
Herbeck d id a c c e p t th e t a s k , and on June 12, 18^7, L is z t

w r o te :
My e x c e l l e n t c o u s in and f r i e n d , D r. Eduard
L i s z t , h a s a lr e a d y inform ed me o f your w i l l i n g
n e s s t o un dertak e th e in s tr u m e n ta tio n o f my
V ocal Mass; I am e n t i r e l y in accord w ith the
v a r io u s sk e tc h e s you so k in d ly la y b e fo r e me
in your l e t t e r , and o n ly beg you, d ear s i r , t o
c o m p lete t h i s work a c c o r d in g to your own b e st
judgem ent, w ith o u t any sm all c o n s id e r a t io n s .
I c e r t a i n l y sh o u ld n o t w ish the organ to be
a b sen t from i t , bu t i t i s a p e r f e c t l y c o r r e c t
id e a , to g iv e th o s e p a s s a g e s in th e K y r ie ,
S u sc ip e d e p r e ca tio n e m , C r u c ifix u s , and o th e r s
b e s i d e s , t o th e w in d s e x c l u s i v e l y . 10
On December 31» 1857 > in a l e t t e r to L eopold A lexander

Z e lln e r , th e G en eral S e c r e ta r y to G e s e lls c h a f t der M uslk-
freu n d e o f V ienna, com plim ented th e man f o r h i s p u b lish e d
9. I b i d . , 3 3 5 -6 .
10. I b i d . , 31*1.
237
a r t i c l e s on th e Male Chorus M ass, and d is c u s s e d i t s r e c e n t
r e v is io n *
I have added to t h i s work a g lo r io u s fugue a t

th e end o f th e G lo r ia , and th e r e are fo u r e n t r i e s
in s te a d o f two a t th e m otive Et unam Sanctam
C ath olicam , w hich u n fu r ls i t s e l f w ith in c r e a s in g
a m p litu d e, le a d in g t o th e R esu rrectio n em M ortu-
orum and Vitam V en tu ri s a e c u l i . Then th e p r in
c ip a l m o tiv e o f th e M is e r e r e , C h r iste e l e i s o n ,
rea p p e a rs under th e words Agnus D ei q u i t o l i s
p e c c a ta mundi in th e G lo r ia . There are a few
a l t e r a t i o n s w hich make t h e s i n g e r ' s t a s k e a s i e r .
In s h o r t , I have r e v is e d and com p leted th e work
a f t e r s e v e r a l p erfo rm a n ces. And t h i s w i l l c a l l
f o r a few sm a ll e d i t i o n s to your e x c e l l e n t , most
r e le v a n t a n a l y s i s — f o r which a l l my th a n k s.
I t i s a l s o m en tioned to Z e lln e r t h a t the G lo r ia was to be

perform ed a t th e T hird C entenary J u b ile e o f th e U n iv e r s it y
a t Jena som etim e in l8 £ 8 (on th e 15>th, l 6 t h , or 1 7 th o f
11
A u g u st), and a t r i a l perform ance a t a Jena church seems
t o have r e s u l t e d in s u c c e s s . H erb eck 's o r c h e s t r a t io n was
u sed and was approved by L i s z t . The composer th e n sp eak s
o f a p o s s i b l e V ienna p erform ance: "And i f th e gen tlem en
o f th e V ienna M & nnergesangverein would ta k e th e tr o u b le to
stu d y th e sc o r e p r o p e r ly , th e y m ight r e l y upon th e e f f e c
t i v e n e s s o f th e p erform an ce, p rovid ed my name i s n o t h e ld
11. H oefn er, 2 l|2 .
238
12
in a b o m in a tio n ." A fte r th e August perform ance a t Jen a,
L i s z t w rote to V ienna on November 2 2 , 1 8 £ 8 , a l e r t i n g Herbeck
t o th e a r r i v a l o f t h e c o n d u c to r 's o r c h e s tr a t e d m a n u sc rip t.
Here he sp eak s o f th e e f f e c t i v e n e s s o f H erb eck 's arrangem ent
and o f an a l t e r a t i o n made in th e c o n c lu s io n o f the G lo r ia .
The G lo r ia , w h ich was perform ed a t th e U n iver

s i t y J u b ile e F e s t i v a l a t Jena l a s t A u gu st, was
made most e f f e c t i v e by your e x c e l l e n t in s t r u
m e n ta tio n . You w i l l o b ser v e a s l i g h t a l t e r a
t i o n a t th e c o n c lu s io n (6 b a r s in s t e a d o f
and a s l i g h t l y l e s s r i s k y m o d u la tio n ), which I
beg you t o f o llo w a t any perform ance t h e r e may
chance t o be in Vienna.J-3
The n e x t perform ance o f th e Male Chorus Mass to o k p la c e
on O ctob er 23> l 8 $ 9 , fo r th e c r i t i c a l V ienna p u b lic . A

se n s e o f t h i s i s cau gh t in L i s z t ' s l e t t e r o f O ctober 1 1 th
as f i n a l arran gem en ts were b e in g d is c u s s e d w ith H erbeck.
I t i s a g r e a t p le a s u r e to me th a t you are
b r in g in g about th e perform ance o f th e Mass f o r
m en's v o ic e s on th e 23rd o f O ctob er, and I hope
t h a t , as you have once 'made your way through
i t , ' we s h a l l a ls o n o t su cceed i l l .
The 'sn e a k in g brood' (a s you w e l l name th e
p e o p le ) can h e n c e - f o r t h growl as much a s th e y
l i k e . What d o es i t m a tte r t o u s , a s lo n g as we
rem ain tr u e and f a i t h f u l t o our ta sk ? In th e
perform ance l a s t year a t Jena ( a t th e s e c u la r
c e le b r a t io n o f th e U n iv e r s it y ) I had th e oppor
t u n i t y o f c o n v in c in g m y s e lf how c a p i t a l your
12. D r. F r ie d r ic h Schnapp, "New Documents on Franz L i s z t ,"

The M onthly M u sical R ecord, t r a n s . M. D. C a lv o c o r e s s i
17 w t 'J , 1# .
13. L e t t e r s , I , 377.
239
in s tr u m e n ta tio n o f the Mass sou n d s, and I

e s p e c i a l l y beg t h a t you w i l l n o t le a v e ou t one
i o t a o f i t in t h e ob oes or trom b on es. The
organ a lo n e i s n o t s u f f i c i e n t , e s p e c i a l l y i f
t h e r e i s a l a r g e c h o r u s, and the c o m p le tio n
o f th e accom panim ent c o u ld n o t have been
b e t t e r a c c o m p lish e d than you have done i t .
. N .B . - - At th e Jena perform ance I h i t
upon t h e f o llo w in g a l t e r a t i o n s a t th e c o n c lu
s io n o f the G lo r ia :
Uvsî.
f T P f f
§
e i
I f you a g r e e w ith t h i s , th en l e t t h i s
s i m p l i f i c a t i o n s e r v e in V ie n n a .1**
L i s z t c o n c lu d e s th e l e t t e r by a sk in g Herbeck t o inform him
a s t o t h e s u c c e s s o f th e p erform an ce, and , s i n c e th e Mass

was to be c o n t in u o u s ly r e f i n e d , t o sen d any id e a s a lo n g
t h a t m ig h t b e t t e r s i m p l i f y and improve th e d e c la m a tio n .
In w r it in g t o M a rie, th e d au gh ter o f P r in c e s s Sayn-
W it t g e n s t e in , on O ctob er 2 7 , L i s z t r e p o r t s t h a t H erbeck1s
1U. L e t t e r s , I , ÔO-lfOl.
2l|0
c o n c e r t was a s u c c e s s , and th a t th e church where th e perform

15
ance to o k p la c e was f u l l and o v e r flo w in g .
A p p a ren tly th e s tr u c tu r e o f th e Mass did c o n tin u e t o
change th ro u g h o u t th e l 8 5 0 ' s , i f one i s to judge from th e

remarks quoted above from 1856 th rou gh 1859 ( s t r a n g e ly
enough, th e o r c h e s tr a t e d v e r s io n o f th e Mass seem s to have
been abandoned a f t e r t h e O ctob er perform ance in 1 8 5 9 , f o r
th e c o m p le te ly r e v is e d secon d e d i t i o n by Repos and B r e itk o p f
and H ftr te l, in 1 8 7 0 , was s c o r e d f o r th e o r i g i n a l f o r c e s o f
181*8 and 1 8 5 3 ).
Much o f the r e v i s i o n , a f t e r L i s z t ' s c a r e e r ended a s
C a p e llm e is te r a t Weimar, was pursued a t th e p r iv a t e e s t a t e
o f Baron August o f S zeg za rd in Hungary between 1865 and

1 8 7 0 .^ In f a c t a perform ance of the r e v is e d work, a s y et
u n p u b lish ed , took p la c e in th e c i t y o f S zegzard in O cto b er,
17
1 8 7 0 , under L i s z t ' s d i r e c t i o n . In 1872 an oth er r e n d i t io n
o f th e M ass, t h i s tim e i n i t s new e d i t i o n , was perform ed a t

X0
Jena in th e month o f January. L is z t d e d ic a te d the work
15. Hugo, 1 1 2 .
16. Franz L i s z t , B r ie fe au3 h u n g a rlsch en Sammlungen,
1 8 3 5 -1 8 8 6 , c o l l e c t e d and i l l u s t r a t e d by M arglt
Prahacs (K a s s e l: B S r e n r e ite r , 1 9 6 6 ), 1 3 7 .
17« L e tte r s, I I , 19.

18. S e a r le , G r o v e 's , 2 6 5 .
21*1
t o F a th e r A lb ach , a k in d ly p r i e s t o f h i s yo u th in th e
E is e n s ta d t d a y s. A l e t t e r t o J . P. von K ir a ly , a composer
r e s i d i n g in E is e n s t a d t , w r it t e n i n 188£ n o s t a l g i c a l l y r e
c a l l s th o u g h ts o f th e E ste r h a z y p a la c e and l in k s m u s ic a lly
th e end o f Haydn’ s e ig h te e n th c e n tu r y w ith L i s z t ’ s l a t e

n i n e t e e n t h - - a span o f n e a r ly a c e n tu r y .
N in e ty y e a rs ago my f a t h e r was p r e p a r in g f o r h i s
d a i l y d u t i e s a s b ook -k eep er to P rin ce N ik o la u s
Esterh«fzy in E i s e n s t a d t . At th a t tim e he o fte n
to o k p a r t , a s an am ateur, among the v i o l o n c e l l o s
in th e P r in c e ’ s fr e q u e n t c o u r t c o n c e r ts , under
th e c o n d u c to r sh ip o f t h e happy g r e a t m aster J o s e f
Haydn, and o f t h e d a i l y p a r t i e s he made up w it h
him . In 181*8 I v i s i t e d th e d e a r , a f f e c t i o n a t e
F ath er A lbach a t th e F r a n c isc a n M onastery o f
E is e n s t a d t , and d e d ic a te d t o him my Mass fo r
m en's v o i c e s , which w i l l be b r i l l i a n t l y performed
h ere s h o r t l y . 19
The upcoming perform ance m en tioned above to o k p la c e a t

20
Antwerp, B elgiu m , d u r in g June, 188J?.
S in c e 1885 i t can be s a f e l y assum ed th a t th e Male
Chorus Mass h a s had an ample number o f p erfo rm a n ces, e s p e c i
a l l y in Hungary, a c o u n tr y t h a t h a s alw ays been w i l l i n g to
a f f o r d I t s famous son a co n tin u o u s h e a r in g . The M ass, along
w it h th e Dante Symphony, was a f a v o r i t e of R ichard Wagner’ s
19. L e t t e r s , I I , l*71«
20. R ehberg, 1*92.
21*2
who had e x p e c te d L i s z t to add h i s (Wagner’ s) name in d e d i

c a t io n on th e t i t l e p age. H is d isa p p o in tm en t was e v id e n t
when he s a id : "Now I le a r n th a t h i s Mass h as been o u t f o r
?T
some tim e . He knows how k een I am about t h i s w ork .'
The Music
When Dr. P h ilip p Wolfrum w rote o f h i s f i n d in g s a t the
L i s z t Museum in Weimar, th r e e c o p ie s o f th e Male Chorus Mass

were a v a ila b le t o him : copy A from 181*8, copy B from 1853,
and copy C from 1 8 7 0 . Each o f th e m a n u scrip ts r e p r e s e n ts

a h i s t o r i c s t a g e in th e w ork’ s g r a d u a l r e v i s i o n , and shows
c l e a r l y a p r o g r e s s iv e improvement in t e x t d e c la m a tio n and
m u s ic a l c o n te n t. In th e forew ord o f th e B r e itk o p f & H&rtel
e d i t i o n (Gregg R e p r in t, 1 9 6 6 ), Wolfrum d i s c u s s e s th e m usic
and compares th e s c o r e s i n t h e i r advance in tim e to m u s ic a l

22
r e fin e m e n t.
The Credo and G lo r ia , due t o th e e x te n d e d p o e tr y o f
t h e i r t e x t s and con seq u en t o p p o r t u n it ie s fo r word p a in t in g ,
h o ld th e r i c h e s t p o t e n t i a l f o r com p arison . In th e 181*8
m a n u sc r ip t, "factorum c o e l i e t t e r r a e , v is ib iliu m " app ears

in i t s o r ig in a l s t a t e ( s e e Example 1 2 6 ) .
21. W a lla ce, 93*

22. Werke, V, V I, V II.
2k3
Example 1 2 6 . M anuscript A (l81j.8)
The 18^3 and 1870 e d i t i o n s in d ic a t e change and im
provement# c e r t a i n l y on th e word ’’omnium” w h ere, i n c o p ie s
B and C, a b e t t e r a c ce n t r e s u l t s ( s e e Example 1 2 7 ).
Example 1 2 7 . M an u scrip ts B & C (1853 & 1870)
W l If r? 1TTf'fi
•ÔLcrVortvvv Ci?«Ai d f VlSlbi - \ i o w A otovm j**
L i s z t was n o t s a t i s f i e d , h ow ever, w ith h i s s e t t i n g s
o f ”e t i n v i s i b i l u m , ” ”e t a s c e n d it in coelum ," arid ”e t in

S p ir itu m sa n ctu m ,” t h e r e f o r e , ch an gin g m eter and a c c e n t ,
h e r e s e t t h e p h ra se fr a g m e n ts, a s e v id e n c e d in Example 1 2 8 ,
a and b . B oth th e I 8I4.8 and 1853 s c o r e s were t r e a t e d s im i

l a r l y in ’’Domine Deus . . . " o f th e G lo r ia (s e e Example
1 2 9 ).
Example 1 2 8 . M a n u scrip ts B & C
a . MS B & C U 0 5 3 & 1870)
iv w 'tsi - b i - |i •■V a.sct*u'tf C ot -Wv*.
afr Spir'Hv**\ Savvc —
b. MS C ( r e s e t 1870)
« fi* * -v W j _ b V -lV \/Ma tV cs-cew}'\\ »*» coe\v»s
€.+ in S p i - v-\ - *v*\ S «.v\c —— 'Vvvk'
Example 1 2 9 . M a n u scrip ts A & B (181*8 & l8 £ 3 )
J [ iuTf irVT |fr? r ir&rf ffi

D o - v ^ '- v v c O e - OS, JA S' -W.OS 0-<t - I / f i - \i-JS T W iS
L i s z t changed t h i s p a ssa g e In t h e 1870 sc o r e c o n s id e r

a b ly , p la c in g a more n a t u r a l a c c e n t on th e words "Dominus,
’’A g n u s,1* and " F i l i u s , ” th e r e b y a c h ie v in g a proper s t r e s s
on ”D e u s ,” " D e i,” and ’’P a t r l s ” ( s e e Example 1 3 0 ) .
Example 1 3 0 . M anuscript C ( 1 8 7 0 )
w m il
Do - Da — --* * $
1. 1; . 0 » — yiT s j r n
Reproduced with perrnission of the copyright owner. Further reproduction prohibited without permission.
2kS
A gain in th e Credo, th e t e x t " e t in c a r n a tu s e s t" was
n o t d e c la im ed to L i s z t ' s l i k i n g in h i s s c o r e s o f I 8I4.8 and
18£3 ( s e e Example 1 3 1 , a and b ) . The 1870 example e lo n g a t e s

tim e v a lu e s from h a l f and q u a r te r n o te s t o h a l f and w hole
n o t e s , th u s f in d in g a b e t t e r b a la n c e ( s e e Example 1 3 1 c ).
L i s z t a l s o u n d e r lin e d "Maria V irg in e" w ith a broader c a d e n c e .
Example 1 3 1 . M an u scrip ts A & B

a . MS A (lBEfBT
Et in*cw*Dt-tui cet dt Spi-ri - tu
2i*6
Example 1 3 1 . M anuscripts A & B

b . MS B (lB F 3l
« f ,r ' ,
I
B- \v\carvv%a.-Vus tVivtcojrwct^wj
• r
t e ■T7M
Efr ivtCfcrvyvVos fl-sV, i'^co*'v\o«+t»S
dtlfib
1 ,1 j 1 t i / w—
fy « ' i f |> r f y h h f - iM f ■*
scz J w :
,1a. f
4>CM<*.- v-i
v-’i -- C
c Vfvî _ v\e
Me
-J — 1 I ' | '*p '~lg'lP p p Ip
d c SoiviW So-^-K.
d c Sjnvi-V^ S<x^c-4i ^
j./ M o - - irV- L V \*
tv- - oV - V\«.
c. MS C ( 1 8 7 0 )
Meiume
Et in • e»r . n» - tin «it, in - cur-n*-tui t»t M

iakunme
(Hit hoohlltgendnr Khvtbtndtr Orgalbegleitung.)

rilen. 1 imorx.
8pi - ri - tu wno-to cx M» - ri • » Vir - gi - n#

riten. emorx.
j. J J. 1 1 ~ 2TI]
m
2k7
Another e q u a lly im portant s e r i e s o f r e v i s i o n s w ith in
th e Credo occu r a t “C r u c ifix u s etia m pro n o b i s . ” A marked
improvement stemming from a r a th e r m odest o r i g i n a l e f f o r t

i s c l e a r l y o b serv ed in t h e f o llo w in g t h r e e s t a g e s o f d e v e l
opment ( i n Example 1 3 2 , a , b , and c ) .
Example 1 3 2 . M an u scrip ts A & B

a f MS A ( l W ) -------------
2 Ttsor* und 1. 1.
E t ho-m o ftc-tut e it Cru*ci • fiotut e -ti-a m pro n o-bit: tab

PM -tut et to-pul-tas eit
P o n -ti-o P i-U -to p u - tat, et te-pul-tut eti.
b. MS B (1853)
y^f it'tff )M'TT"rr r Tt r t f f ^
c. MS C (1870)
* f \ * * - \ r ~ ? .f t T T r f t p s f f 4 r -
C w f - -Ft — ~ - -K W f C ~ i\ -
The p r o g r e s s o f r e v i s i o n in th e Male Chorus M ass, r e
f e r r e d t o by L i s z t in l e t t e r s t o H erbeck, Eduard L i s z t , and
o th e r s between 1856 and 1 8 7 0 , i s c l e a r l y s u b s t a n t ia t e d in
21+8
th e above e x a m p les. Among th e m ale ch o ru s p i e c e s examined
th u s f a r th e M ass, w ith o u t q u e s t io n , i s th e b e s t o f th e
c o lle c tio n .
In The Large Sacred C horal Works o f Franz L i s z t , Ralph
Woodward d i s c u s s e s t h e m u sic o f th e Male Chorus Mass and
n a t u r a lly s e e s i t in h i s own p e r s p e c t i v e . A lthou gh my stu d y

and Mr. Woodward’ s w i l l u n d ou b ted ly to u c h upon s im ila r sub
j e c t m a tte r , ea ch sh ou ld pursue an i n d iv i d u a l ex a m in a tio n
o f th e m u sic, r e f l e c t i n g i n d iv id u a l o p in io n s and f in d in g s
a s a b a s is o f d i s c u s s i o n .
K yrie and G lo r ia
The K yrie o f th e Mass f o r Male V o ic e s i s an im p r e s siv e

movement, a lth o u g h n o t as dram atic n o r as c o n t r a s t in g as
su c c e e d in g c h o r u s e s . I t does c o n t a in much o f L i s z t ' s

harm onic la n g u a g e , a s t o n a l c e n t e r s f r e q u e n t ly change by
way o f d im in ls h e d -s e v e n th ch ord s and common to n e m odula
tio n s . An e a r ly exam ple o c c u r s as th e f i r s t K yrie sta tem en t

ca d en ces in measure 19* A p r o lo n g a tio n i s e f f e c t e d by a
d im in ish e d se v e n th chord b u i l t on B -n a tu r a l, which m o d u la te s

t o B - f l a t m ajor p r io r t o th e ap p roach in g key o f E - f l a t m ajor.
The G lo r ia ’ s G reg orian in t o n a t io n i s th e f i r s t o f two
m o tiv e s i n t e r l a c e d th rou gh ou t th e m ovem ent's s tr u c tu r e (se e
Example 1 3 3 , a and b ) .
21+9
Example 133• G lo r ia
a. I n to n a t io n b. Meas. 1-U
Allegro alia breve.
L « ^ c \ k w a lfii D<r - f
in excel.sis
in excel.sis
Clo . . ri .» in exeel.sit Oe .
A llegro alia breve- . t
A second motive i s the In te rv a l of a minor seventh, appear

ing in th e bass of measore 6 (Example 13^)*
Example 13i+* G lo ria

Meas. 6 - 7
6r i*
250
An i n t e r e s t i n g c o n tr a p u n ta l s e c t i o n based on m otive one and
l o c a t e d betw een m easu res l 8 and l|ij. i s jo in e d a t measure 4 5

by t h e se co n d them e, w hich th en c a r r i e s on u n t i l a su b se
quent cad en ce in B - f l a t m ajor. Throughout t h i s area th e
organ i s an e q u a l companion w ith th e v o i c e s , b rea k in g away
from i t s u s u a l su p p o r tiv e r o l e . T r ip le t s are p la y e d a g a in s t
s u s t a in in g h a l f and whole n o t e s in th e t e x t , "Adoramu3 Te,"
a s s e e n in Example 135*
M eas. 5 4 -5 7
p vvtfoc* ■’ft*
^ — —-f--- o
re * — 4o - ^01 — if- VH
—1--- f-
21
__ -
f <
WS, —
«=-----s^_p---------
—
M ' 4*^=
p?- -F--- l^-v =-
...
..
VfiL ^
/
k-.t i 1 f
p--- :lz
i. <
\—-
L
I . —«Lo • •Va -
m J |, ,i
H-J*• do •• «»«>._ ________
UK Ji^ T m.iim'7 j j i11 lN. jZJ- -1

* ?' l - :
m -w -1
251
L la z t t r e a t s th e t e x t " G ra tia s agim us t i b i p r o p te r

magnam gloria ra tu a m ," w ith a d e v ic e th a t f i r s t appears in
th e e a r l i e s t M&nnerchor p i e c e s , and which r e c e iv e d c o n tin u

ous a p p l ic a t io n th rou gh ou t h is c a r e e r : th e augmented
tr ia d . N e v e r t h e le s s , i t i s used s p a r in g ly in the M ass,
m aking i t s p r e se n c e known in two l o c a t i o n s on measure 85

o f th e G lo r ia , a c c e n tu a tin g th e word •'magnam,11 and a g a in
in th e Credo. I t s w ise use makes i t a p o te n t and e x p r e s
siv e t o o l.
The n e x t m ajor s e c t i o n o f th e G lo r ia , "Domino Deus
. . . ," b e g in s on a u n iso n D in th e upper th r e e c h o r a l
v o ic e s and i s , a s Woodward m en tio n s, " . . . v e r y s im ila r

t o th e o p en in g o f th e c h o r a l s e c t io n o f B ru ck n er's Te Deum.
in d ic a t in g th a t t h e l a t t e r may have b een a c q u a in ted w ith
23
t h i s w ork." (S ee Example 1 3 6 . ) A nother te c h n iq u e found
in t h i s exam p le, and which i s a ls o lo c a t e d i n many s im ila r
d ecla m a to ry a r e a s o f th e Mass fo r Male V o ic e s , i s th e sep a
r a t io n o f words by means o f m e tr ic s i l e n c e . In o rd er th a t
th e t e x t be heard c l e a r l y and em phasized p r o p e r ly , and so
th a t th e sound o f t h e v o ic e s be a ffo r d e d r e v e r b e r a tio n tim e ,
e ig h t h n o te r e s t s a r e i n s e r t e d in the f o llo w in g manner:
"Rex 7 c o e l e s t i s , " and "Domine 7 P i l l . " An a d d it io n a l
23. Woodward, 8 l .
252
Example 136. G lo r ia
Meas. 9 2 -9 5
f Vf f T1 g i t i" '1 « :
-4— L-U-4__- r r =3—.TV. F ^ ' i i ' t" U—r _ i —f t .. .
P o W\\v\4. P a US Z v C o « .le s^ i$ , P a- - u i pa-*V*v" Ow*v\'i - ôV&KS.
^ A -l f)""i ■
y jv t J —iJB—■— y -+— -1 U . n . : » t o n V -m— j n f f f (-----
— U-4—
P o W tv u R i x c o e U s 'H s , P A - O J Voc-Vtr 0* \ w \ - p e t e r s .
f fj-e j f i f l ? . ,
t o t - h r ------ H i -------- t / :
1
7 ___ V~. ■ fj * t r ; V lL t—
*A P a.- V « P fc ilv - ewiMi - po’t ’A AS .

tlV s ft* ,
^ — -- ------------ - t f a c »— m— "P-y— i, j r . ft j 1 -
j ~r 1 = = f-F & f •= * = : * *H Pr :
Ov^vvt -p o ffttH 5 .
R p * C o & l ts f iS
4
1 i \ ^ y 1 r l
V'
=dP r j f i, T
: 's
~a — ■
1
y ...... =< f ' T •
iv t. - = ■ 4— - J V f r f : — .......1 “ J— B— 1— 1— « -
JSF ^ ^ p 7 * t - ------------------------------ 1---------------- fc-^. 1 L
4
" — « i
d e v ic e i s em ployed by L is z t t o f u r t h e r h e ig h te n p o in t s o f
dram atic Im portance— th e u se o f q u ic k ly changin g t o n a l
c e n te r s. A lthough he t r a d i t i o n a l l y h o ld s to h i s p r o p e n s ity
253
f o r s h i f t s o f t h ir d s and se c o n d s , c li c h e t e n d e n c ie s are
u s u a lly a v o id e d by i n t e l l i g e n t s e l e c t i o n . An im p ortan t
m o d u la tio n o c cu rs on th e t e x t u a l p o in t , nTu s o lu s a l t i s s i -
m u s.” Having a r r iv e d a t E - f l a t m a jo r, he prom ptly drops a
m a jo r-seco n d i n t e r v a l to D - f l a t m ajor, em p h asizin g th e word
Ma l t i s slums" ( s e e Example 1 3 7 ).
M eas. 1 6 2 -lS S
lo s Al -
A p e d a l D - f l a t in th e organ p a rt f u r t h e r u n d e r lin e s the
to n a l change.
251;
L i s z t , as i s h i s harm onic cu sto m , d o e sn f t rem ain lo n g

in D - f l a t m ajor and q u ic k ly c a d e n c es a few m easu res l a t e r
in D major on th e t e x t ”J e su C h r is t e ." The b a la n c e o f th e
G lo r ia i n v o lv e s c o n tr a p u n ta l tr e a tm e n t f o r "cum s a n c to
s p i r i t o , " a s e c t io n r e le g a t e d t o f u g a l in v e n tio n by most
com posers* The h ea d -m o tiv e o f the G lo r ia i n t o n a t io n i s
p r e s e n t , r e m in is c e n t o f th e m ovem ent’ s b e g in n in g , and i s
rew orked c o n s id e r a b ly ( i n a somewhat f u g u e - lik e manner)

i n t e n s i f y i n g i t s e l f tow ard a c lim a c t ic sta te m en t by th e
organ (Example 1 3 8 ) .
Example 1 3 8 . G lo r ia
M eas. 21 5 -2 1 9
T « '
—__
1' zc —T
E "teg- —
1<■*—tL
—- i F W -
4 ‘-k—*—
■fc®-
Credo
The o p en in g o f th e C redo, and in d eed th e rem aind er o f
th e movement, i s unique due to t h e ab sen ce o f th e t r a d i

t i o n a l in t o n a t io n . In f a c t , th e o p en in g sta tem en t and i t s
r e c a p i t u l a t i o n (m easure 1 3 0 ) i s r e a l l y a m o d if ic a t io n o f
2k
th e G lo r ia m elod y. (S ee Example 1 3 9 .)
21;. L i s z t a v o id e d t h i s o b v io u s hymn tun e f o r good r e a s o n ,

and h as r e s e r v e d h i s s u r p r is e fo r the Agnus D e i, to
be d is c u s s e d in tu r n .
255
Example 1 3 9 . Credo
M eas. 1 3 0 -1 3 3
sy » - r\-
CHoft
R e p la c in g th e c r e e d 's u s u a l tu n e , as an elem en t o f
m u s ic a l u n i t y , i s a u n iq u e id e a f u l l o f h i s t o r i c a l im p lic a
tio n . L i s z t , a d e v o te e o f B eeth oven and th e man r e s p o n s ib le
f o r th e B eeth oven Monument a t Bonn, p ays homage to th e e a r l i
e r com poser w ith one o f th e l e t t e r ' s own g e s t u r e s . In th e
o p en in g s e c t i o n o f th e C redo, b e g in n in g "Credo in unum
Deum," and a t i t s r e t u r n , "Et in s p i r i t u s sanctum ," th e

b a s s v o i c e s in to n e th e s i n g l e word "C redo," alw ays a t th e
i n t e r v a l o f a downward p e r f e c t f o u r t h and on s i x d i f f e r e n t
o c c a s io n s ( r e f e r to Example 1 3 9 ) . O r d in a r ily com p osers,
2*6
when s e t t i n g t h e C redo, do not r e p e a t any o f th e c r e e d 's
e x t e n s iv e t e x t — B eeth oven b e in g th e e x c e p tio n in h i s M lssa

so le m n ls u n t i l L i s z t ' s own i m it a t io n in th e Male Chorus Mass
o f 1814.8 .
The Credo i s in a homophonic t e x t u r e . I t c o n ta in s

L i s z t ' s q u ic k harm onic rhythm , and h o u s e s many exam ples o f
t e x t p a in t in g , d is c u s s e d p r e v io u s ly in th e G lo r ia . W ithin
th e t e x t o f th e Credo are t r a d i t i o n a l p o in ts o f dram atic

i n t e r e s t th a t a l l com posers must approach w ith c a r e . They
in v o lv e th e t e x t u a l fra g m e n ts: " et homo f a c t u s e s t ,"
’’C r u c i f i x u s ," and wE t r e s u r r e x i t t e r t i a d ie ." The f i r s t ,

" et homo f a c t u s e s t ," i s a c o n t in u a tio n o f the p assage
d is c u s s e d in Example 131, a , b, and e , and i s a sim p le
cadence r e s o lv e d by an P -sh a r p d im in ish ed se v e n th chord r e
tu r n in g to th e a lr e a d y e s t a b l i s h e d key o f D m ajor. I t em
p h a s iz e s th e t e x t w e l l and c o n t r a s t s , w ith w hole and h a l f
n o t e s , th e h a l f and q u a r te r n o t e s in th e p reced in g p h ra se.

It, In tu r n , p r e p a r es f o r the upcoming i m it a t iv e "C ru ci-
f i x u s ” s e c t i o n ( d is c u s s e d in Example 1 3 2 , a , b, and c ) o f
w hich th e d im in ish e d se v e n th I n t e r v a l i s a rem inder o f th e
p r io r P -sh a r p d im in ish e d se v e n th ch o rd . The '’C r u c ifix u s"
s e c t io n i s composed f o r s o lo m ale q u a r t e t . At th e same
tim e L i s z t , who p ro b a b ly knew th a t many church and c h o r a l
s o c i e t i e s would la c k th e s e r v i c e s o f th e accom p lish ed s o lo
257
v o ic e s n e c e s s a r y t o perform t h i s b e a u t i f u l but c h r o m a tic a lly

d i f f i c u l t p a s s a g e , rew ro te a s u b s t it u t e s e c t i o n f o r ch oru s
a lo n e . I t is sim p le r and i s a c o m b in a tio n o f th e opening
b a r s o f th e q u a r t e t 's " C ru cifix u s" w ith th e music fo r
np a s s u s , e t s e p u ltu s e s t , " th e r e b y sh o r te n in g th e most d i f

f i c u l t o f th e q u a r te t m u sic . The "passus" s e c t i o n i s an
exam ple o f a r e f l e c t i v e , q u i e t , but in t e n s e c lim a x ( s e e
Example llj.0 ).
A fte r a grand p a u se, th e d ecla m a to ry "Et r e s u r r e x it "
( a l s o in Example ll*0) b u r s ts f o r t h from u n iso n v o i c e s to
p a r t s , and b u ild s t o an augmented t r i a d on th e word

"m ortuos"— th e secon d o f two o c c a s io n s where L i s z t ch ose
t h i s d e v ic e as a t o o l o f a c c e n t .
S a n ctu s
The S a n ctu s i s , a c co r d in g t o Woodward, "probably th e
most l y r i c moment i n t h e e n t ir e Mass . . . , sung in i t s
e n t i r e t y by th e fo u r s o lo v o ic e s , and sou nd ing much l i k e

25
one o f th e more l y r i c I t a l i a n o p era s o f th e p e r io d ."
L y r ic y e s , but more l i k e M assenet or S ain t SMens than

L e o n c a v a llo or V erd i I L is z t was more o f a F r a n c o p h ile th an
a German or H ungarian, and admired b o th N ap oleon s ( f . i s
25* Woodward, 8 7 .
258
Example 11*0. Credo

M eas. 89-100
Et < *w rrl - M
CHO0.
CHO*. -
9
v**orir«. - xi4
(§ S M = l
/7\ ^ ----
». \t!.><■» \ J r
La ~—
259
Maas f o r Male V o ic e s h a v in g b een i t s e l f f i r s t perform ed on
t h e o c c a s io n o f N ap oleon 111*3 b ir th d a y c e l e b r a t i o n ) . The

m usic i s a c t u a l l y pure L i s z t made up o f d e s c e n d in g , o u t lin e d
ch ord s ( e s p e c i a l l y e v id e n t in th e f i r s t t e n o r and se co n d
b a s s ) and o f th e u s u a l t o n a l s h i f t s o f t h i r d s . The P ost
E lev a tlo n e m (B e n e d ic tu s) f o llo w s th e same p a tt e r n but w ith
f u l l ch o ru s p a r t i c i p a t i n g on t h e " H osan n as.1* The f i n a l

MHosanna in e x c e l s i s , ” in s t e a d o f a p p ea rin g in th e t r a d i
t i o n a l exu b eran t s e t t i n g o f t h i s p o r tio n o f th e M ass,
resp o n d s in a n o th er d i r e c t i o n ( i n Example llj.1) w ith a s o f t ,
g e n t le c o n c lu s io n .
Agnus D ei
I f one were t o s e l e c t a ch oru s from th e Mass th a t
seems to be in an o p e r a tic s t y l e , i t w ould be th e Agnu3 D e l .
Composed in a f o l k - l i k e 6 /8 m e te r , i t h as an u n d u la tin g ,
sy n co p a ted f i g u r e in th e accom panying v o i c e s (th e m elody
i s p a sse d from th e secon d b a ss t o second te n o r to f i r s t
te n o r o f th e s o l o q u a r t e t ) . I t c o u ld a ls o be assumed th a t
L i s z t was t h in k in g back to M o za r t's "Lacrymosa" from th e
D m inor Requiem ( s e e Example llj.2 ). The t r u l y n o v e l s e c t i o n
o f th e Agnus D e l, how ever, i s found in th e "Dona n o b is
pacem” p a ssa g e where th e G regorian in t o n a tio n fo r the Credo
app ears (Example ltj.3, a and b ) .
260
Example llj.1. S a n c tu s
M eas. 58- 6lj.
CHOL UV.
|*N =*=
u\*., ^V9|CU\* ^ •*- ulfif, Uo* v\*.
if — -
A:--,--— ;=» O
—t _, —1------ f t- I—4—— 1—(—r— f f
icLi-.i d-~-— -&7ZZ
w k 7- - LrJ—ar—
—]—■—?— a—a—a â—
SP-V- r r • “ f 1 pHr 1- :fir.r
V4«S<iiv l\0 &K* {w\ U* S*K- «A«k
^ i'm.
bAV^-—• m i f f ff -- T*t n - . -Jfc
fa*. v -....j —» *o— g ~t
a _ iFt==1
r&T ,O rj - - -
> — v — t o ------------ -8 - -4M g#q •pv.
i —&——= 4 = rr~ l ■--g- -fl|J
-- £-=r— Qi
w<»»•—H
=4=J* " : H-- -»»---S—-
r -
261
Example 1U2. Agnus D el

Me a s . 1-U
, +olli« p«c - c a - +tx vh«*h
Example ll+3 • Credo

a. I n t o n a t io n
4 S . _ ■- ^ 1=
^ (UU»
262
Example 11*3. Credo

b . Me a s . 1*1- £ l
AH*- <dU
v\o
D o - vvo.
-as:
A lthough t h e t r a n s f ig u r a t io n of them es r a r e ly occu r in th e

s m a lle r c h o r a l works o f L i s z t , i t can be c i t e d in th e Agnus
D el (Examples 11*1* and ll+ 5 ). The Credo m otive i s reworked
and i s th e b a s is fo r th e rem aind er of the Mass f o r Male
V c lc e a .
Example llt-if.. Agnus D el
Meas. 6 5 -6 8
dim.
a d S *
y do - . n*
Example 11+5 • Agnus D el

M eas. 9 7 -1 0 7
rf \g < u > f
^ Pi
Sou
w
~c)~
^0E
Chapter VII
REQUIEM FOR MALE VOICES AND ORGAN
Commentary
On J u ly 31» 18 8 6 , l e s s th a n two months b e fo r e h is

s e v e n t y - f i f t h b ir th d a y , Franz L i s z t d ie d . The fu n e r a l to o k
p la c e a t B ayreu th on August 3 , but n o t w ith th e homage th a t
many o f h i s f r ie n d s would have w ish e d . L is z t 's B r itis h

b io g r a p h e r , S a c h e v e r e ll S i t w e l l , r e c o u n ts th e im p r e ssio n s
o f W alter Bache, b r o th e r o f C onstance Bache and farm er
stu d en t o f L i s z t ' s , who a tte n d e d th e f i n a l c er e m o n ie s:
There was a la r g e a tten d a n ce a t h i s f u n e r a l

but W alter B ache, who came from England f o r
th e p u rp o se, was shocked beyond m easure a t the
manner in w h ich th e m u sic ia n s p r e se n t joked
to g e t h e r a f t e r th e cerem ony. They had f o r
g o t t e n L i s z t a lr e a d y on th e day o f h i s
f u n e r a l.1
For a man who had been immersed in m usic a l l o f h i s l i f e ,

he had been d e n ie d i t a t h i s d e a th (som eth in g L is z t had
2
a c t u a l ly p r e fe r r e d h i m s e l f ) . B oth a t th e fu n e r a l and a t
1. S itw e ll, 326.
2. L e tte r s, I I , 189.
265
th e g r a v e s i t e t h e r e was no m u s ic . "C.R." in an a r t i c l e in
th e Neue Z e i t s c h r i f t f&r M usik o n Septem ber 21+, 1 8 8 6 , ad

m on ish es t h e c i t y o f B ayreu th fo r n e g le c t in g to sp on sor a
s p e c i a l c o n c e r t and c o n g r a tu la t e s L e ip z ig and Prague f o r
d o in g s o .^ A ls o , a c c o r d in g to "C.R." a m em orial c o n c e r t
sp o n so red by th e L i s z t S o c ie t y to o k p la c e in L e ip z ig on
Septem ber 9 , in t h e P a u lin e Church. The T w enty-T hird Psalm

f o r s o lo v o i c e , harp and o rg a n , A ngelus fo r s t r i n g q u a r te t ,
L i s z t ’ s Bach Fugue f o r o r g a n , and the Requiem f o r m ale
v o i c e s , o rg a n , b r a s s , and tym pani were g iv e n an " o u tsta n d

in g perform ance" t o a " f u l l c h u r c h ." The L e ip z ig
L e h r e r g e sa n g v e r e ln "won a l l p r a is e f o r th e Requiem, a few
r e h e a r s a ls q u a l i f i e d t h i s t a le n t e d c h o ir , under th e d i r e c
t i o n o f th e f a r - s i g h t e d d i r e c t o r - i n s t r u c t o r Ferdinand
S i e g e r t t o produce t h i s o th e r w is e d i f f i c u l t work p e r f e c t -
l y . " 1*
"C.R." th e n p r o c e e d s to d i s c u s s th e Requiem , L i s z t ' s
m u sic a l p r e f e r e n c e s , and. the perform ance i t s e l f . " It i s
w ith L i s z t o f th e g r e a t e s t im portance t o ob serve a l l p r o

s c r ib e d dynam ics to th e »T,n and t o t r y to approxim ate "an
e l a s t i c tem po, n o t e x a c t l y an in te n d e d r u b a to , but a good

s e p a r a tio n o f c o n t r a s t in g r e p e t i t i o n s , sm a ll s c a r c e ly
3. " C .R .," "Ein Requiem ftir L i s z t und L i s z t ' s Requiem,"

Neue Z e i t s c h r i f t ftir M usik, No. 39 ( L e ip z ig , S e p t. 2!+,
1 8 8 6 ), I4.1 7 .
i*. I b i d . , 1*17.
266
n o t i c e a b le r ita r d a n d o s and a c c e le r a n d o s .” L i s z t , a c c o r d in g
t o " C .R .,” d i s l i k e d d is r u p t iv e perform ance p r a c t i c e s , but
welcom ed in d iv id u a l r e a d in g s a s lo n g a s th e c o r r e c t tempo
was fou n d ; f,w ith su ch o b s t r u c t io n s , as w ith th e d is c o n t in u
a t io n o f a c c e le r a n d o s , one can im p rin t a dead w e ig h t on an
e n t i r e p h r a s e , c o n fe r th e f e e l i n g o f boredom, w h ile the same
p h r a se s m ig h t ren d er a tr a n s p o r tin g e f f e c t w hich i s f u l l o f
e x c i t i n g t e n s i o n s when e x e c u te d c o n s c i e n t i o u s l y .” On th e
o th e r hand, a tempo w ith a "solem n mood" sh ou ld n o t be ta k e n
to o q u ic k ly , o th e r w is e "one f a l l s i n t o an i n d if f e r e n t w h ir l
pool." Problem s o f in t o n a t io n ar-e a l s o m en tioned as one o f
L i s z t ’ s m ain p o in ts o f con cern (an i s s u e o fte n spoken o f in
much o f h is co rresp on d en ce c o n c er n in g c h o r a l m u s ic ). The
com poser, a c c o r d in g t o " C .R .," f e l t t h a t th e Requiem sh ou ld

n o t be approached w ith s u b j e c t iv e e x p r e s s io n "but r a th e r
w ith o u t p e r so n a l f e e l i n g s , e n t i r e l y flo w in g in a s t r a i g h t
forw ard m anner."
Turning t o th e perform ance o f Septem ber 9» a s o lo
q u a r te t com p rised o f Salzm ann, Klemm, S ch aarsch m id t, and
Jugel i s id e n t if ie d . The f i r s t te n o r , Salzmann, i s com

mended f o r a b e a u t i f u l v o i c e , but which becau se o f i t s sm a ll
s i z e was l o s t in th e B e n e d lc tu s . The o r g a n is t " co u ld have
$. I b i d . , 1*17.
267
d e lin e a t e d th e m elod ic l i n e more m e a n in g fu lly in a few p a s
s a g e s marked p p .” The Requiem was p r a is e d as th e b e s t work

o f th e e v e n in g , and i t was m entioned th a t the b r a ss and
6
tym pani p la y e r s were members o f th e L e ip z ig opera o r c h e s tr a .
L i s z t was commended f o r not s e t t i n g the t e x t , ”Quam olim
A b rah ae,” i n th e t r a d i t i o n a l fu g u a l s t y l e , and i t s ab sen ce
*7
was r e f e r r e d t o as a ’’p le a s a n t r e n o v a t io n .” P rev io u s to
t h i s perform ance o f th e Requiem , two o th e r s are m entioned
by ”C .R .,” one in Jena in November o f 1871, and anoth er
Q
a t Magdeburg in th e R e b lin g 'sc h e n Church ( n . d . ) . O ther
r e a d in g s o f th e Requiem a re m entioned by v a r io u s so u r c e s:
S e a r le c i t e s a f i r s t perform ance o f th e work a t Lwdw on

O ctober 17> 1869;^ Rehberg sa y s th e prem iere occu rred at
Lemberg on O ctober 17* 1 8 6 9 , in memory o f the t w e n tie th
a n n iv e r sa r y o f C h op in 's d e a th , perhaps in c o n n e c tio n w ith
th e f i r s t perform ance o f M l3sa c h o r a l l s . ^ (Raabe su b sta n

t i a t e s th e Lemberg l o c a t i o n , r e c e iv in g h is in fo r m a tio n from
A. W. G o t t s c h la g 's Franz L i s z t in Weimar und se in e l e t z t e n
6. I b i d . , 1+18.
7. I b i d . , 1+19.
8. I b i d . , 1+18.
9. S e a r le , The Music o f L i s z t , li+6.
10. R ehberg, 1+39.
268
11 12
Lebftnsjadfrre. * In a l e t t e r t o Odfin von M ilh a lo v ic h on
A p r il 2 1 , l87j?> L is z t sp e a k s o f a proposed perform ance i n
honor o f th e d e c e a se d Madame M oukhanoff, in v o lv in g v a r io u s
13
works o f h im s e lf ahd M ilh a lo v ic h . The a c tu a l f u n e r a l,
how ever, to o k p la c e e a r l i e r on June 1 7 , 1871*, a t w hich th e
1868 Requiem had been p e r fo r m e d .^
W ritin g t o Franz B ren d el on June 1 7 , 1 8 6 8 , L is z t com

p la in e d o f n o t h a v in g enough tim e to com pose, due m a in ly to
’’i n t r u s iv e c o r r e sp o n d e n ts” who b o th ered him and w asted h i s
tim e ; ” s in c e th e C oron ation Mass I have in f a c t w r it t e n one
s o l i t a r y work: a Requiem f o r male v o i c e s w ith a sim p le
organ accom panim ent.” He th e n t e l l s B ren d el th a t h e h e n c e -

15
f o r t h w i l l be rude and a l o o f t o such i n t r u s i o n s . The
Requiem was w r it t e n betw een 1866 and 1 8 6 7 , and was s e n t to
th e P a r is ia n p u b lis h e r Repos on Septem ber 2 2 , 1868:
Here i s th e Requiem . I f you th in k i t would be

w e l l to p u b lis h th e f i v e p a r ts s e p a r a t e ly
(Requiem, D ie s I r a e , O f f e r t o l r e , e t c . ) in th e
f i v e numbers o f th e Revue de Muslque S a c r ^ e ,
11. Raabe, 3 2 2 .
12. Woodward, 17U*
13. B r ie f e , P ra h a cs. e d . , 1 7 5 .
11*. I b id ., 270.
15. L e tte r s , I I , 151.
269
I should n o t have th e s l i g h t e s t o b j e c t io n to
i t , and w i l l o n ly a sk you t o announce th e
com p lete e d i t i o n to be had by i t s e l f a t th e
same tim e as th e d eta ch ed p ages ap p ear.
L i s z t a l s o adds t h a t th e e n g ra v er sh ou ld be c a r e f u l not
t o add wrong n o te s o f h i s own, and a sk s f o r a u th o r ’ s r i g h t s
" fo r Germany and I t a l y , i n order to keep my prom ise w ith
s e v e r a l p u b lis h e r s ." " ^ The com poser, alw ays w ith a good
eye fo r com m ercial s u c c e s s , knew w e ll th e problem s and
te c h n iq u e s o f m usic p u b lis h in g .
A ccording to L ina Ramann, t h e f i r s t o f f i c i a l L is z t
b io g r a p h e r , L i s z t w rote the Requiem f o r d e c ea se d members
o f h i s own fa m ily ( h i s son D an iel in l 8 £ 9 ; B la n d in e , h i s

d a u g h ter, in 1862; h i s m other, Anna L i s z t , in 1 8 6 6 ), and
f o r P r in c e s s S a y n -W ittg e n s te in , to whom th e work i s d e d i-
17
c a te d and who ord ered i t f o r her own fu n e r a l i n 1 8 8 7 .
Ramann’ s c la im , a lth o u g h coming from an e x tr e m e ly b ia s e d
and th e r e fo r e q u e s tio n a b le so u rce, is supported in p a rt by
a l e t t e r to J o s e f D essau re on December 3 0 , l8f?9: "When I

have f i n i s h e d w ith some works which ca n n o t be p o stp o n ed ,
..18
D a n iel s h a l l have h is Requiem. On the o th e r han d, La
16. I b id ., 159.
17. I b id . , I I , 332 ( f o o t n o t e ) .
18. L e t t e r s , I , 1+18.
270
Mara c la im s th a t P r in c e s s H ohenlohe (Marie S a y n -W lttg e n s te in )

heard L i s z t sa y th e Requiem was su g g e s te d to him in 1867 on
th e o c c a s io n o f Emperor M a x im ilia n ’ s v i o l e n t d e a th in M exico

( s h o r t l y b e fo r e h i s t r a g i c e n d , th e Emperor had bestow ed on
L is z t The G reat C ross t o th e Order o f G u ad elou p e). It is

a ls o s u g g e s te d th e Requiem fo r m ale chorus and organ i s
i d e n t i c a l t o the rumored "requiem m ass” fo r Emperor M axi-

19
m ilia n o f M exico. In any e v e n t, th e Requiem i s a s i g n i
f i c a n t la r g e c h o r a l work alm ost on a par w ith th e Male
Chorus M ass, whose c r e a t i o n , s a y s Woodward, m ight w e ll have
20
in s p ir e d th e e x t e n s i v e r e v i s i o n o f t h e l a t t e r . P e te r
Raabe had d e f i n i t e i d e a s about th e Requiem and th e im p lic a

t i o n s i t brought to L i s z t ’ s l i f e and m u sical s t y l e .
How d e e p ly he had submerged h i m s e l f in th e

b e a u ty o f th e G regorian Chant, how j o y f u l l y he
had ste p p e d in on b e h a lf o f i t s p r e s e r v a t io n , how
h a p p ily he had g r a n te d i t e n t r y in t o h i s own
c r e a t io n s ! However, a s he w rote h i s l a s t , la r g e
l i t u r g i c a l w ork, h i s Requiem , he turned away com
p l e t e l y from th a t b a c k w a rd -lo o k in g typ e o f work.
P i l l e d w ith th e th o u g h t o f d e a th , o f th e memory
o f th o s e r e tu r n e d home whose l o s s he mourned,
f i l l e d w it h th e h o rro r o f e t e r n i t y , he w rote h is
d e a th mass and w ith i t p la c e d h i m s e l f in ir r e c o n
c i l a b l e o p p o s it io n to th e c h u r c h . L i s z t ’ s
Requiem i s a work about w h ich one can n ot d i s
p u t e . Here h e speaks th e la n g u a g e o f h i s sym
p h on ic p o e t i c a l w orks. He sp ea k s in a th u n d er in g
3.9. B r l e f e , I I , 332 ( f o o t n o t e ) .
20. Woodward, 174*
v o ic e o f d ea th and judgm ent, which w i l l be r e
q u ire d in e t e r n i t y . At the same tim e t h e r e
are s e c t io n s o f s w e e tn e s s and d e lic a c y o th e r w is
s c a r c e ly to be found in h is w ork. " S in ce my
e a r l y y e a r s ," L i s z t w rote to Lina Ramann in
1 8 8 3 , I have c o n s id e r e d d y in g much e a s i e r than
l i v i n g . Even when o f t e n t e r r i b l e , p r o tr a c te d
p ain p r e c e d e s d e a th , i t rem ain s n o n e t h e le s s th e
r e l e a s e from our com pulsory yoke o f e x i s t e n c e .
R e lig io n e a s e s t h i s yok e, y e t u n d ern eath our
h e a r t b le e d s c o n s t a n t ly ! ’ Sursum c o r d a i ' In
my ’Requiem' I t r i e d to g iv e e x p r e s s io n to the
m ild , r e l i e v i n g v o ic e o f d e a th . I t r e v e a ls
I t s e l f In th e ’ D ies I r a e , ’ where the r e i g n of
t e r r o r was u n a v o id a b le , in th e th r e e - p a r t
str o p h e :
Qui Mariam a b s o l v i s t i ,
e t Latronem e x a u d i s t i ,
m ih i autem spem d e d i s t i
H erein l i e s th e g e n t le in tim a te a c c e n t w h ich

i s n o t ea *' fou n d among th e u s u a l s i n g e r s ."
(B r. I I
. . . L i s z t ’ s Requiem i s n o t a r e la p s e In to
w o r ld ly cu sto m s, b u t r a th e r a work t h a t p ro
c la im s th a t i f so m eth in g deep sh o u ld be s a id
in a r t , th e n freedom must r u l e . In t h i s Requiem,
L is z t prayed w ith o u t u s in g form s o f p r a y e r .
He sp eak s from h i m s e l f to God in the m u s ic a l
lan gu age w hich r e c o g n iz e s no c o n d it io n in g f a c
to r s. As he w rote th e Requiem, L i s z t c e r t a i n l y
d id not f e e l l i k e a r efo rm e r, and y e t t h i s work
p r o c la im s c l e a r l y , as d oes no o th er of h i s
e c c l e s i a s t i c a l p i e c e s , what rem ain s th e co n
f e s s i o n o f a l l tim e s and c r e e d s , when a s t r u g
g l i n g s o u l speaks i t s l a s t word: I can n ot do
o t h e r w i s e .21
21. Raabe, 1 6 0 -6 1 .
272
T b^M usic
As in h i s d is c u s s io n o f th e Male Chorus M ass, Dr.

P h ilip p Wolfrum i d e n t i f i e d and compared m a n u scrip ts and
s c o r e s o f th e Requiem f o r Male V o ic e s ( lo c a t e d in th e
L i s z t Museum a t W eimar), and reco rd ed h i s f in d in g in the
B r e itk o p f & H & rtel e d i t i o n o f Franz L i s z t ' s M usical Works
(V o l. 3 ) . He examined an o r i g i n a l m an u scrip t from May,

1 8 6 8, and a copy o f a Kahnt p u b lic a t io n from 1872 (Kahnt
prepared th e f i r s t German e d i t i o n o f the Requiem in 1870,
w ith su b seq u en t e d i t i o n s f o l lo w in g ) , and r e f e r r e d t o them
22
a s Copy A and Copy B.
At th e tim e of Wolfrumf s stu d y , Copy A was m issin g th e

e n t ir e f i r s t movement (Requiem etern am ) and the trum pet
p a rt from th e L acrlm osa s e c t i o n o f th e D ies I r a e . Wolf rum
s p e c u la te d : " It c o u ld have d isa p p e a r e d , as did so many
o th e r w orks, a f t e r th e d eath o f the m a ste r ." The s i x t h
movement, L ib era me, i s not in c lu d e d i n Copy A because i t
had n o t been composed u n t i l 1872; i t d o e s, o f c o u r s e , ap-
1
pear in Copy B . F u r th e r , th e in s tr u m e n ta tio n o f Copy A
c o n ta in e d tru m p ets and h o r n s, w h ich were changed to tru m p ets
and trom bones i n the Kahnt p u b lic a t io n . The l e t t e r s
22. Werke. V o l. 3 (C o l. 1 ) .
273
"B.B. (Bon B e s s o n )” appeared a t th e end o f th e S a n c tu s- -
a s ig n a tu r e o c c a s i o n a ll y used by L i s z t a t a work1s com ple
t i o n . 23
Copy B was donated t o th e L is z t Museum by th e e s t a t e
o f A. W. G o tts c h la g , th e •" le g e n d a r y c a n to r ” and Weimar
c o u r t o r g a n i s t , who a c te d as L i s z t Ts a d v is o r in m a tte r s
2li
r e l a t e d t o th e organ . Not in Copy A, but added t o B,
were fo u r m easures o f in t r o d u c t io n (a s u s t a in e d m id d le C)
a l s o em ployed i n th e Organ Requiem o f 1 8 8 3 . E x p la in in g
t h i s a d d it io n , Wolf rum s a id : "H erew ith he w ish ed n o t o n ly
t o o b ta in a m y ste r io u s v o i c i n g , bu t a ls o t o ta k e s t e p s
a g a in s t th e custom ary t r i t e l o s s o f rhythm and p it c h o f t e n

e x p e r ie n c e d by th e bad in t o n a tio n o f S in g in g O r g a n iz a tio n s
o r o f th e o r g a n i s t .” Wolfrum g o e s on to s a y th a t L i s z t ,
in th e P o st E le v a tio n e m , l a t e r t r a n s la t e d t h e dynamic mark
in g s in to German f o r h i s c a r e l e s s " fe llo w a r t i s t s , " h op in g

26
t o " in f lu e n c e t h e i r n o t - t o o - p u r e b a to n s ."
Comparing Copy A and Copy B in th e D ie s I r a e , Wolfrum
n o t ic e d th e f o llo w in g d i f f e r e n c e s : a t measure 1 , B i s
23. I b id ., x ( c o l. 1 ).
2b- I b id . , x ( c o l. 2 ).
25. In a l e t t e r t o G o tts c h la g on June 17, 1883 ( B r i e f e ,
V I I, 3 8 2 ) L i s z t s a id : " I t i s a Requiem whose m o tiv e s
are d e r iv e d from t h e Requiem fo r m ale v o i c e s and o r g a n .
26. Werke, I I I , x (C o l. 2 ) .
21k
marked f o r t e a s compared t o th e m e z z o -fo r te in A; a t measure
1 2 5 , ma poco i s added to th e un poco p iu d i moto o f A; at
m easure 1 3 6 , e x p r e s s iv o i s added t o th e f i r s t t e n o r p art in

B; a g a in in B, a diminuendo i s added t o th e smorzando at
m easure lJ+2; a t m easure w r itt e n over th e
E - f l a t 1 o f the f i r s t b a ss s o lo p a rt (p ro b a b ly w a n tin g a
dim inuendo from th e s in g e r as he d e sc e n d s from th e h ig h e r
p i t c h ) ; a B -n a tu r a l in Copy A a t m easures 213-216 was r e
moved from th e r ig h t-h a n d manual in Copy B (p ro b a b ly an e r r o r
in th e f i r s t m a n u sc r ip t); a t m easure 265, a p ia n is s im o mark
in g was added to th e organ , and a t m easure 2 8 9 , a smorzando
was added in B to th e diminuendo in Copy A; an ’’o v e r - a ll"
c r e sc e n d o was added t o Copy B a t m easure 2 9 8 , and a t m easure

lf8i| an E - f l a t was c o r r e c te d t o read P - f l a t in the r ig h t hand
o f th e organ p a rt ( t h ir d p i t c h from the t o p ) . The rem a in in g
m ovem ents, b ecau se o f t h e i r s h o r te r le n g t h , c o n ta in few er

c h a n g e s. Requiem etem a m in Copy A had been marked Andante
s o s te n u to (common tim e ); in Copy B L i s z t s u b s t it u t e d Adagio
MMJ - lj.0 a l i a b r e v e , su p p o se d ly to g iv e the t e x t u r e more o f
a flo w in g tem po. He a l s o added an 8 - f o o t r e g i s t e r in the

organ to d is c o u r a g e o r g a n is t s from u s in g a ij.- or 1 6 - f o o t
sound. In m easures 37 and 38 th e organ was k ep t a t p ia n o ,
a lth o u g h th e v o i c e s were marked f o r t l s s i m o (Wolfrum changes
t h i s w ith a crescen d o marking in both v o ic e s and o r g a n ),
275
and an " im p o s sib le c re scen d o " fo r o ld e r organ s app eared in
m easu res 2? and 28 on e t lu x p e r p e tu a . (In Wolfrum1 s e d i

t i o n on m easures 29 and 3 0 , th e b a ss s o l o v o i c e h a s a
c re scen d o -d im in u en d o m ark in g, w h ile th e organ m erely s u s
t a i n s i t s c h o r d .) In S a n ctu s and B e n e d lc tu s ( P o st E le v a -
tio n e m ) th e m ete rs s e l e c t e d w ere 3 /2 and 6 / 8 , r e s p e c t i v e l y
27
( i n th e p r e s e n t sc o r e i t i s 3 /2 and 6 /ij.), and in L ib e ra me
th e organ p e d a l i s g iv e n a " u n if ie d system " by Wolfrum,

"as a r i c h e r , s u it a b le u s e o f th e p ed al was n e c e s s a r y a c
c o r d in g t o L i s z t ' s s p i r i t (d ep en d in g on the s i z e o f th e
c h o ir and th e sp ace u s e d ) ." Wolfrum numbered m easures
•• „28
"on b e h a lf o f u n ifo r m ity ." Most o f t h e above c o r r e c t io n s
and a d d it io n s w ere c r e a t e d , no d o u b t, e i t h e r by th e d i s
c o v e r y o f e r r o r s or b e c a u se of e x p e r im e n ta tio n in e a r ly
p erform an ces ( a s i n th e c a s e o f th e Male Chorus M ass) .

Wolfrum a l s o n o t ic e d a l a c k o f dynamic m arkings in th e
organ p a rt in both Copy A and Copy B, and assumed th e ab
se n c e s i g n i f i e d L i s z t ' s f e a r " o f th e m e c h a n ic a l sh ortcom -
29
in g s and u n c e r t a i n t i e s o f th e o ld o r g a n s." The B r e itk o p f
& H ftrtel p u b l i c a t i o n (G regg R e p r in t) o f th e Requiem Is

b a sed on Copy B .
27. I b id ., x i ( c o l. 1 ).
28. I b id ., x i ( c o l. 2 ) .
29. I b id ., x ( c o l. 2 ).
276
The Requiem f o r Male V o ic e 3 , organ accom panim ent,

b r a a s, and tym pan i, c o n ta in s a number o f c h a r a c t e r i s t i c s
t h a t d eterm in e i t s o v e r - a l l e s s e n c e . F i r s t o f a l l , th e
b a r ito n e s o l o i s t , from th e q u a r te t o f m ale s o l o i s t s , o f t e n
a c t s a s Vorsftnger (p r e c e n to r ) to the resp o n d in g body o f the

f u l l m ale c h o r u s, alm ost a s in th e r o l e o f a r e c i t i n g
p r i e s t ( s e e Example lij.6 ).
Example llj.6. O ffe r to r lu m

M eas. 1 -7
MM - d = b ( t
T .Z
CUv-i - - '£«* * -\ -
—CW>|
Another te c h n iq u e d i s t i n c t i v e to th e Requiem i s L i s z t ' s u se

o f m e tr ic s i l e n c e s , e s p e c i a l l y a t moments o f d ram atic i n
t e n s i t y , a s se e n in Example lif.7•
277
Example II4.7 - Dies Irae

Meas. 121-125
T h is exam ple, b e fo r e the b e g in n in g o f the Rex trem en dae,
i s j u s t one o f a p r o l i f e r a t i o n o f s im ila r i n c i d e n t s .
A nother penchant pursued in the Requiem, as i t was th ro u g h
out th e com poser’ s c a r e e r , was th e employment o f a r i c h
harm onic la n g u a g e . In v o lv e d se q u e n c e s, un u su al chord
s p e l l i n g s , o u t lin e d c h o r d s, augmented t r i a d s , and augmented
s i x t h c h o r d s, w hole to n e e f f e c t s , c l u s t e r s o f m ajor se c o n d s,
t r i t o n e r e l a t i o n s h i p s — a l l o f t h e s e perm eate th e w ork. A
s i g n i f i c a n t harm onic occu rren ce i s th e freq u en t p r e sen ce

o f ch o rd s in in v e r s io n , g i v in g an u n s e t t le d , tenuous
278
■30
atm osphere t o th e Requiem . In f a c t , as c l e a r l y apparent
in Example ll* 8 , th e f i n a l chord o f L ib era me i s an A maj or
t r i a d in f i r s t in v e r s io n .
Example ll* 8 . L ib era me

M eas. 10l*-lC>5
r\
When c o n s id e r in g th e o v e r - a l l physiognom y o f th e
Requiem, a n o te o f r e s e r v a t io n must be v o ic e d in r e fe r e n c e
t o the employment o f th e b r a ss and tym pan i. They are h e ld
in r e s e r v e u n t i l Tuba mlrum and Judex ergo and app ear a l s o
in th e Jud ican du s homo r e u s p o r t io n , a l l from D ie s I r a e .
L ater th e y m a t e r ia liz e in th e S a n ctu s and B e n e d lc tu s a t
th e Hosanna s e c t i o n s . However, i t w ould seem th a t th e y

c o u ld a ls o be used e f f e c t i v e l y in f o r c e f u l p a s s a g e s l i k e
C o n fu ta tis m a le d lc t u s , Rex trem endae m a j e s t a t ls (b o th from
D ie s I r a e ) or in s im ila r p la c e s in O ffer to r lu m and L ib era

me. Perhaps L i s z t , l i v i n g a t th a t tim e in Rome and d iv o r c e d
30. T h is phenomenon, v i s i b l e in th e Requiem, appears q u ite

f r e q u e n t ly in two o f L i s z t ’ s l a t e r c h o r a l c o m p o sitio n s
— th e V ia c r u c ls ( I 878- I 8 7 9 ) and Psalm CXXIX ( l 8 8 l ) .
Perhaps th e use o f chords in in v e r s io n m ight w e l l be
a ten d en cy o f the com poser’ s l a t e w orks.
279
from th e c o p y i s t s and o r c h e s t r a t o r s a t Weimar, d is c o v e r e d
t h a t f i n a n c i a l and tem p oral d i f f i c u l t i e s ren d ered a more

e x t e n s iv e accompaniment im p o s s ib le .
Requiem aeternam
The o u te r s t r u c tu r e o f th e Requiem f o r Male V o ic e s i s
a s o l i d m u sic a l u n i t . Yet w it h in t h i s o r g a n ic whole r e s i d e
th e moments t h a t a ff o r d th e work i t s tr u e d i s t i n c t i o n . In
Requiem aeternam su ch a moment ta k e s p la c e a s an i n t e r e s t i n g

ch ro m a tic p a ssa g e (m easures 8£ t o 9 2 ) approaches th e key o f
E major ( c o n t r a s t in g t o th e home t o n a l i t y o f A - f l a t m ajor

in a t r i t o n e r e l a t i o n s h i p ) .
Ralph Woodward f e e l s th a t t h i s
31
i s an exam ple o f " ch rom aticism f o r i t s own sa k e ." ^ How
e v e r , in d e fe n s e o f L i s z t i t sh o u ld be p o in te d out t h a t ,
b eca u se t h i s p o r tio n o c c u r s in an a r e a o f m u sic a l d i g r e s

s io n , i t s r a is o n d ^ t r e i s to p r o v id e c o n t r a s t and to p r e
pare th e upcoming cad en ce (Example l i | 9 ) . Th© e n t i r e

Requiem aeternam i s shaped in an ABA'C s e c t i o n a l p la n w ith
b o th A groups r e p e a te d e x a c t l y . S e c tio n C s e t s th e t e x t
o f K yrle e l e l s o n , C h r ls te e l e l s o n .
31. Woodward, 1 7 6 -1 7 7 .
280
Example l k 9 • Requiem aeternam

M eas. 85>-92
pdotcc
t i s
— «MV1I5
m
- c<ci r i . vc “ “■ W\
w m t W E P I
D ie s Ir a e
The l o n g e s t and t h e r e f o r e m ost m u s ic a lly d iv e r s e move
ment i s the D ie s I r a e . B roadly s tr u c tu r e d in ABA fo im , i t
i s u n i f ie d by a common m o tiv e ap p ea rin g (s e e Example l £ 0 ,
a and b) in th e b e g in n in g s e c t i o n and in i t s r e c a p i t u l a t i o n .
The c o n t r a s t in g m idd le s e c t i o n (B ), b e g in n in g i n th e k ey
o f C -sharp m inor on Judex e r g o , p r o c ee d s th ro u g h a la b y r in t h
o f t o n a l i t i e s t o B m ajor (th e home key i s a n eb u lo u s E - f l a t
m a jo r). H a r m o n ic a lly , one o f t h e most i n t e r e s t i n g f r a g
m ents i n th e movement o ccu rs when, a f t e r a seq u en ce o f
f a l l i n g ch rom atic l i n e s on s a lv a
281
Example 1 $ 0 . D ie s Ir a e
a . M eas. 1^5 b. M eas. 360-361
A tta naaoV}-* imosso
U A is
>
:3 = ^ —i—^=: >
* i - faa C on. fu .
jy C H O R
U . tis
-------- CL--- LjM— 4 f^vTf*': r frlffr'.-p- i

1 IC o n .fu . U . tis
| jy C H O R
ifo f - = ---f-t-: ferm1 f 1 (1^
— 7tv«---i-^--
—irae
P Con. fa - U . tit
----- 1 : ~
•RM N
(lihrrir
W* »
- -— = = j
ViK& ^Q ~..^-0 ---- jlJ. X--
- -
fit. 1 1 '»f ~
fo b * - :i
me fo n s p i e t a t I s . a cad en ce e x t e n s io n ap p ears (much l i k e

an o p e r a tic cad en za) ap p roach in g E - f l a t m ajor a t th e t e x t ,
R eco rd a re, J esu p ie (Example 15>1) .
E ncased in a p a ssa g e th a t c o n ta in s some of the m ost

ch ro m a tic w r it in g o f th e D ie s Ir a e (m easu res 1 6 2 -2 1 0 ) i s
th e e f f e c t u a l word crucem ( s e e Example lf>2) a c c e n te d by
th e p lacem en t o f an augmented t r i a d w ith a m ajor s e v e n th .
Example 1*>1. P le a Ir a e
M eas. l i | £ - l 55
Soto
IK
283
Example 1^2. D ie s Ir a e
Meas. 189-133
fe fc p 1
i H ' r -------- 1
crucem pas . - 6U5*.

— ■>-- ■“ -
\
1 ii
"a rr
i q n — _UL1_ D O - /
A lthough th e o u t l i n i n g o f ch ord s was a L is z t ia n p ra c
t i c e from th e e a r l y s e c u la r m ale chorus p i e c e s , I t was

c a r r ie d i n t o and p e r fe c te d in h i s la r g e r and l a t e r c h o r a l
w o rk s. At th e c o n c lu s io n o f the f i n a l cadence in th e above
exam ple, a d im in ish ed s e v e n th chord b u i l t on E -n a tu r a l i s
o u t lin e d by the f u l l male c h o ir ( v i s i b l e i n Example 13>3)
a s th e organ s u s t a in s th e same chord below ( i n se co n d in

v e r s io n ). S h o r tly a f t e r th e r e tu r n o f th e i n i t i a l m otive
( s e e Example 1 5 0 b ), th e L acrlm osa s e c t i o n in tr o d u c e s th e
new t o n a l i t y o f C m a jo r. S tr o n g ly r e m in is c e n t o f M ozart’ s
Requiem, th e organ p la y s an u n d u la tin g f ig u r e ( i n Example
lfJij.) a s th e chorus s in g s a broad theme ab ove.
28k
Example 15 3 - D ie s Ir a e
Meas. 212-219
C H tf,
m m
WP m i
i 1
O ther e s s e n t i a l p o in t s in Example l$ k a re th e t r i t o n e l i f t
in th e m elod y in m easure J4.3 O, and t h e appearance o f th e main
m o tiv e in th e o r g a n 's lo w er manual in m easures h 3 1 -h 3 2 . The

m o tiv e i s t h e r e a f t e r p a sse d a lo n g from one manual t o th e
o th e r a s th e f i n a l s e c t i o n o f the D ie s Ir a e p r o g r e s s e s .
285
Example 151}.. P le a Ir a e
Meas. ^26-1*32
286
O ffe r to r iu m
S u cceed in g th e D ie s I r a e , th e most ch rom atic moments
o f th e Requiem are fou n d in th e O ffe r to r iu m . It i s a ls o

in ABA fo rm a l sh a p e, r e c a l l s th e theme o f th e L acrlm osa
(m easu res 1 9 - 2 0 ) , and h o u ses one of the m ost f a s c i n a t i n g
harm onic fra g m en ts in th e e n t ir e work (Example 155)* In

t h i s example th e w hole to n e e f f e c t o f ne a b so rb ea t e a s moves
t o th e major seco n d s and augmented t r i a d a c c e n tin g ta r ta r u s

(a l i k e tre a tm en t i s a l s o a ffo r d e d de ore l i o n l s , which h a s
ju 3 t p r e c e d e d ), and r e s o l v e s t o th e B m ajor t o n a l i t y a t th e
te r m in a tio n o f an o u t lin e d augmented s i x t h c h o rd .
S a n ctu s and P ost E le v a tlo n e m

The San ctu s and P ost E le v a tlo n e m (B e n e d ic tu s ) are th e
l e a s t h a r m o n ic a lly in n o v a tiv e segm en ts o f th e Requiem , but
a t th e same tim e o f f e r a change o f t e x t u r e th rou gh t h e i r
s tr a ig h tfo r w a r d ap p roach . B eg in n in g i n P m ajor, th e
S a n ctu s d ig r e s s e s in a L i s z t ia n manner u n t i l th e hom e-key
a p p ea rs a g a in i n t h e P ost E le v a tlo n e m , a t w h ich tim e th e
grand c lim a x , I n v o lv in g th e t o t a l f o r c e s ( v o i c e s , organ ,
b r a s s , and tym pani) o c c u r s on Hosanna in e x c e l s i s . An
a c a p p e lla sta te m en t by th e s o lo q u a r t e t , j u s t b e fo r e th e
f i n a l cadence ( d e fin e d in Example 1 5 6 ) , p r o v id e s a q u ie t
c o n t r a s t t o what h a s gone b e f o r e .
287
Example 13>5>. O ffe r to r iu m

M eas. £0 -6 1
v\e o-s
> at
ob -
288
Example 1^ 6. P o st E lev a tlo n e m

M eas. 98-100
Agnus D el
Tonal s h i f t s are a p p lie d in th e Requiem, j u s t a s th e y
were in th e Male Chorus Mass, to a c c e n t a p a r t i c u la r key
w ord. On th e t e x t lu x eternam lu c e a t e l s o f the Agnus D e l,
in Example lf?7, th e words lu x and lu c e a t a r e u n d e rlin e d
w ith movements to B - f l a t and D m ajor c h o r d s .
L ib e r a me
L ib e r a me, added to th e Requiem in 1872, a p p lie s a
f i n a l , p o s i t i v e stamp t o th e work, com bining many o f the
289
Example 1 5 7 . Ap;nus D el
Meas. 5 0 -5 7
P' - Lux «.«. *
P W CCA - \l) r - WO. «- - IS,
Example 1 5 8 . L ib e ra m
M eas. 10-13
VtWcrw- jv _ *,f. S«a .-<w |u'* f«r
m s
vtwtrV*- w - - t « \uv* p iv
wd/ST*1’ ^
W T T
290
m u s ic a l d e v ic e s m a n ip u la ted p r e v io u s ly . H ow ever, i t i s the

f i r s t t r u l y d e cla m a to ry ch o ru s s in c e D ie s I r a e , and has an
i n d i v i d u a l i s t i c , rh yth m ic theme (Example 1 5 8 ) .
F i n a l l y , th e words d i e s i l i a are p u n c tu a te d w ith an
augmented s i x t h ch o rd , and an o p t io n a l organ v o ic in g i s
s u g g e s te d (m easures 3 8 -U l) w h erein th e th e m a tic id e a o f

Example 158 i s t r a n s f e r r e d from th e lo w er m anual t o th e
p e d a ls , g i v in g th e o r g a n is t a c h o ic e o f p e d a l te c h n iq u e or
manual d e x t e r i t y . The Requiem en d s on a f i r s t - i n v e r s i o n
A m ajor c h o rd , a s m en tion ed in Example ll+8.
291
C hapter V III
MISCELLANEOUS SECULAR CHORAL WORKS
FOR MALE VOICES
Commentary
Not I n c lu d in g th e psalm s f o r male v o ic e s * to be d i s
c u s s e d in t h e f o llo w in g c h a p te r , th e r e rem ain se v e n s e c u la r
p i e c e s f o r m ale c h o r u s . F iv e o f th e w ork s, b eca u se o f

t h e i r m u s ic a l a v a i l a b i l i t y , can b e exam ined i n d e t a i l ; two
o f them , f o r w hich th e r e a r e no a v a i l a b l e m a n u sc r ip ts , can
o n ly be r e f l e c t e d upon th ro u g h l i t e r a r y s o u r c e s .
The f i r s t o f th e s e v e n i s a l s o th e f i r s t o f th r e e
o r c h e s t r a l p i e c e s , T r o ls Odes F un^bras. E n t i t l e d Les M orts,
t h i s f i r s t o f th e od es was composed in i8 6 0 a t t h e d ea th
o f L i s z t ’ s so n , D a n ie l (a lth o u g h h e l a t e r d e d ic a te d i t to
h i s d a u g h te r , Cosima von B fllow ), and in 1866 was augmented
w ith a male eh oru s and an accom panying t e x t by th e r e v o lu

t i o n a r y n in e t e e n t h - c e n t u r y r e l i g i o u s man, A b b / Lam ennais.
The p o e tr y was n ot in te n d e d to be r e a d , and was in s e r t e d
o n ly a s a " gu id e f o r m u s ic a l th o u g h t;" i t h as been perform ed
in t h i s manner, how ever, a c c o r d in g t o Humphrey S e a r le , w ith

m oving e f f e c t , and i s th e r e b y a ls o g iv e n th e d e s ig n a t io n ,
292
O ra tio n f o r O rc h e str a w ith Male Chorua ad L ib itu m . Lea

M orts I s r e l a t e d t h e m a t ic a lly t o o th e r works by L i s z t .
T hese In c lu d e a p ia n o c o m p o s itio n , L es Morts ( w r it t e n b e fo r e
th e o r c h e s t r a l p ie c e i n i 8 6 0 ) , a p ia n o duet composed in th e
same year and b e a r in g th e same t i t l e , the secon d number from

Zwel V o r tr a g sstiie k e f o r tw o p ia n o f o r t e s ( i 8 6 0 ) , and La n o t t e ,
an u n p u b lish ed and u n f in is h e d p ia n o fo r te work from 1861+ and
1866. The O ra tio n f o r O rc h e str a and Male Chorus d id n ot
r e c e i v e i t s f i r s t perform ance u n t i l 1 9 1 2 , when P e te r Raabe
p repared and d ir e c t e d th e e n t i r e T r o ls Odes F unebres a t
Weimar.
Gaudeamua l g i t u r and Das L ied d er B e g e lste r u n g were
b o th composed fo r f e s t i v e and p a t r i o t i c o c c a s io n s , and are
m u s ic a lly above a v era g e f o r t h e i r g e n r e . Perhaps th e weaker
o f th e tw o, Gaudeamus l g i t u r , was composed in ld 6 9 fo r th e
C entenary F e s t i v a l o f th e Academy C o n certs a t Jena; Das L ied
d er B e g e ls te r u n g , p u b lis h e d i n 1871 by t h e H ungarian pub
l i s h i n g h ou se Taborszky and P arsch , was d e d ic a te d t o

Magyar D alarda (H ungarian C horal S o c i e t y ) . The form er,
sc o r e d fo r f u l l o r c h e s t r a and m ixed or male c h o r u s, was
perform ed a t Jena in 1870 under th e d i r e c t io n o f K. E.
Neumann, and i s d e d ic a te d t o L i s z t ' s f r i e n d , D r. C arl G i l l e ,
1. S e a r le , 1 0 2 .
293
th e K in g 's C o u n sel. There i s a ls o a p ian o p ie c e r e l a t e d t o

Gaudeamus l g i t u r ( l ik e w is e d e d ic a te d t o G i l l e ) , and a pian o
d u et p u b lish e d by S ch u b erth in 1 8 7 2 . Das L ied d er B e g e l s t e
rung was s e t t o a t e x t by K o m e l A b ranyi, J r . , a Hungarian
2
com poser, p u b lis h e r , a u th o r , and p o l i t i c i a n .
Two ch o r u se s o f m odest im portance are C arl August w e llt
m it uns f o r male c h o r u s, tru m p e ts, trom b ones, tu b a , and p e r

c u s s io n ; and G russ fo r m ale chorus a c a p p e lla . Carl August
w e l l t m it uns was composed f o r th e d e d ic a t io n o f th e Carl
August Monument in Weimar on Septem ber 3» 1875> and G ru ss,

p u b lish e d in 1885 by L ic h t , i s d e d ic a te d t o th e Riga
L ie d e r ta fe l. I t is c e r t a in t h a t L is z t knew w e l l th e w orth
o f t h e s e sm all w orks, and in ten d ed them for what th e y w e r e --
u n o b tr u siv e m u sic a l v e h i c l e s fo r c e r em o n ia l p u r p o se s.
U n fo r tu n a te ly , m a n u scrip ts f o r A Magyarok (H ungarian
God) and Magyar K ir a ly -D a l (H ungarian K in g ’ s Song) are un
a v a ila b le . The l a t t e r , a l l e g e d l y d e str o y e d a t Weimar d u rin g
World War I I ( s e e f o o t n o t e , page 31) la in c lu d e d by
Humphrey S e a r le in h i s e x h a u s tiv e l i s t o f works i n G rove' s
D ic tio n a r y o f Music and M u sic ia n s. The form er was unknown

u n t i l M agrit Prahacs p u b lish e d L i s z t ' s H ungarian l e t t e r s
in 1966, w h erein H ungarian God i s c u r s o r i l y d e s c r ib e d by
2. L e t t e r s , I I , U3 6 .
29k
t h e com poser. In a l e t t e r t o K o m el Abranyi on June 2 3 ,
1 8 8 2 , L is z t w ro te:
With t h i s same p o s t you w i l l r e c e iv e t h e I n s t r u

m en tal s e t t i n g o f A Magyarok I s te n e f o r th e
D eb recen er M u s ik fe s t. For th e cop y o f the
v o i c e s use th e sm a ll sc o r e o f H i l l e r or A lla g a ,
b ecau se my own w r it in g i s so bad.
At the b e g in n in g a f t e r th e f i r a t two m easu res,
two m easu res m ore:
>9 i
As in th e f i r s t g r e a t
perform ance
by th r e e b a r it o n e s (o r b a s s) v o ic e s s in g in g in
u n iso n . L a te r a s o lo v o i c e , i f i t i s very
str o n g : o th e r w is e th e
t h r e e sh o u ld co n tin u e
in u n iso n .
At th e f i r s t app earance o f
. \j
Pi a —
Li Lf it T: t
- o le 1% "- + c - * e
u se s i x b a ss v o ic e s in u n iso n . At th e r e p e t i
t i o n , use th e e n t i r e m ale chorus t o t h e end, e tc
H ungarian god was composed i n th e w in te r o f 1881 f o r
t h e D ebrecen er M usic F e s t i v a l which to o k p la c e in th e summer

o f 1882. I t was sc o r e d f o r b a r ito n e v o i c e , male c h o r u s,
295
and in str u m e n ts (p ia n o , o rgan , or harmonium accompaniment

was a ls o a v a i l a b l e ) , and in c lu d e d a German t r a n s l a t i o n by
3
N eu geb au er.
L is z t w ro te on March 1 1 , 1 8 8 3 , t o th e H ungarian pub
l i s h e r F erdinand T aborszky c o n c er n in g th e H ungarian K in g*3-
Song: "As i t i s u n c e r ta in t h a t I s h a l l s t i l l be a l iv e n e x t
y e a r , I have j u s t w r it t e n a H ungarian K in g 's-S o n g . . .
a c c o r d in g t o an o ld mode, f o r th e o p en in g o f the New
H ungarian T h eater i n R a d ia n s t r a s s e ." He in c lu d e d a p ia n o
f o r t e sc o r e and p rom ised th e v o c a l m usic and t e x t i n two
w eek s, s u g g e s tin g t h a t a perform ance not ta k e p la c e u n t i l
th e o p en in g o f th e th e a te r in 1881;; " U n til th e n we w i l l keep
q u ie t about i t ." ^ - More th a n a y ear l a t e r th e com poser w rote
to Baron F r ig y e s Podraaniczky from Weimar on Septem ber 5#

1881;, and r e p o r te d t h e c o m p le tio n o f th e w ork.
T h is p a s t w in te r you a sk ed me to p rep a re a com

p o s i t i o n f o r th e e v e n in g o f th e o p en in g o f th e
New R oyal H ungarian T h e a te r . I have f u l f i l l e d
my prom ise by se n d in g i t t o M. l e D ir e c ts u r E rk el
ray Magyar K lrtfL y-dal f o r o r c h e s tr a and c h o r u s.
The e x e c u t io n i s v e r y e a s y and l a s t s l e s s th an
t e n m in u te s , th e s o r t t h a t one can p la c e w ith o u t
embarrassm ent a s an in t r o d u c t io n to E r k e l* s S a in t
E tie n n e in th e g u is e o f a v e r y humble p a t r i o t i c
homage to H is M a je sty , The K in g.
3. B r i e f e , P ra h a cs, 2 5 1 .
h* B r l e f e , I I , U33-3U*
296
I f one e n jo y s th e K lr£ L y -d a l w ith i t s

v ig o r o u s and ard en t t e x t by Mr. K o m el Abrfinyi
( j r . ) , i t w i l l be an honor to me.
May I e x te n d t h e s u g g e s t io n t h a t th e men
and women s in g e r s be d r e s s e d i n H ungarian
c o s tu m e .5
P aula Rehberg r e c o u n ts t h a t an o v e r tu r e had a c t u a l l y

been r e q u e s te d t o p r e ce d e E r k e l1s o p era , S a in t S te p h en , but
t h a t L i s z t s e n t a n a t i o n a l hymn s e t to A b rd h y i's p o e t r y ,
w ith an o ld r e v o lu t io n a r y song as i t s b a s i s . Because
a u t h o r i t i e s th o u g h t i t m ight o ffe n d th e k in g , o b j e c t io n s
w ere r a i s e d . L i s z t r e p l i e d to t h e s e p r o t e s t a t io n s on
Septem ber 2 1 , I 88I4.S
As in l i f e , changes i n a r t are cu sto m a ry . Prom

c o u n t le s s h e a th e n te m p le s sprang c a t h o l i c ch u r
c h e s . In th e c l a s s i c a l ep o ch o f church m usic in
th e 1 6 th c e n tu r y , one a c c e p te d many s e c u la r m el
o d ie s i n th e ch u rch so n g s; l a t e r th e c a t h o l i c
a n tip h o n s w ere heard in p r o t e s t a n t hymns. And
so i t c o n tin u e d : n o t e x c e p tin g th e o p era where
M yerbeer u sed th e hymn !E in f e s t e B urg1 f o r a
s ta g e e f f e c t . . . . The m usic rem ain s, n o n e
t h e l e s s m u s ic , w ith o u t su p e r flu o u s and damaging
in t e r p r e t a tio n s .°
The work was n o t perform ed a t th e op en in g o f th e opera h ou se

on Septem ber 2 7 , l 88Ij., but had i t s f i r s t perform ance in s te a d
7
a s a s p e c i a l o c c a s io n th e r e on March 2f>, 1 8 8 $ . L is z t
B r i e f e , P ra h a cs, 2 7 1 .
6. R ehberg, l{.6£.
7. I b i d . , 1*66.
297
s ta y e d away t o show h i s d is p le a s u r e a t th e o r i g i n a l a f f r o n t ,
and to f u r t h e r p r o t e s t a g e n e r a l n e g le c t o f h i s in str u m e n ta l
works in B u d a p est. The H ungarian K ing1s-S o n g was l a t e r p e r -
o
formed a t B r a tis la v a w it h s u c c e s s .
T h eM usic.
Les Morts
L es M orts, f o r o r a to r , o r c h e s tr a , and m ale chorus i s a
prime example o f th e k in d o f d e s c r i p t iv e m usic t h a t began
w ith B e r l io z , c h a n n ele d i t s e l f th rou gh L i s z t , and so e x te n d
ed i t s s u b j e c t iv e in f lu e n c e in t o th e l a t t e r q u a rte r o f the
n in e t e e n t h c e n tu r y . In L es M orts th e sp eak er seldom r e t i r e s ,
but sounds th e F rench p o e t r y th ro u g h o u t (one wonders j u s t

how a c o u s t i c a l perform ance problem s were s o lv e d d u rin g t h i s
n o n -a m p lifle d a g e ) w h ile th e m ale v o i c e s a c t as a f o i l , and
in to n e a t each r e f r a i n : " B ea ti m ortu i q u i in Domino
m oriuntur" ( s e e Example l £ 9 ) . At th e same time the sp eak er

d e c la im s : "Who are th e y ? Who w i l l t e l l us? Happy are
th e dead th a t d ie in the Lord."

The e x t e n s i v e t e x t o f n in e v e r s e s h a s been reduced t o
s i x , t h e m id d le s t r o p h e s h a v in g been e l i m i n a t e d . T h erein
l i e s t h e c o m p o s i t i o n ' s form al s t r u c t u r e . Les Morts i s
8. I b i d . , 1+91.
298
Example 159• L es Morts

M eas. 2 5 -30
it *
A $
ft a - -C l - — fi W iO r+ v * t ^w'l »Vk
d iv id e d i n t o a r o n d o - lik e ABACABDA s e c t i o n a l form f o llo w in g
th e t e x t e x a c tly . The A - s e c t io n s c o in c id e w ith th e r e f r a i n s ,

and B, C, and D w it h the v a r io u s d i g r e s s i o n s o f th e v e r s e s .
True to L i s z t ’ s t o n a l i n c l i n a t i o n s , th e r e f r a i n s e c t io n s
p r o g r e ss in a d i r e c t io n o f t h i r d s : A i s in A - f l a t m ajor,
A' in C m ajor, and A” in E - f l a t m a jo r. The tr u n c a te d f i n a l
r e f r a i n breaks th e c h a in , and rem ains i n th e e s t a b lis h e d
new key o f E m ajor. B and C are m erely b r id g e s t o t h e i r
f o llo w in g A s e c t i o n s , w h ile B' (a t the Psalm De Profundi 3 )
and D (a t th e Te Deum) form th e develop m en t and c lim a x o f
th e e n t i r e work, and are exten d ed in com parison t o p r e c e d
in g m a t e r ia l.
The work b e g in s w ith an in tr o d u c tio n th a t f u l f i l l s a
t w o fo ld p u rp o se. I t p r e fa c e s th e f i r s t theme and, a t th e
same tim e , p r e p a r e s f o r th e upcoming key o f P m ajor. The
f i r s t them e, d e fin e d in Example 1 6 0 , h as in i t s h e a d -m o tiv e
299
and su b seq u en t i n t e r v a l l i c p r o g r e s s io n th e r i s e o f a minor

seco n d and t h e f a l l o f a m ajor t h i r d .
Example 1 6 0 . Lea Worts

M eas. 1 - 7
p
The f i r s t sta te m e n t o f A i s i d e n t i f i e d from two s o u r c e s —
th e r e a d e r ’ s "oft s o n t - i l s ? n and a horn s i g n a l t h a t r e c u r s

in e a c h r e f r a i n ( in c lu d in g th e f i n a l sta te m e n t i n m easure
1 4 8 , where th e b a sso o n sounds th e m o t iv e ) , as seen in
Example 1 6 1 .
Example 1 6 1 . L es M orts
M eas. 1 9 -2 0
HoVK
As th e male ohorus s in g s i t s f i r s t r e f r a i n (Example 1 ^ 9 ),

t h e woodwinds and s t r i n g s s t a t e a secon d theme \d iic h , l i k e
th e f i r s t , i s r e s t a t e d and d e v e lo p ed through out L es Morts
(Example 1 6 2 ) .
300
Example 1 6 2 . Lea M orts

Meas. 2 3 -28
fl,Mo\^WÛ V v y v W -i* -------- -
S e c tio n B, l i k e C, i s a s h o r t , c o n n e c tin g segm ent th a t r e

works m a te r ia ls gono on b e fo r e and p rep a res f o r t h e ap p roach
in g key o f C m a jo r, e s t a b l i s h i n g th e n e x t r e f r a i n . In
m easures 3 1 -3 5 t h e c e l l o s a ffir m a v a r ia t io n o f b o th th em es,
d e fin e d in Example 1 6 3 , an id e a t h a t i s p a sse d back and
f o r t h from th e s t r i n g s t o th e woodwinds.
M eas. 31-3*1
An P -sh a r p d im in ish e d s e v e n th chord i s th e t o n a l b a s i s o f

th is s e c tio n . Prom t h i s p o in t o n , them es rea p p e a r In
s l i g h t l y d i f f e r e n t and d i s t i n c t sh a p e s, as shown i n Exam
p le 161*, a and b #
301
Example 161}.. Lee Morta

a . Meas.
)k
b= M eas. 8 5 -8 6
-? A —
i
l t a
P u ll f o r c e s j o i n t o g e t h e r a t th e male c h o i r ' s Te Deum in

s e c t i o n D a s th e new k ey o f E m ajor i s e s t a b lis h e d (Example
1 6 ^ ).
M eas. 9 9 -1 0 3
302
At m easure 10i|. the sn are drum, cym bal, and b ass drum are
added to t h e te x tu r e a s th e sp eak er s h o u ts : "H oly, h o ly ,
h o ly i s th e Lord God o f the a r m ie s!” The m ale c h o ir s i n g s ,

a t th e same tim e , "H oly, h o l y , h o ly , Lord God o f S a b a o th !”
w h ile th e o r c h e s t r a r e i t e r a t e s th e r i s i n g s c a l e o f th e
secon d theme am idst accom panying t r i p l e t s . A v e r s io n o f
t h i s theme app ears s l i g h t l y l a t e r in th e f o llo w in g form , as
e v id e n c e d in Example 1 6 6 .
M eas. 1 1 8 -1 1 9
----- i--- ar L- - U r -V ....

-- V~ t----- i--- 9r--- ■JL-
ar J L
- t --
FU, fefla----------- *- --- f TJ* I i y — -
<
----- -
Obi T t- = * T - m
Ti - fp —
j a - .. * *
»-----------------------
1
'
1w
r 1 9 1 » 1
, »
a», $ • i~ 1 P r , = ^ f r : ■t-T f =
J L U —
p
•W
r* >
fckl.
L es M orts c o n tin u e s p r im a r ily in E m ajor and en d s r e f l e c

t i v e l y in th e f i n a l r e f r a i n : ”Happy are the dead th a t d ie
in th e L o r d .”
303
Gaudeamus l g i t u r
L i s z t ' s s e t t i n g o f t h e u n iv e r s it y so n g , Gaudeamus
l g i t u r (T h erefo re R e jo ic e ) i s what one w ould e x p e c t o f such

m usic f o r such an o c c a s io n (th e 1 0 0 t h year c e le b r a t io n o f
th e Academy C on certs a t J e n a ). I t i s sco red f o r f u l l o r c h e s
t r a , mixed o r m ale c h o r u s, and p r o v id e s a p ia n o fo r te sco re
fo r ch oral r e h e a r s a ls . In th e e v e n t an o c c a s io n m ight a r is e
where o n ly o r c h e s tr a i s r e q u ir e d , c u t s are su g g e ste d and an
appended s e c t io n i s p ro v id ed to accompany a p u r e ly i n s t r u
m en tal p erform an ce. Gaudeamus l g i t u r em ploys o n ly one v e r se
o f th e t r a d i t i o n a l L a tin song and in c lu d e s a t r a n s i t o r y
phrase o f i t s own, g iv in g th e composer l i c e n s e f o r in v e n t io n .

I t i s shaped in ABA form w ith an I n tr o d u c tio n and th e
o r c h e s t r a l ending m entioned above f o r s p e c ia l p erform an ce.

The in t r o d u c tio n b e g in s In C m ajor, changes from t r i p l e
t o duple m ete r, and p r e p a r es fo r the f i r s t e n tr a n c e o f th e
v o i c e s w h ich c o n ta in th e main them e. As the ch oru s b e g in s ,

th e tru m p ets and p e r c u s s io n , h it h e r t o h e ld in r e s e r v e , e n te r
w ith d ram atic e f f e c t . The t e x t "Long l i v e le a r n in g , lo n g
l i v e t h i s s e a t o f th e m usesi" Is scored in a s tr a ig h tfo r w a r d
f a s h io n , and can be sung e it h e r by mixed or male v o i c e s
(Example 1 6 7 ).
30k
Example 1 6 7 . Gaudeamus l g i t u r
Meas. l}.2-lj.£
S
S/i - va,+ Ac* -
T
Vi-v/at Ac« - ie-m ni-*
Vc
Db
-r
T
sji - \)at A e cl -
6
6
S e c tio n B on the t e x t , "Where sw eet song resound in

t h e s e h a l l s and s h r in e s f i l l e d w ith r o s e s ," c o n ta in s an
a lt e r n a t e p a ssa g e f o r o b o e s, c l a r i n e t s , and b a sso o n s ( s e e
Example 1 6 8 , a and b) dependent upon the use o f m ixed or
male chorus# The m ajor change t a k e s p la c e w ith th e t a c e t

c l a r i n e t s i n t h e m ale chorus accom panim ent, p o s s ib ly due
t o th e lo w e r , t h ic k e r t e x t u r e o f th e men, and the f u l l ,
c u t t i n g q u a lit y o f th e c l a r i n e t . Throughout s e c t i o n B
L i s z t has c o n tin u e d t h i s r e v o ic in g o f the w oodw inds.
305
Example 1 6 8 . Gaudeamus l g i t u r
a . Meaa. 6 3 -6 l| (fo r m ixed ch o ru s)
E f * * -
e ta * . ^ ------------------
r p ~ t -------= ---------■=
• Ky t t j g } — — :— * • — a ,------------------------
town s - t t l ~
s E = d i= = i= = = :
b. Meas. 63-61| ( fo r m ale c h o ru s)
Obv
The p o in t o f a c tu a l harm onic a c t i v i t y in Gaudeamus l g i t u r
b e g in s in m easure 68 as th e t o n a l scheme s h i f t s to A - f l a t
m ajor and d i g r e s s e s th rou gh a s e r i e s o f augmented s i x t h
c h o r d s, se c o n d a r y d om in an ts, and d im in ish e d t r i a d s u n t i l

th e home k ey o f C major r e tu r n s a t th e p r e p a r a tio n o f A '.
The o c cu rr en ce i s a ls o o f s p e c i a l i n t e r e s t , b eca u se i t is
where L is z t i n s e r t s th e p r e v io u s ly m en tioned t r a n s i t o r y
p h rase. U sing a s o lo - c h o r u s , he d e p a r ts from th e t r a d i t i o n a l
306
t e x t and h on ors S a in t C a e c i l i a , th e p atron s a i n t o f the

S o c i e t y o f S a in t C e c i l i a o f which L i s z t was a member. The
in s e r t e d t e x t r e a d s : ’’H oly be C e c i l i a , who f a v o r s our

c h i e f p r a is e l" At t h i s p o in t th e main m elody i s avoid ed
and the d i g r e s s i o n , a s m entioned above, ta k e s p la c e .
At th e r e tu r n o f A, th e f u l l ch o ru s ap p roxim ates th e
p r in c ip a l theme on th e t e x t fragm en t: "Let t h i s company

alw ays be i n flo w e r . L et t h i s m u sic a lw a y s be in flo w e r I"
At t h i s p o in t th e c e l l o s and c o n tr a b a s s e s o f th e o r c h e s tr a
p la y the t r u e m elod y, as e v id e n c e d in Example 1 6 9 .
Example 169 . G-audeamua i g l t u r

Meas.
T h e r e a fte r a m olto a d a g io o c c u r s f o llo w e d by a s l i g h t h a r

monic d ig r e s s io n and a q u ic k , t r i a d i c a l l e g r o to the en d .
Throughout th e th e m a tic a r e a s , L i s z t ’ s employment o f s i l e n c e s
and m e tr ic t e x t s e p a r a tio n s i s e x t e n s i v e .
307
C arl August w e i l t m it uns and G russ

Of th e f i v e m is c e lla n e o u s works f o r m ale c h o r u s, Carl
August w e i l t m it uns (F e s tg e s a n g ) , G russ, and Das L ied der
B e g e is te r u n g rem ain f o r comment. The f i r s t two a r e , as
s t a t e d in Commentary, in n o c e n t p i e c e s whose o n ly r e a so n f o r
e x is t e n c e r e s i d e s in t h e i r c er e m o n ia l e x p e d ie n c y . Carl
August w e i l t m it uns (C arl August s t a y w ith us to th e h o n o r,
g lo r y , and b l e s s i n g of Weimar’ s princedom ’. ) i s a sim ple

fa n fa r e f o r m ale v o i c e s , tr u m p e ts, trom b ones, tu b a , and
tym pani (cym bals and b a ss drum are added in m easure 1 9 ) .
I t i s t h i r t y - f i v e m easures in l e n g t h , and beyond th e p r e s
en ce o f u n is o n s , t h i r d s , and an o c c a s io n a l open f i f t h , its

harm onic t e x t u r e em braces th e prim ary ch ord s o f C m ajor,
Gruss i s even b r i e f e r than th e F e stg e sa n g (b e in g o n ly f i f

t e e n m easures in l e n g t h ) . I t i s a c l i c h ^ gam bit th a t was
perhaps p le a s in g t o th e l o y a l f o l lo w e r s o f th e R iga L le d e r -
ta fe l. In i t s fa v o r , th e v o ic e le a d in g s , m e tr ic s i l e n c e s ,
and t e x t s e p a r a tio n s r e f l e c t L i s z t ’ s t a l e n t f o r ju d gin g
m ale chorus s o n o r i t i e s . On the o th e r hand, i t s f i n a l chord
t e l l s us whence came th e san gu in e "barbershop” downward

sco op o f th e b a ss o c ta v e , a s p e r c e iv e d in Example 1 7 0 .
308
Exam ple 1 7 0 . G russ

M eas. 1 1 -1 5
I 1*1
i t f / 1
— II
OlOJC.
£ lO c .y . GUicfc,
L-%J t , T ift-
Das L ied der B e g e iste r u n g

The f i n a l c h o r u s, Das L ied der B e g e is te r u n g , i s scored
f o r a c a p p e lla male c h o r u s, and f a l l s w ith in th e genre o f
p a t r i o t i c and c er em o n ia l son gs (b e in g s e t to th r e e v e r s e s of
p o e tr y by K om ^ l A b rfu iyi). The m usic p roves to be o f some
co n seq u en ce, b oth fo r m a lly and h a r m o n ic a lly . The to n a l
scheme o f Das L ied der B e g e is te r u n g i s t y p ic a l o f L i s z t ,
moving from an F m inor b e g in n in g to E m ajor, and f i n a l l y to
E - f l a t m ajor a t th e cadence o f the f i r s t v e r s e . The second
v e r s e , through u n iso n s and d im in ish e d seven th ch o rd s, r e a c h e s
C m ajor a t a h a r m o n ic a lly p r o v o c a tiv e ca d en ce, f o r e t e l l i n g
Mahler and a ff ir m in g L i s z t ’ s a r t i s t i c o n en ess w ith Wagner
(Example 1 7 1 ).
309
Example 1 7 1 . Das L ied d e r B e g e is te r u n g

Meas. 31-3&
dec -UCK
The t h i r d v e r s e d i v e r t s m om en tarily to D m ajor, but r e tu r n s
a g a in t o th e p r i n c i p a l k e y o f C m ajor. F u r th e r , the work
i s a d is c e r n in g example o f s tr o p h ic v a r i a t i o n , d is g u is e d
n e a r ly to th e p o in t o f i t s seem ing th rou gh com posed. There
i s enough e v id e n c e o f th e m a tic s i m i l a r i t y , h ow ever, to bin d
v e r s e s 1 -3 t o g e t h e r a s s tr o p h ic r e p e t i t i o n s (Example 1 7 2 ,
a , b , and c ) .
Example 1 7 2 . Das L ie d d er B e g e iste r u n g

a . Meas. 1*2 ( 1 s t v ersed
b. Meas. 1 6 -1 7 (2nd v e r s e )
J, 4
m - -
Si© fsfr u ftt'rts
310
Example 172. Das L ie d d er B e g e iste r u n g

c . Meas. 37-1+0 (3 rd v e r s e ]
[-#• - ■ ---- 1---------------

-J-* = 3 =
1 H j®*- S'lMt’ nV — Hen
I t e N ? - - •‘s t
A
Das L ie d der B e g e is te r u n g i s n o t th e u s u a lly t r i t e Mfinner-

chor d r in k in g son g, b u t c o n ta in s v a r io u s exam ples o f L i s z t ' s
b e s t harmonic and th e m a tic p r a c t i c e s .
311
Chapter IX
THE MALE CHORUS PSALMS
Commentary and Mualc
Of th e fo u r male ch o ru s psalm s e t t i n g s composed by
Franz L i s z t , o n ly o n e , De P r o fu n d ls , h a s been made a v a i l
a b le . The rem a in in g w orks, o r i g i n a l l y n o t in c lu d e d in

th e B r e itk o p f & H&rtel L i s z t s Werke or i n th e 1966 Gregg
R e p r in t, a re e i t h e r a w a itin g p u b lic a t io n o r are not to be
found,'*'
Psalm XVIII
L in a Ramann in h e r 1886 s tu d y , Franz L i s z t a l s
P sa lm en sS n ger, d i s c u s s e s th r e e o f th e p i e c e s : Psalm XVIII
( C o e li E n a r r a n t); Psalm XXIII (The Lord i s my S h ep h erd );
Psalm CXXIX (De P r o f u n d is ). For r e a s o n s b e s t known to th e

a u th o r , Psalm CXVI (L audate Dominant) was e x c lu d e d . Com
p o sed In 1 8 6 9 , I t was sc o r e d f o r male ch o ru s and p ia n o f o r t e

and was l a t e r ad d ed , in t h a t same y e a r , a s th e G radual t o
t h e H ungarian C o ro n a tio n M ass. Psalm XV III f o r male ch oru s
1. L e t te r from W illia m L ich ten w a n g er, Head, R e fer en ce S e c

t i o n , The L ib r a r y o f C o n g ress, W ashington, D. C. to
James Fudge, June 2 8 , 1972 (I n th e w r i t e r ’ s p e r s o n a l
p a p ers) ,
312
and o r c h e s tr a d a te s from i8 6 0 and was f i r s t perform ed in
Weimar on June 2 5 , 1 8 6 1 . Ramann, in th e same s u b j e c t iv e
s t y l e t h a t she fo llo w e d in a l l m a tte r s p e r ta in in g t o L i s z t ,

l a b e l s b o th Psalm XVIII and Psalm XXIII as ”two p o w erfu l
2
dith yram bs to G od.”
In none o f t h e s e c o m p o sitio n s o f L i s z t d o es th e
im p r e s sio n o f th e Roman m aestro sta n d o u t more
s t r o n g ly th a n in th e e ig h te e n t h Psalm . . . .
Ju st a s th e e ig h t e e n t h Psalm was d eterm in ed f o r
th e c u l t by i t s a u th o r , so d o es L is z t a tta c h t o
i t th e q u a l i t i e s t h a t l i e w it h in th e purpose o f
th e c u l t . The s i m p l i c i t y and p e r s p i c u i t y o f
form w h ich , a lth o u g h a r t , d oes n o t sp eak to us
as a r t , b u t r a th e r a s a r e l i g i o u s mood, . . .3
The o r c h e s t r a i s made up o f f l u t e s , o b o e s, c l a r i n e t s , and

b a sso o n s in p a i r s , as w e l l a s fo u r h o r n s, two tru m p e ts,
two te n o r trom b ones, b a ss trom bone, tu b a , s t r i n g s , tym pan i,

and cym bal and organ ad l i b i t u m . I t s m usic su p p o r ts and
p u n c tu a te s th e t e x t , and fu n c tio n s as r i t o r n e l l l betw een
v e r s e s .^ - A ccord in g t o L ina Ramann, Psalm XVIII employs

L i s z t ’ s ch ro m a ticism and s h i f t s o f keys fo r th e pu rp ose
o f f u r t h e r w o r d -p a in tin g . To i l l u s t r a t e her s ta te m e n t, she
embarks upon a b r i e f a n a l y s i s o f th e work.
2. L in a Ramann, Franz L i s z t a ls PsalmensHnger (L e ip z ig :

B r e itk o p f & H ftrtel, 1 8 0 6 } , 3 5 .
3. I b i d . , 3S-3*>.
1+. I b id . , 37.
313
For exam ple, in th e f o llo w in g p a ssa g e a D-major

t r i a d sounds a f t e r th e p r e v io u s F m ajor to th e
word 'd ay' in s te a d o f the to n a l D-m inor t r i a d
. . . w h ile th e n e x t sta n z a resou n d s through
G m inor to th e word ' n i g h t , ’ as a v e i l . . . a
harm onic p a in tin g . . . s im ila r to the l y r i c
poem o f G oethe w h ere, through w ord-and-sound
p a in tin g o f mood, th e a c tu a l, c o lo r i s conveyed .
/Ramann’ s exam ple f o l l o w s ^ 5
M.
\e
; 1 [fr I-
5* I b id . , 38.
6. I b i d . , 3 8 -3 9 .
31i|
The s tr u c tu r e o f Psalm XVIII i s s im ila r t o L i s z t ’ s o th e r
c h o r a l w orks, and f o llo w s th e v e r s i f i c a t i o n o f the t e x t . In
th e f o llo w in g example o ff e r e d by Ramann, m u sic and t e x t are
s e t g ra n d ly and sim p ly in b o ld u n iso n s, preceded by a wide
sp a c in g o f o r c h e s t r a l o c t a v e s . R am ann’ s example f o llo w s
± f e ’t . t a t ) .
m i
♦ Das y S«zdas i
M i
t)C> —
f c ”
7 ^ ■ Off b = F
O y =
. V*- — .U L K
uvUlr. lS r - 1.
QO
= 4 f£ = F W
rM # =
T * '1
fk =
7. Ramann, k 0 .
R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
315
Both o r c h e s tr a and v o i c e s sound th e main theme in a fu r th e r

u n iso n t h a t , a t th e p sa lm ’ s c o n c lu s io n , breaks i n t o p a r ts
O
on MHosanna! H a l l e l u j a ! ,t ^Ramann’ s example f o l l o w s ^
I (
8. Ramann, lj.1.
316
Psalm XXIII
Ramann s e n s e s t h a t Psalm XVIII sy m b o liz e s the " c u lt"
d e c la r a t io n o f th e C h r is t ia n community ( t o be more e x a c t ,
p ro b ab ly th e S a in t C e c i l i a S o c ie t y ) w h ile P3alm X X III, w ith
te n o r or soprano v o i c e , h a r p , and o r g a n , i s a " fr e e ou tp o u r
in g o f th e i n d iv id u a l s o u l."
(A seco n d s e t t i n g f o r male
a
ch o ru s was composed in 1864 bu t was n ev er p u b lis h e d . ) T h is
l a t t e r psalm b e g in s w ith a d e sc e n d in g E - f l a t t r i a d t h a t
" t r i c k l e s from th e h e i g h t s down t o th e d e p th s in o r d e r t o

ta k e up an a sc e n d in g harp a r p e g g io ." R am an n1s exam ple
fo llo w s^ T ^
»iP
lP
T h e r e a fte r f o u r m easures are r e p e a te d in G minor by th e

11
harp o v e r th e " fo r e v e r m y ste r io u s organ -b & ss." ,/Ramann’ s
exam ple f o l l o w 3^7
9. Ramann, 4 2 .
10. I b id ., 4 3 .
11. I b id ., 4 4 .
"And how b l i s s f u l l y e x p lo s iv e sounds th e o u tc r y from the
1P
f u l l b r e a s t." /Ramann*s example f o l lo w s ^ /
m fiiV i G oH — — — — — - - - A tf v.* ' l i ' 1 W irt.

J* 0 ^ 0 TT_ ,
p u l
\ Harp ^ H<Vrp
■€ 3 0
n | - i j < j ....^
U p J L i- -------- d - c lj z ?:■-. 4 a A
--------- e ------
tj 9
- H N -
..0 . . .... ............

> ’ $ — e>-----------------------
Sempre pp
A fte r t h i s in t r o d u c t io n , th e work b e g in s w ith a broken-

chord accompaniment i n th e h a rp . /Ramann*s example
f o llo w s ^
12. I b i d . , I4.I4.
13. I b i d . , !;£.
318
Harp
The psalm a p p a r e n tly th en p r o c ee d s th rou gh th e s e v e r a l

v e r s e s , m od u latin g w id e ly and r e tu r n in g a g a in to the home
key o f E - f l a t m ajor. F i n a l l y , Ramann d e s c r ib e s th e compo
s i t i o n ' s e n d in g : "G radually th e b le s s e d s t i l l n e s s s e t t l e s
i n , and th e c r y o f the in t r o d u c t io n , ’My God, He i s my

s h e p h e r d ,’ p r e c e d e s s e v e r a l chords from the organ and h arp ,
n lil
th u s c l o s i n g th e psalm . ^
Psalm CXXIX
Lina Ramann n e x t a d d r e sse s h e r s e l f to Psalm CXXIX (De
P r o fu n d is ) , and c h o o se s th e v e r s io n fo r b a r ito n e s o lo and

organ (o r p ia n o f o r t e ) . She m en tion s a to n a l movement from
C t o D - f l a t m ajor, organ t r a n s i t i o n s betw een v e r s e s , and

an augmented t r i a d t h a t a c c e n ts th e noun Slinden, which
ll* . I b i d . , 1*6.
319
’’l i k e a susp en ded e v e n in g glow , b r in g s com fort i n t o s i g h t . " 1 -’
S in ce th e sc o r e o f De P ro fu n d ls i s a v a i la b l e in th e Kahnt
m ale chorus e d i t i o n , i t seem s, on i n v e s t i g a t i o n , th a t Ramann
e i t h e r c h o se t o d is r e g a r d or m isse d th e v a lu e o f t h i s i n t e r
e s t i n g and p r o v o c a tiv e c h o r u s. Composed in l 8 8 l , i t is
t h e r e fo r e among th e l a t e works o f L i s z t and, l i k e O ssa a r l d a ,
p ro ves th a t L is z t in t h e s e l a t e c o m p o sitio n s was lo o k in g
i n t o th e f u t u r e .
De P ro fu n d ls i s , on t h e w h o le , t o n a l l y vague and seldom
s e t t l e s i n t o an e s t a b lis h e d k e y . I t is d iv id e d by i t s t e x t
in t o fo u r s e c t i o n s , b u t th e b reak s i n v e r s e s a r e neb u lou s

in com parison to e a r l i e r L i s z t c h o r a l p ie c e s where m usic
f o llo w s p o e tr y e x a c t l y . Tonal a b s t r a c t io n i n the t r a d i t i o n
a l se n se i s p e r c e iv e d im m ed ia te ly a s th e organ p la y s the
opening m ea su r es. A s i n g l e - v o i c e l i n e i s in tr o d u c e d in th e
o r g a n 's lo w e r manual, and i s made up of a s e r i e s o f i n t e r
v a l s a t th e major s e v e n th , as se e n in Example 173• Chords

are s h o r t ly added in th e r ig h t hand as th e ob scu re p a tte r n
c o n tin u e s and an a sc e n d in g l i n e , i n Example 17U, le a d s to a
G - f la t u n iso n en tra n ce o f th e male c h o r u s. In th e secon d
v e r s e o f th e psalm , th e key o f D - f l a t m ajor i s f i n a l l y

e s t a b l i s h e d , whereupon th e augmented t r ia d m entioned by Lina
Ramann on th e word in q u lt a t lb u s appears i n Example 175*
1^ . I b id ., 68.
320
Example 173. Psalm CXXIX

Meas. 1-9
( La w )
i t e m
p m m I* ill
Example 17U. Psalm CXXIX
Meas. 3 1 -38
Example 175* Psalm CXXIX

Meas. 77-83
toi - ôi - +ft -+W - 5«r< V & - v « - r 1%
321
The t o n a l a c c e n tu a tio n o f words in c h o r a l m usic i s a t e c h

n iq u e used by L i s z t from the e a r l i e s t y e a r s o f h i s c a r e e r ,
and i t o c c u r s in a number o f l o c a t i o n s in De P r o fu n d is .
In m easu res 1 8 2 -1 8 6 ( s e e Example 1?6) and m easu res 1 9 9 -2 0 1 ,
an u n r e so lv e d d is so n a n c e a g a in u n d e r lin e s i n q u l t a t ib u 3 j
n o te th e c o n t r a s t t o th e augmented t r i a d o f Example 175*
Example 1 7 6 . Psalm CXXIX

M eas. 182-1B 5
J — TtJ---- j ---- j ' J —- 1 1 . :

+ * )— ~—
& - WA«\t . i- - V*’1 * - Vt -b * 5
} =\ - 4 - - ------------4—11 — I-------------
------------------ \—
jM
]
J J ------- d---- ----- -----
lo “ " Su* « .l” l l * ------VA*W Svw - - * s £ r = -=
--------- a , ----------
— ------ _ j f e - ---------- ^
In a d d it io n , an upward s h i f t of t h ir d s a c c e n ts th e word
s p e r a v lt a s , in m easures 1 2 7 -1 3 1 , Psalm CXXIX moves from

a C -sharp m ajor se v e n th chord to a b r ig h t c lim a x in A m ajor,
th u s s t r e s s i n g th e im p o rta n t secon d s y l l a b l e o f th e v e r b .
U lt im a te ly th e f i n a l cadence a r r i v e s i n a d e sc e n d in g
sequ en ce o f ch ord s b e g in n in g on C -sharp m ajor and e n d in g
in G -sharp m in or. S in c e E m ajor i s the e x p e c te d f i n a l
t o n a l i t y , th e r e s u l t i n g te r m in a tio n l e a v e s a te n u o u s, un
f u l f i l l e d im p r e s s io n . Commenting upon L i s z t ' s l a t e r w orks,
322
P e te r Raabe in c lu d e s Psalm CXXIX in h i s dou bts about th e
v a lu e o f th e ’’new m u s ic ,” but r e c o g n iz e s th e th r u s t o f i t s
a v a n t-g a r d e p o s s i b i l i t i e s .
As in a few o th e r o f L i s z t ' s contem porary w orks,

th e l a s t p ia n o p ie c e s and so n g s , th e 129th P salm ,
in th e V ia c r u c l s , i t i s a g a in n ot i t s m u sic a l
v a lu e w hich com pels us t o l i s t e n , but r a th e r th e
p o in t in g i n t o th e fu tu r e w h ich i s in none o f h i s
c o n tem p o ra ries so s t r o n g ly p r e s e n t . The e x p r e s
sio n ism o f th e l a s t d eca d es announces i t s e l f h ere
w ith f u l l c l a r i t y in th e form o f a m ost unusual
m ix tu re o f p r im it iv e and i n t r i c a t e , in the r e s p e c t
o f i t s kind o f sound work, i f one may so c a l l th e
tr e a tm e n t o f harmony, w h ich f o r t h a t tim e was
q u ite b o ld .I®
The psalm s co v er a c h r o n o lo g ic a l span from 18^5 to l 8 8 l ,
and were p u b lish e d (w ith th e e x c e p t io n o f th e male chorus

v e r s io n o f Psalm X X III) by Kahnt or S ch u b erth . Three o f
them , Psalm X I II ( f o r te n o r s o l o , m ixed c h o r u s, and o r c h e s
t r a ) , Psalm XXIII ( f o r t e n o r s o l o , h arp , and o r g a n ), and

Psalm CXXXVII ( f o r women's c h o r u s, h a r p , v i o l i n , and organ)
were p u b lish e d t o g e t h e r by Kahnt in 18644-* L i s z t a ls o hoped
t h a t Psalm XVIII ( f o r male ch oru s and o r c h e s tr a ) might be
in c lu d e d , b u t i t was n o t . He d is c u s s e d th e p o s s i b i l i t y in
a l e t t e r to Franz B ren d el on November 1 1 , 1 8 6 3 . Kahnt had
made a com plim entary r e f e r e n c e t o th e psalm s in an a r t i c l e
in t h e Neue Z e i t s c h r i f t f iir Muslk (Kahnt had r e p la c e d
16. Raabe, 1 6 3 .
323
Schumann as e d it o r a f t e r th e fo r m e r ’ s d e a t h .) L is z t app re
c ia t e d th e r e v ie w and hoped t h a t t h e i r prom ised p u b lic a tio n
by Kahnt w ould s h o r t ly m a t e r i a l i z e .
H is r e f e r e n c e t o my psalm le a d s me t o w ish th a t
I m ight so o n see th e fo u r psalm s p u b lish e d in
s c o r e (th e y are d i v e r s e , b oth a s r e g a r d s f e e l i n g
and m u s ic a l fo r m ). K ahnt’ s w i l li n g n e s s t o pub
l i s h them i s , t h e r e f o r e , welcom e news to me, and
I beg he w i l l g iv e me a p r o o f o f h i s g o o d w ill by
k in d ly h a v in g them r e a d y fo r n e x t E a s t e r 's s a le
. . . . The day a f t e r tomorrow I s h a l l send him
th e in s tr u m e n ta tio n o f th e 23rd and th e 137th
Psalm s t o g e t h e r w ith th e sc o r e o f th e 1 3 th . The
l a t t e r i s one o f th o s e I have worked ou t m ost
f u l l y , and c o n t a in s two fugue movements and a
cou p le o f p a ssa g e s w hich were w r it t e n w ith te a r s
o f b lo o d . Were any one o f my m ost r e c e n t works
l i k e l y t o be perform ed a t a c o n c e r t w ith ch oru s
and o r c h e s t r a , I would recommend t h i s psalm .
I t s p o e t i c s u b je c t w e lle d up p l e n t i o u s l y ou t of
my s o u l; and b e s id e s I f e e l a s i f th e m a te r ia l
form d id n o t roam ab ou t beyond th e g iv e n t r a d i
tio n . I t r e q u ir e s a l y r i c te n o r ; w h ile sin g in g
he must be a b le t o p ra y , to s ig h and la m en t, to
become e x a lt e d , p a c i f i e d and b i b l i c a l l y I n s p ir e d .
O r c h e str a and ch o ru s, t o o , have g r e a t demands
made upon them . S u p e r f i c i a l o r o r d in a r ily c a r e
f u l stu d y w i l l n o t s u f f i c e . . . . I w i l l o n ly
add th a t I sh ou ld be g la d t o s e e th e sh o rt
C horal Psalm f o r men’ s v o i c e s (The H eavens d e
c la r e th e G lory o f God) p r in te d in tim e fo r the
E a ste r s a l e in sc o r e -fo r m from the copy I l e f t
Kahnt b e fo r e I went a w a y ; - - 1 '
Psalm X V III, a s m entioned b e fo r e , was f i r s t perform ed

a t Weimar and no doubt r e c e iv e d a number o f h e a r in g s t h e r e
a fter . One su ch perform ance was by th e V ienna MHnne rch or-
g e s a n g v e r e in f o r t h e i r J u b ile e F e s t i v a l in 1868. In t h a t
17. L e t t e r s , I I , 7 1 -2 .
y ear on June 9 , L i s z t w rote to h i s f r i e n d Johann Herbeck
t e l l i n g him o f th e s c o r e ’ s pending a r r iv a l:
My c o u s in Eduard w i l l b e in g you th e s c o r e o f the

1 8 th Psalm in te n d e d f o r th e M Bnnergesang-Verein
in V ien n a. A llow me at t h i s o p p o r tu n ity a g a in t o
o f f e r you my s i n c e r e s t than ks f o r th e k in d ly
f e e l i n g s you have alw ays e n te r ta in e d f o r m e. The
fu r th e r f a t e o f th e Psalm forw arded to you I
le a v e w h o lly i n your h a n d s. You w i l l have to d e
c id e w hether i t i s s u it a b le fo r b e in g perform ed
a t th e J u b ile e F e s t i v a l o f th e M &nnergesang-Verein
. . . . O th erw ise th e stu d y o f i t w i l l g iv e you
no t r o u b le . The Psalm i s very sim p le and m a s s iv e --
l i k e a m o n o lith . And, as in the c a s e o f o th e r
works o f m ine, t h e co n d u cto r has th e c h i e f part
t o p la y . He, a s th e c h i e f v ir tu o s o and a r t i f e x ,
i s c a l l e d upon t o see th a t th e w hole i s harm oni
o u s ly a r t i c u l a t e d and t h a t i t r e c e i v e s a l i v i n g
form . In th e r h y th m ic a l and dynam ical c lim a x ,
th e l e t t e r s B to E (r e p e a te d from H to L ) , as
a l s o in some o f the r i t e n u t i , e s p e c i a l l y in th e
p a ssa g e :
The law o f th e Lord i s p e r f e c t ,

C o n v ertin g th e s o u l;
The te s tim o n y o f the Lord i s su r e ,
Making w ise the sim p le , e t c .
you w i l l f in d su b sta n c e t o prove your e x c e lle n c e
a s a c o n d u c to r .
W e ll, d ea r f r i e n d , you know what i t i s
b r i l l i a n t l y t o a r o u se a fla m in g s p i r i t o u t o f
dead n o t e s .l®
The p salm s a p p a r e n tly were perform ed o ft e n in th e

G erm an-speaking c o u n t r ie s o f Europe and in Hungary d u rin g
L is z t’ s life tim e . The com poser, alw ays w ith an eye f o r
w ider c i r c u l a t i o n o f h i s w orks, had them t r a n s la t e d in to
3.8. I b i d . , I I , 11+8-1^9-
325
F rench (a s w e l l a s some o f h i s L le d e r ) by a M onsieur L agye.

He seemed p le a s e d w ith L agye1s e f f o r t s and, i n a l e t t e r to
Madame Malwine T rad ieu on Septem ber 1 2 , 1 8 82, hoped f o r
s u c c e s s in b o th France and B elgiu m .
L et us sp eak o f some m odest t h i n g s , c o n c er n in g

your humble s e r v a n t . The th r e e Psalms have
been adm irab ly t r a n s l a t e d in to F rench by Mr.
L agye: I w i l l w r ite my th an k s to him f u l l y , as
soon a s I have e n t i r e l y f i n i s h e d th e work o f
a d a p tin g the t e x t to th e m u sic . For t h i s i t is
n e c e s s a r y to m o d ify and r e w r ite about fifte e n
p a g e s, a dozen o f w hich are r e a d y . I s h a ll
send th e w hole t o Kahnt, t h e p u b lis h e r , on
Sunday n e x t , and s h a l l in form L agye, in whose
debt I am, o f th e rem ainder o f th e a r ra n g em en ts.
H is t r a n s l a t i o n s appear to me r e a l l y e x
c e l l e n t , v e r y c a r e f u l l y made and p r o so d ic a l l y
w e l l s u i t e d t o the m u sic . I o n ly r e g r e t t o
have t o g iv e him so much t r o u b le , but I hope
t h a t i n th e end h e w i l l be s a t i s f i e d w ith me.
He s h a l l have th e secon d copy o f my L ie d e r ; i f
he su c c e e d s a s w e l l in p u t t in g them in t o French
as he h as done w ith th e th r e e P salm s, th e y may
w ith ad van tage make t h e i r way in Belgium and
s t i l l f a r t h e r . 3-9
19. I b i d . . J4.0 8 - 9 .
326
CONCLUSION
A lthou gh Humphrey S e a r le d is m is s e s the s e c u la r m ale

ch oru s c o m p o sitio n s o f L i s z t as I n s i g n i f i c a n t , I t i s th e
o p in io n o f t h i s stu d y t h a t some o f them d e se r v e a h e a r in g .
I t i s t r u e t h a t th e s a c r e d works o f t h i s genre are o f an
o v e r a ll b e tte r q u a lity . The Roman C a th o lic Church was th e
c e n te r o f th e co m p o ser's s p i r i t u a l e x i s t e n c e , and h i s c o n
t r i b u t i o n t o i t , th ro u g h th e S o c i e t y o f S a in t C e c i l i a , was
ta k e n v e r y s e r i o u s l y . L i s z t 13 f i r s t l o v e s , th e church and
h i s n a t iv e Hungary, were c l o s e l y fo llo w e d by a p a s s io n fo r
a l l t h in g s F ren ch , th e good w i l l of p r in c e s , and a tr u e
d e d ic a t io n to th e a r t o f m u s ic , e s p e c i a l l y to th e m usic o f
th e f u t u r e . When he gave o f h im s e lf under t h e s e b a n n e rs,
th e r e s u l t s were o f t e n s u c c e s s f u l . Pa 3 L ied d er B e g e i s t e
rung ( w r it t e n f o r th e o p en in g o f th e New H ungarian T h e a te r ),
Le F orgeron (com posed f o r French s t e e lw o r k e r s ) , Das D eutsch e
V a te rla n d ( f o r t h e King o f P r u s s i a ) , and An d ie K lln stle r

( S c h i l l e r ’ s poem To th e A r t i s t s — a f a v o r i t e of Wagner’ s ) can
be c o n s id e r e d s e c u la r m ale ch o ru s l i t e r a t u r e o f a s u p e r io r
q u a l i t y , and on an e q u a l f o o t i n g w ith t h e m ale chorus sa c r e d
w orks. They f a i l t o r e a c h th e e x c e ll e n c e of th e Male Chorus

Mass and th e Requiem f o r Male V o lc e a , but f a l l w ith in th e
approxim ate c r i t e r i o n .
327
In a d d it io n t o p o in t in g out th a t some w orth w h ile com
p o s i t i o n s can be found w it h in th e b u lk o f L i s z t ’ s s e c u la r
and s a c r e d male chorus w orks, th e stu d y a l s o s u s p e c ts as
v a l i d R aabe’ s p o s i t i o n t h a t th e MSnnerchor p ie c e s se r v e d as
an a p p r e n tic e s h ip fo r the la r g e r in s tr u m e n ta l w ork s. Prom
t h e s e c u la r and sa c re d p ie c e s em erge many o f th o s e t e x t u r a l
tradem arks w hich a ls o form th e su b sta n c e o f th e o r c h e s t r a l

c o m p o s itio n s : t o n a l movement b ased upon r o o t s - b y - t h i r d s ;
o u t lin e d ch o rd s a s m e lo d ic m a t e r ia l ( e s p e c i a l l y th e d im in
is h e d s e v e n th and augmented s i x t h c h o r d s); th e employment
o f augmented t r i a d s a t cadence p o in t s (c o r r e sp o n d in g t o key
w ords in a c h o r a l t e x t ) ; g e n e r a l u se o f th e d im in ish ed chord;
a p p o g g ia tu r a -lik e p a s s in g to n e s (a mark of Wagner, L i s z t , and
t h e i r s u c c e s s o r s ) ; c a r e f u l a t t e n t i o n to th e most m inute
dynamic m ark ings; th e e x e r c i s e o f m e tr ic s i l e n c e s (fo r
a c o u s t i c a l , d r a m a tic, and t e x t u a l c o n s id e r a t io n s ) ; and th e

w is e m a n ip u la tio n o f v o ic e l e a d i n g s . As tim e p r o g r e sse d
b etw een i8 6 0 and 1 8 8 5 , t h e m ale chorus l i t e r a t u r e r e f l e c t e d
an e x p a n sio n o f h i s i n i t i a l c o m p o s itio n a l t e n d e n c ie s as w e ll
a s newer e le m e n ts o f s t y l e . For exam p le, th e in c id e n c e o f
v a r ie d m e tr ic com b in a tion s ( k/ k* 3 / 2 , 6 /8 ) in c r e a s e d as did

a more com p lex c h ro m a ticism . Some of th e l a t e works (0_ssa
a r id a , Psalm CXXIX) c o n ta in e le m e n ts o f t o n a l o b s c u r ity such
a s i n t e r v a l s a t th e m ajor s e v e n th and m inor seco n d , and com
b in a t io n s o f f o u r t h s , f i f t h s , and t h i r d s .
328
A nother d i s c e r n i b l e change o ccu rs in th e m ale chorus
m usic w r i t t e n a f t e r L i s z t ’ s d e p a r tu r e from Weimar, and upon

h i s assu m p tion o f d u t i e s as a c l e r i c in th e Roman C a th o lic
Church. As he put i t , th e m usic has a " p r is t in e q u a lity "
about i t , a s i m p l i c i t y t h a t was h e r e t o fo r e a b s e n t . Perhaps
th e c a t a l y s t s in t h i s tr a n sfo r m a tio n were th e G regorian
m e lo d ie s — lo v e d by L i s z t f o r t h e i r m y stic n a tu re and sm ooth,

m u s ic a l l i n e s . He in c o r p o r a te d them in to th e t e x t u r e o f the
sa c r e d m ale chorus p ie c e s in e i t h e r t h e i r a c tu a l or su g
g e s t e d d e s ig n . The head m o tiv e o f th e G lo r ia in t o n a tio n i s
r e f e r r e d t o by L i s z t as th e " c r o ss m otive" and ap p ears as a
s p i r i t u a l s ig n a tu r e in s e v e r a l o f h i s c o m p o s itio n s . In f a c t ,
he ca red v e r y much about th e manner in w h ich G regorian chant
was p erform ed , and p r e fe r r e d a su ng, u n if ie d ensem ble r a th e r
than a c a r e l e s s , sh o u ted r e n d it io n ( i t s p r o n u n c ia tio n , he

s a i d , sh o u ld be m odeled a f t e r th e I t a l i a n la n g u a g e ).
L i s z t was a l s o e x tr e m e ly s e n s i t i v e to th e perform ances

o f h i s w ork s, and was q u it e e x a c t in g in h i s in s t r u c t io n s
t o v a r io u s c o n d u c to r s . In c h o r a l m u sic , he seems most
con cern ed w ith good in t o n a t io n and a e s t h e t i c s e n s i t i v i t y .
He knew j u s t where th e harm onic p i t f a l l s were in m ale

ch o ru s t e x t u r e , and w ould r e v i s e a g a in and a g a in to
reach a c o r r e c t s o lu tio n . Two o f h i s b e s t male ch oru s
w orks, th e Male Chorus Mass and An d ie Ktins t i e r , a c h ie v e d
329
t h e i r p o s i t i o n s o f e x c e lle n c e through y ea rs o f perform ance

and c o n sta n t r e v i s i o n . L i s z t ’ s m u sic a l sh o rtco m in g , su p
p o s e d ly , was h i s i n a b i l i t y to o r c h e s t r a t e w e l l , b eca u se of
h i s h a b it o f a sk in g o t h e r s , su ch as Joachim R a ff or Johann
H erbeck, to do i t fo r him ( in th e c a se o f th e la r g e c h o r a l
w o r k s). N e v e r t h e le s s , he i s r e s p o n s ib le fo r a number o f
o r c h e s t r a l c o m p o sitio n s sco red in h i s own hand. P erh ap s,
because o f th e c ru sh o f so many d u t i e s , he was o f t e n fo r c e d
t o d e le g a te th e c h o r a l- o r c h e s t r a t io n c h o r e s .
The main t h r u s t o f The Male Chorus Music o f Franz L i s z t
has been to examine s c o r e s and t o r e p o r t t h e i r c o n t e n t . In
the a c t o f se c u r in g t h e s e f in d in g s , how ever, i t has been

p o s s ib le to d is c e r n a p e r ip h e r a l view o f th e n in e te e n th
c e n tu r y in L i s z t ’ s l i f e t i m e . Names t h a t o r d in a r ily do not

appear in h i s t o r i c a l or b io g r a p h ic a l t e x t s , l i k e H a rb erl,
G o tts c h la g , Kahnt, P o h l, Abrtfnyi, R epos, B r o n sa r t, and W itt,
sta n d in p r o x im ity to B e r l io z , C hopin, von Billow, R u b in s te in ,

S a in t S&ens, and Wagner. I t i s app arent th a t th e s e i n d i v i
d u a ls were v e r y much p a rt o f the m u sica l l i f e o f th e n in e
te e n th c e n tu r y , and o ft e n were in t im a t e ly a c t iv e in perform
in g , c o p y in g , a r ra n g in g , or o r c h e s t r a t in g th e male chorus
l i t e r a t u r e in q u e s t io n . Concom itant w ith th e above p e r ip h
e r a l view was th e o p p o r tu n ity to e x p e r ie n c e Franz L is z t as

an i n d iv id u a l. He was b r i l l i a n t , v a in , u n s e l f i s h , a
330
F r a n c o p h ile , lo v e d Hungary, h a te d E ngland, and garn ered a
g r e a t d e a l o f h i s econom ic su ste n a n c e in Germany. L i s z t was

i n t e l l e c t u a l l y a l i b e r a l , but was t i e d e m o tio n a lly and
f i n a n c i a l l y t o th e r o y a l h o u s e s . Toward th e end o f h i s l i f e ,
he l i v e d what he d e s c r ib e d a s l a v i e t r i f u r q u / e — an annual
t h r e e f o l d e x is t e n c e in Weimar, B u d a p est, and a t th e V i l l a
d 'E s te (n ea r Rome) where he c h a ir e d sem in ars a s th e w o r ld 's
le a d in g te a c h e r o f th e p ia n o , and e i t h e r composed new m usic
or r e v i s e d th e o l d .
I t comes as a com p lete s u r p r is e t o many m u s ic ia n s th a t
L i s z t d id in d eed compose o v er se v e n ty p i e c e s fo r male c h o r u s.
Why sh o u ld a com poser and perform er o f p ia n o m usic in v o lv e
h im s e lf in t h i s way, and do i t so w e ll? Reasons come from
v a r io u s s o u r c e s to u c h in g upon th e p r o l i f e r a t i o n o f male
ch oru s s o c i e t i e s in Europe a t th e tim e (and hence th e a v a i l
a b i l i t y o f an econom ic o u t l e t ) , th e a b sen ce o f women in many
o f th e Roman C a th o lic c h o i r s , and th e c o m p o s itio n a l p r a c tic e

a ffo r d e d a llo w in g him to p roceed to more c h a lle n g in g
mediums. A l l o f t h e s e r e a so n s no doubt have v a l i d i t y , and
had th e tim e and p la c e been o th e r w is e , he would p rob ab ly

have a v o id e d t h i s g e n r e . N e v e r t h e le s s , th e works e x i s t and
were composed w ith a tr u e i n s i g h t in t o what m ale v o ic e s
co u ld d o, and how b e s t such v o i c e s in c o m b in a tio n c o u ld
sound. Due t o t h e i r som etim es e x t r a c u r r ic u la r n a tu r e , male
331
c h o r u se s are h e ld In q u e s tio n by many r e s p o n s ib le m u s ic ia n s .

On th e o t h e r hand, i t i s in t h e i r fa v o r t h a t , g iv e n a com
p o s i t i o n o f m u s ic a l w o r th , the i n t r i n s i c b e a u ty o f m ale
v o ic e s o n o r it y d e s e r v e s a r e s p e c t a b le p o s i t i o n i n th e
h ie r a r c h y o f a r t i s t i c v o c a l e n se m b le s. Perhaps Franz L i s z t ,
d e s p i t e th e o th e r f a c t o r s in v o lv e d , f e l t t h i s to be t r u e ,
and tu rn ed h i s hand to th e male ch o ru s w orks w ith more than
a s e n s e o f d u ty .
APPENDIX A
REMARKS ON POUR MALE CHORUS WORKS
333
APPENDIX A
REMARKS ON POUR MALE CHORUS WORKS
G en eral Remarks
The m usic f o r th e Appendix o f The Male Chorus Music

o f Franz L i s z t was s e l e c t e d w ith th e f o llo w in g p r i o r i t i e s
in mind: m usic i n m an u scrip t form , a c h r o n o lo g ic a l c r o s s

s e c t i o n o f t y p e s , and m usic n o t r e c e n t l y p u b lis h e d . The
works t o be e d i t e d are Das d e u tsc h e V a te r la n d (secon d v e r sio n ,
n . d . ) , Das L ied d er B e g e ls te r u n g ( 1 8 7 1 ) , Per Gang um M ltt e r -

nach t ( l 8lj.£?), and Psalm CXXIX ( l 88l ) . Three o f th e fo u r
are s e c u la r p i e c e s w h ile o n ly th e p salm , De p r o fu n d i3 , i s
sacred . As m en tioned i n th e c o n c lu s io n , th e sa c re d works

are g e n e r a lly s u p e r io r t o th e s e c u la r ; n e v e r t h e l e s s , s in c e
most o f th e form er a re i n s a t i s f a c t o r y e d i t io n s and th e
l a t t e r are n o t , i t seem s a more v a lu a b le c o n tr ib u tio n to
p roceed in t h i s f a s h io n . Two o f th e c o m p o s itio n s are in
m an u scrip t w h ile two are a v a i la b l e i n o l d e r , d e fu n c t e d i

tio n s . Das d e u tsc h e V a te rla n d and Das L ie d der B e g e l3teru n g
are in m an u scrip t form and are w r itt e n in th e hand o f Franz
L is z t. The rem a in in g two were p u b lis h e d by C. F. Kahnt o f
L e ip z ig —Der Gang um M ltte r n a c h t in 185>1 and Psalm CXXIX
33k
presum ably in 1905> (* 0£ i s marked in p e n c il on page 1 o f the
p r in te d s c o r e . The t i t l e page i s m is s in g ) .
F in a ll y , th e fo u r are d iv e r s e in c o n te n t and lo n g e v it y .
Das d eu tsch e V aterlan d (se co n d v e r s io n ) cou ld w e ll have been
an u n o f f i c i a l n a t io n a l anthem lo n g b e fo r e the form a tio n o f
a u n if ie d Germany (s e e page 3 0 ) . I t i s in th e hom ophonic,
fo u rsq u a re t r a d i t i o n o f the M&nnerchor Movement and, alth ou gh
th e secon d v e r s io n has no d a t e , th e f i r s t v e r s io n i s from
l81j.l. The secon d m a n u scrip t, Das L ied der B e g e is te r u n g , i s
a ls o a p a t r i o t i c v e h ic le but honors Hungary in s te a d o f

Germany. I t i s from a l a t e r tim e , 1871, and i s h a r m o n ic a lly
and t h e m a t ic a lly more com plex. Der Gang um M ltte r n a c h t,
which i s one o f the b e t t e r Ftir MHnnergesang p i e c e s , s e t s a
som ber, m ela n ch o ly mood, and r e f l e c t s th e p o l i t i c a l f r u s t r a

t i o n s o f i t s p o e t , th e n in e te e n th -c e n tu r y German l i b e r a l
Herwegh. In c o n tr a s t to Das d eu tsch e V a te r la n d , i t i s

b e t t e r s u it e d to male q u a r te t. I t was composed ro u g h ly
around 18^5. The lo n e sa cred work, De Pro fund i s , i s a l a t e
c o m p o sitio n from 18 8 1 , and, u n lik e the oth er t h r e e , c o n ta in s
many o f L i s z t ’ s a v a n t-gard e te c h n iq u e s . (See page 3i9.)
335
D e s c r ip tio n o f Sou rces
Das d e u ts c h e V a terla n d ( s e e Chapter I I f o r

h i s t o r i c a l and a n a l y t i c a l d e s c r i p t io n s )
The C u r tis I n s t i t u t e o f Music owns th e o r i g i n a l manu

s c r i p t o f Das d e u tsc h e V a te rla n d (se co n d v e r s io n ) and, on
May 27, 1 9 6 9 , made a m ic r o film o f th e work f o r th e U n iv e r

s i t y o f Iow a, where i t i s p r e s e n t ly f i l e d as M usic F ilm
12598. The r e e l number a t th e C u r tis I n s t i t u t e o f Music
is 6 9 -1 .
The m ic r o film c o n ta in s an o p en in g d e s c r i p t iv e p age, a
t i t l e page w r it t e n and s ig n e d by L i s z t , fo u r p ages o f m u sic,
and a f i n a l page em bracing an autograph ed n o te ( d is c u s s e d
on page 5 3 ) . In th e op en in g d e s c r i p t iv e n o te , th e p o et of
th e " c e le b r a te d p a t r i o t i c song" i s i d e n t i f i e d as A rndt, and
th e com poser as Pranz L i s z t , "the c e le b r a t e d Hungarian
m u s ic a l com poser and p i a n i s t ." The t i t l e p a g e , w ith A rn d t's
name u n d e r lin e d (b u t c r o s s e d o u t) a t th e t o p , i s e n t i t l e d
Das d e u tsc h e V a terla n d (neue v e r s io n ) and i s d e d ic a te d to
s t u d e n ts from B e r lin , V ien n a, K B nigsb erg, B r e s la u , H a lle ,
and J en a . At th e bottom i s L i s z t ' s s ig n a tu r e : "Sym pathet
i c a l l y d e d ic a te d by Dr. Pranz L i s z t ." On th e f i r s t page o f
m u sic , the d e d ic a t io n i s r e p e a te d , bu t L i s z t h a s added "Sym

p a t h e t i c a l l y d e d ic a te d and composed / i t a l i c s m in e / by D r.
336
Pranz L i s z t ." P a g in a tio n i s la c k in g and m easures are n ot
numbered. The son g was o b v io u s ly w r it t e n q u ic k ly and th e
t e x t and sc o r e are d i f f i c u l t to read ( L is z t r e f e r s o f t e n in

h i s l e t t e r s t o h i s poor s c r i p t ) .
The f i r s t v e r s e b e g in s w ith th e t e x t p la c e d o v e r th e
f i r s t and seco n d t e n o r s , l e a v in g th e f i r s t and secon d b a s s e s
b la n k . In th e seco n d v e r s e , the t e x t (M eas. lj.) "so nenne

mir" h a s been e r a se d and c o p ie d o v e r a g a in . Throughout th e
work accen t marks are i r r e g u la r (> , A , * , —,Vt or A )

and r e p e a t s i g n s have fo u r d o ts i n s t e a d o f th e t r a d i t i o n a l
tw o. A f te r th e secon d v e r s e , the words Im Takt ( in tem po)
appear a f t e r th e d ou b le bar (M eas. 3 2 ) , and, in th e t h ir d
v e r s e , n o te s have been c r o s s e d out (M eas. 3 k ) an<i r e p la c e d

by o c ta v e f l a t s in th e t e n o r s and b a s s e s . The second b a ss
and seco n d te n o r are w ith o u t n o t a t io n in the u n iso n p a ssa g e
o f th e t h ir d v e r s e , and a re m e r e ly marked " u n iso n ." Here
th e t e x t i s p la c e d over th e f i r s t ten o r p a r t; th e secon d

b a ss i s a ls o u n d e r la id w henever t h a t v o ic e d i v e r t s r h y th
m ic a lly from t h e o th e r t h r e e . In th e fo u r th v e r s e , n o t a t io n
h a s been c r o s s e d o u t and r e p la c e d In th e seco n d te n o r (M eas.
6 2 ) , and dynamic m arkings in the f i f t h and s i x t h v e r s e s are
b r o a d ly p la c e d betw een th e s t a v e s o f th e low er v o i c e s , mak
in g i t im p o s s ib le to u n d e rla y t e x t .
337
T h is e d i t i o n w i l l n o t add m arkings to th e s c o r e , but
w i l l r e l o c a t e dynamic in d ic a t io n s so th a t th e o r i g i n a l German
t e x t (and an E n g lis h t r a n s l a t i o n prepared by th e e d i t o r ) may
be u n d e r la id . Accent marks w i l l be u n if ie d t o ( > ) and ( - ) ,
and w i l l be p la c e d , in m ost c a s e s , over th e n o t e . M easures
and p ages w i l l be numbered, and b r a c k e ts w i l l e n c lo s e a l l
e d i t i o n marks w it h in th e t e x t . S in c e s e v e r a l words w r itt e n
in th e sc o r e b y L i s z t are in an o ld e r Germsn s p e l l i n g (se y n ;
Muth; d a s s ) , p r e s e n t u sage w i l l be em ployed.
Der Gang Um M itte r n a c h t ( s e e Chapter I I I f o r

h i s t o r i c a l and a n a l y t i c a l d e s c r ip t io n s )
A ccord in g to Humphrey S e a r l e ' s r eco rd o f L i s z t ’ s w orks,
in G rove’ s D ic tio n a r y o f M usic and M u sic ia n s, an autograph

sc o r e o f Der Gang um M itte r n a c h t d id at one tim e r e s id e in
th e L i s z t Museum a t Weimar. I t was f o r f o u r - v o ic e male
ch o ru s and p i a n o f o r t e . In 1861 C. P . Kahnt p u b lish e d th e

w ork, but an accom panying p ia n o fo r te part i s not m en tion ed .
The Kahnt p u b l i c a t i o n a v a i la b l e fo r t h i s stu d y i s f o r fou r
m ale v o i c e s and te n o r s o l o unaccom panied. A p u b lic a tio n d a te
i s n o t e v id e n t w ith in t h e body o f th e s c o r e , but th e year
1851 appears as a d e c o r a t iv e symbol on the t i t l e p a g e. It
may be assum ed, how ever, th a t t h i s p a r t i c u la r d a te r e f e r s

e x c l u s i v e l y t o t h e g e n e r a l fo u n d in g o f th e Kahnt p u b lis h in g
h ou se.
338
The p r in te d sc o r e i s in a c le a r b la c k on w h ite ty p e ,
and i s in an 8 l / 2 M x 6M fo rm a t. The h ea d in g o f th e t i t l e
page i s Mftnnerchor von Franz L i s z t , and i s o r g a n iz e d in an
o r n a te c a l l i g r a p h i c d e s ig n o f th e t im e . Under the t i t l e are

l i s t e d the tw e lv e p ie c e s from the c o l l e c t i o n Ftir MSnner-
g e s a n g , and th e p r ic e o f th e s c o r e , w r itt e n in p e n c il in th e
bottom r ig h t-h a n d c o m e r o f th e t i t l e p age, i s th r e e m arks.

The rem ainder o f th e sc o re i s com prised o f s i x p ages o f
m u sic , numbered 2 - 7 . The p la t e number, 7 8 2 , i s in d ic a te d
a t th e bottom c e n te r o f each page o f m u sic . Accent marks
w it h in the m u sic are r e g u la te d ( i n c o n tr a s t t o th e manu
s c r i p t o f Das D eutsche V a te r la n d ) , and tempo m arkings are
w r it t e n in both I t a l i a n and German. R e f le c t i n g L i s z t ' s
c o n s ta n t con cern fo r even th e most m inute dynamic m ark ings,
Der Gang Um M itte rn a ch t c o n ta in s many such i n d i c a t i o n s .
The a c tu a l dynamic range e x te n d s from mf to ppp, and th e
m easures are n o t numbered. I t i s th e e d i t o r ' s in t e n t io n
t h a t L i s z t ' s m arkings be fo llo w e d f a i t h f u l l y , and t h a t
measure numbers and an E n g lish t r a n s l a t i o n be the o n ly ad
d itio n s .
339
Das L ie d d er B e g e iste r u n g (s e e Chapter V III f o r

h i s t o r i c a l and a n a l y t i c a l d e s c r ip t io n s )
Humphrey S e a r le , in G r o v e l D ic tio n a r y o f Music and
M u sic ia n s, l i s t s an u n p u b lish ed m an u scrip t o f Das L ied der
B e g e is te r u n g f o r f o u r - v o ic e male chorus and o rg a n . The
a v a ila b le sou rce i s a m ic r o film o f th e m an u scrip t (MSS. No.
27) s e n t from th e L ib ra ry o f C ongress t o th e U n iv e r s it y o f

Iowa Music L ib r a r y . I t c o n t a in s fo u r unnumbered p a g e s.
These a r e : a t i t l e p a g e, two pages o f m usic in L i s z t ' s
hand, and a f i n a l p a g e, a l s o in the com p oser's hand, upon
w hich K ern el A b rd n y i's e n t i r e poem ( in a German t r a n s l a t i o n )
i s w r it t e n . C oncerning t h i s f i n a l page, th r e e o f th e v e r s e s
c o p ie d th e r e o n are p a r t o f th e c o m p o sitio n , Das L ied der
B e g e ia te r u n g . However, a fo u r th sta n z a i s appended and
se p a r a te d by a l i n e drawn b etw een i t and th e th r e e v e r s e s

m entioned a b o v e. I t appears to be a L i s z t ia n pun in te n d ed
f o r whomever was t o r e c e iv e th e m a n u scrip t, and, as fa r as
i t can be d e c ip h e r e d , r e a d s:
To keep on hymning "Liebe" and "Triebe" i s absurd;

( I n c i d e n t a l l v th o s e i - l - i - e ' s s t i c k out m is e r a b ly :)
Anyway ’’Lust" and "Brust" i s p r e fe r a b le --m o r e or
l e s s as i n
The s t o r y in K la d era d a ta ch :
At t h i s w r it in g th e " p u n ch -lin e" t o th e s t o r y —from th e
n in e te e n th -c e n tu r y v e r s io n o f Punch (Der K la d era d a tsch ) —
3^0
has n o t been u n r a v e le d , due t o i t s p e r so n a l r e f e r e n c e s and
th e unhappy penmanship o f Pranz L i s z t .

The t i t l e page i s an a lm o st b lan k s h e e t o f paper w ith
th e name o f L i s z t u n d e r lin e d , and w r i t t e n in th e upper l e f t -
hand c o r n e r . Below i t i s th e t i t l e , Das L ied der B e g e i s t e
ru n g , and l ik e w is e below t h i s i s a gummed i d e n t i f i c a t i o n

s t i c k e r , o b v io u s ly a tta c h e d a t th e L ib ra ry o f C on gress, w ith
th e same in fo r m a tio n ty p e d upon i t . To the r ig h t and
s l i g h t l y lo w e r , MSS. No. 27 i s w r i t t e n . The f o llo w in g two

pages c o n ta in th e m u sic . Each compares w ith th e m anuscript
o f Das D eu tsch e V a te r la n d , in t h a t a c ce n t marks appear in
v a r io u s form s ( a » > » * * ) but in c o n t r a s t t o the form er work

are g e n e r a lly p la c e d above the n o t e . In f a c t , the e n t ir e
m an u scrip t o f Das L ied der B e g e is te r u n g seem s to be b e t t e r
o r g a n iz e d and l e s s h a s t i l y p rep ared .

On page 1 , Meas. 11 and 13 have been c r o s s e d ou t and
r e p la c e d . L i s z t a llo w s us to s e e the r e j e c t e d m easu res,
w hich prove t o be an i n t e r e s t i n g s tu d y o f in s ta n t r e v i s i o n ,
a s seen in Example 177» a and b . In Example 177a L is z t
seems to have p r e fe r r e d a f u l l ferm a ta b e fo r e c o n tin u in g
w ith th e l a s t l i n e o f th e str o p h e ; HWenn g e tr e n n t von der
B e g e iste r u n g d ie B r u s t l” Example 177b in d ic a t e s th a t the
D -sharp d im in ish e d se v e n th and th e P se v e n th chord were
r e j e c t e d , and L i s z t in s te a d d e c id e d to move d i r e c t l y from
31+1
Example 1 7 7 . Daa L ie d d er B e g e is te r u n g
a . Meas. 11
R e je c te d : A ccep ted :
* f - f t
LwsV, wevm wenwî-
s s# #
b. M eas. 13
R e je c te d : A ccep ted :
f ih l
• j i ’l —«
'i»> a I
th e p r e v io u s F -sh a rp d im in ish e d se v e n th chord o f Meas. 12

t o t h e s e l e c t e d E - f l a t m ajor chord o f M eas. 1 3 . He a l s o
l i k e d th e seco n d id e a in Example 177b, perhaps b e c a u se o f

th e m elism a on the noun B e g e is t e r u n g . Words o f m u sic a l ex
p r e s s io n , tem po, and dynam ics are both in German and I t a l
ia n , and two f i n a l fer m a ta s ( o f te n a tradem ark o f L i s z t )
are p la c e d on th e r e s t f o llo w in g the f i n a l chord (M eas. 3b
3^2
and 7^)* At th e c o n c lu s io n o f th e u ltim a te dou ble b a r ,
th e f o llo w in g s ig n a tu r e a p p ea rs: ”F . L i s z t , in R a id in g
gebom l P e s t.” I t app ears th a t th e month o f th e year
i s a l s o w r it t e n bu t i s u n d e c ip h e r a b le .
In th e e d i t i o n o f Das L ie d der B e g e is te r u n g , a c c e n t
marks w i l l be r e g u la te d to ( > ) and ( — ) and p h rase m arkings
by th e e d it o r w i l l be n o ta te d i n t h i s manner (<<**^). A ll
o th e r e d i t o r i a l marks w i l l be en ca sed i n b r a c k e ts .
Psalm CXXIX ( De P r o fu n d is ) ( s e e Chapter IX fo r

h i s t o r i c a l and a n a l y t i c a l d e s c r i p t io n s )
The o r i g i n a l m a n u sc rip ts o f Psalm CXXIX, a c c o r d in g t o
S e a r le , once r e s id e d in th e L i s z t Museum in Weimar, and a

p u b lish e d e d i t i o n was b rou gh t out by C. G. Kahnt in 1883
( v e r s io n f o r b a r ito n e s o lo v o ic e and o r g a n ). Another
v e r s io n f o r b a r ito n e s o l o , m ale c h o r u s, and organ appeared

in th e Neue Z e l t s c h r l f t ftir M uslk ( n . d . ) . There are fo u r
v e r s io n s o f De P r o fu n d is a v a ila b le f o r s tu d y . Two are
p r in te d s c o r e s and two a re m an u scrip t fra g m e n ts.
Source No. 1 , r e c e iv e d from th e L ib ra ry of C on gress,
i s a Kahnt p u b lic a t io n f o r b a r ito n e s o l o , male c h o r u s, and
organ accompaniment (o n e , i t seem s, o f w h ich S e a r le was

unaw are) . I t i s i n L a tin and German, and a presumed d a te ,
1905 ( ' 0 £ ) , I s w r it t e n in p e n c i l a t th e to p o f th e f i r s t
page. Source No. 2 i s a m an u scrip t fragm ent o f the male
31+3
chorus e d i t i o n , and was s e n t to th e U n iv e r s ity o f Iowa Music

L ib r a ry ( i n Xerox form ) from th e N a tio n a l R esearch and
Memorial L ib ra ry ( N a tio n a le F orsch ungs und G ed en k st& tte)
f o r C l a s s i c a l German L it e r a tu r e i n Weimar (where th e s u r
v iv in g c o p ie s o f L i s z t ' s m a n u sc rip ts now r e s i d e ) . The manu
s c r i p t number i s 337 > and i s in a tw o-page fo rm a t. On an

in fo r m a tio n l a b e l adhered t o th e back o f th e f i r s t page, th e
l o c a t i o n and m an u scrip t number o f th e sou rce are given a s
w e ll as th e f o llo w in g sta te m e n t: "Reproduce o n ly w ith the
p e r m is sio n o f th e proper i n s t i t u t i o n . " Source No. 3 » in
L a tin and German, i s the Kahnt e d i t i o n o f 1883 fo r b a r ito n e

s o lo v o ic e and organ accompaniment (r e c e iv e d from th e
Newberry L ib rary in C h icago, 1 1 1 .) and Source N o. 1+ i s a

m an u scrip t fragm en t— in German o n ly — sen t t o th e U n iv e r s it y
o f Iowa M usic L ib ra ry from th e L ib rary o f C ongress (a lo n g
w ith Das L ie d der B e g e is te r u n g ) . I t I s the f i r s t s e c t io n
o f a p a rt sc o r e f o r b a r ito n e s o lo v o i c e , and i s w r it t e n in
L i s z t ’ s hand. The m anu script i t s e l f in c lu d e s a t i t l e page
and two p ages o f m u sic . The t i t l e page c a r r ie s a m anuscript
number (MSS No. 3l+) and, in th e lo w er le f t - h a n d c o r n e r , the
c a ta lo g u e number ML 96 - L£8 a p p e a r s.
Source No. 1 and No. 2 are r e l a t e d in t h a t th e y are
s e t f o r b a r ito n e s o l o , m ale c h o r u s, and o rg a n . The two p ages
o f m usic in No. 2 are i d e n t i c a l , and com prise th e f i r s t £9
m easures o f Psalm CXXIX. The f i r s t page of No. 2 i s a
h a l f - s t e p low er in p it c h than th e second p a g e, and both

f o llo w the n o t a t io n o f No. 1 . The m anuscript of No. 2 i s
in a hand o th e r th a n L i s z t ' s (A b s c h r ift in frem der Hand)

and i s in both L a tin and G em an. D if f e r e n c e s occur due to
th e f a c t m en tion ed above t h a t th e f i r s t page o f No. 2 b eg in s
a t P and th e secon d page a t G - f l a t . F u r th e r, in th e f i r s t
m easure o f No. 2 an m£ in d ic a t io n i s g iv e n , but does not

appear in No. 1 . M easures V~> and 16 o f No. 2 are c r o ss e d
out and r e p la c e d sim p ly b ecau se the c o p y is t w ished t o sk ip
a lin e a f t e r th e f i r s t s e t o f s t a v e s —but e r r e d . E xcept
f o r th e d i f f e r e n c e o f a se m ito n e , No. 1 and th e f i r s t page
o f N o. 2 are n e a r ly a l i k e , w ith th e e x c e p tio n o f Meas. 37-U3
in th e L a tin t e x t . Here th e d ecla m a tio n v a r i e s , as seen
in Example 1 7 8 , a and b . The secon d page o f No. 2 i s the
same i n p it c h as No. 1 . D e s p ite t h i s f a c t n e it h e r th e f i r s t

nor th e seco n d pages in c lu d e the Gentian t e x t a s th e b a r i
to n e s o lo b e g in s th e unaccompanied s e c t i o n (Meas.
However, j u s t as th e fragm ent ends a t Meas. S>8 and £9, th e
German verb erhflren appears sim u lta n e o u sly w ith the L a tin
noun Dom ine.

No. 3t fo r b a r ito n e s o lo v o ic e and organ accom panim ent,
and No. U, a m an u scrip t fragm ent o f th e s o l o v o ic e alone

(b a r ito n e or low a l t o ) do g e n e r a lly con cu r, but w ith some
3kB

a. (No. 1 ) , Meas. 37-^3
| V l J m s
f f hif—ii—
♦^3- n
])*- pro Io -VAU \a i ft*au< A i
A 'i':J .c L J J !^ y = usL-j L j 4 j ;
B P
rr f T f f = f f r T rrr r f rtrr
b. (No. 2 , p . 1 ) , Meas. 37-fyl
TavMV'
Da ^vo- £u*\ cV - wevrtaA T*. Do-- wu-h*.

&A((
jn jj
§ rr f r r ru rk w
5=*=*
i
r-'ttc r r r
v a r ia tio n . In com paring both v e r s io n s ( s e e Example 1 7 9 ,
a and b ) , a s th e v o ic e part b e g in s , a rhythm ic d if f e r e n c e
i s e v id e n t . In Meas. 1|3, k 5 t and $ k -$ 7 , d ecla m a tio n and

p i t c h d i f f e r betw een No. 3 and No. U (Example 1 8 0 , a and b ) .
lit Measure 90 in No. 3 , th e fragm ent (No. U) d is c o n t in u e s .
An i n t e r e s t i n g com parison can be made betw een so u r c e s
No. 1 and N o. 3 (th e s e t t i n g f o r b a r it o n e s o l o , m ale c h o r u s,
and o rgan , and th e e d it io n fo r b a r ito n e s o lo and o r g a n ).
No. 1 , b e c a u se o f th e added elem en t o f th e m ale c h o r u s, i s
th e lo n g e r o f th e two e d i t io n s (250 m easures t o 208 in
E xam ple 179. Psalm CXXIX
a. (No. 3), Meas. 10-11+
'Y-iijo ji {el ia -.
D*. -<i'$ c'ow-W\t - y\
i I f'-y ip -
AwsdavT'C - "fc *v-£«. »e.k
b. (No. 1+), M eas. 10-11+
§ at=c dz
A ^ d t r - n r - f e rw^c Uk Hwr

a. (No. 3 ) , Meas. i+3, 1+5, 51+-57
v br 4 ^ r ' T ^ i f ( (j
0.0^,— die. «*»«!(' • v%es WiHVy dM. d«r Sv>‘v\ _
b. (No. 1+), M eas. 1+3, 1+5, 51+-57
O'O^. d'\e W ic \ - wevÂv wMlsf d**- SGmA«* y . -
Ho. 3 ) . I t b e g in s on a t o n a l i t y o f G - f la t ( s i m i la r to
th e seco n d page o f N o. 2 ) w h ile No. 3 s t a r t s a sem ito n e

low er in P ( s im ila r to th e f i r s t page o f No.. 2 ) a s seen
Example l 8l , a and b .
3U7
Example l 8l . Psalm CXXIX
a. (No. 1 ) , M eas. I-I4.
ip 1 j ir j la p s
b. (N o. 3 ) , M eas. 1
U - j f u | * . 1 T ^
As a l s o se en in Exam ples l 8l a and l 8l b , th e in t r o d u c t io n s
d i f f e r t h e m a t ic a l ly , a lth o u g h th e harm onic im p lic a t io n of

th e m ajor s e v e n th i n t e r v a l b in d s them t o g e t h e r . F u r th e r ,
th e in t r o d u c t io n o f No. 3 i s n in e m easu res in le n g t h w h ile
t h a t o f No. 1 numbers I4.I1 m easu res (w h ich in c lu d e s an e i g h t -

m easure p h ra se by t h e m ale c h o r u s ) . The e d i t i o n s f i n a l l y
come t o g e t h e r a t M eas. 60 o f No. 1 and M eas. 38 o f No. 3 .

At t h i s p o i n t , N o. 1*3 key s ig n a tu r e i s t h a t o f D - f l a t major
w h ile No. 3 adds a c c i d e n t a l s t o th e in d iv id u a l p i t c h e s .
Numerous a d d it io n a l v a r ia n c e s e x i s t b etw een so u r c e s
No. 1 and N o. 3 . The b a r ito n e s o lo l i n e o f No. 3 r e c e i v e s
a s p e c i a l tre a tm e n t t h a t d oes n o t o ccu r in N o. 1 . In

No. 3 , w henever th e s o lo l i n e i s unaccom panied, b a r lin e s
are o n ly s u g g e s te d ( s e e Example 1 7 9 a ). They are t r a d i

t i o n a l l y b a rred in No. 1 . At M eas. 90 o f N o. 1 a r ita r d a n d o
i s in d ic a t e d , w h ile in No. 3 a t th e same l o c a t i o n (M eas. 67)
th e d e l in e a t i o n i s r l t e n u t o . Again N o. 3 a t Meas. 77 i s
marked Andante, M.M. -6 0 . No. 1 in th e same l o c a t i o n , a t
M eas. 105, i s a l s o la b e le d A ndante, but a t Metronomo, % 0 - J .
One o f th e m ost im portant v a r ia n c e s betw een so u r c e s No. 1
and No. 3 i s a t Meas. I i|5 - lli9 in No. 3 , where i t app ears

th a t L i s z t h as added a word t o the psalm . O r d in a r ily th e
t e x t o f Psalm CXXIX, a t t h i s p o in t , i s " et ip s e red im et
I s r a e l omnibus in q u it a t ib u s e j u s /a n d he w i l l redeem I s r a e l
from a l l i t s i n i q u i t i e s / . " However, in No. 3 a t Meas. Ilf8 ,
in th e f i r s t sta te m en t o f th e p h r a se , th e word vendim et i s
s u b s t it u t e d (and he w i l l come— ) . S in c e the t e x t in q u e s tio n
i s r e p e a te d , th e verb red im et ap p ears p r o p e r ly a t M eas.
1 6 5 -1 6 6 . However, in th e German t e x t the e q u iv a le n t o f
r e d lm e t—e r lf ls e n — i s used on b o th o c c a s io n s . Source No. 1
em ploys red im et t w ic e .
Both so u r c e s o f Psalm CXXIX (De P r o fu n d is ) now proceed

t o t h e i r c o n c lu s io n s . In t h i s f i n a l s e c t i o n , No. 1 i s a g a in
e lo n g a te d beyond N o. 3 on th e o c c a s io n o f a m ale chorus
e n tr a n c e , but b oth e d i t i o n s are a g a in s im ila r a t Mea3. 217
o f No. 1 and Meas. 185 o f No. 3 . They are d i s s i m i l a r in
t h e i r r e s p e c t iv e c o d e t t a s . No. 3 q u ic k ly r e s o l v e s t o an
E major f i r s t - i n v e r s i o n ch o rd . N o. 1 a v o id s th e same
E m ajor, and, a f t e r a s e r i e s o f r e l a t e d ch o rd s ( a l l in o th e r
3U9
th a n r o o t p o s i t i o n ) , c o n c lu d e s w ith a s e c o n d -in v e r s io n ,
G -sharp m inor t o n a l i t y . Like th e Requiem f o r Male V o ices
and th e V ia c r u c i s , Psalm CXXIX e x h i b i t s an a f f i n i t y f o r
f i n a l chords In in v e r s io n —q u ite p o s s i b l y a c o m p o sitio n a l
ten d e n c y o f Pranz L is z t in h i s l a t e c h o r a l w orks.
The e d i t i o n o f Psalm CXXIX ch o sen f o r e d i t io n w i l l be
so u rc e No. 1 f o r b a r ito n e s o l o , m ale ch o ru s, and organ a c
companiment. L i s z t ' s m arkings w i l l be f a i t h f u l l y f o llo w e d ,
an E n g lis h t r a n s l a t i o n w i l l be added to th e L a tin t e x t , and
su g g e s te d b a r lin e s f o r th e b a r ito n e s o lo w i l l be adapted

from No. 3 .
APPENDIX B
SCORES OP POUR MALE CHORUS WORKS
351
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BIBLIOGRAPHY
hok
BIBLIOGRAPHY
Books and A r t i c l e s
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R e p ro d u c e d with perm ission of th e copyright owner. Further reproduction prohibited without permission.
L i s z t , F ran z. L e t te r s o f Franz L i s z t , 2 v o l s . , ed . La Mara,
t r . C onstance Bache in 18 9 4 . New York: H a s k e ll House
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E ngland: Gregg P r e s s , 1 9 6 6 .
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(1 8 9 6 ), 2 4 -$ .
Mayhew, H enry. German L if e and M anners, 2 v o l s . London:
W illiam H. A lle n & d o ., 186i|.
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P r e s te l, 1961.
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S ftn g erb la tt XXIX/9 (Septem ber, 1 9 6 5 ) , 9 0 -4 .
P ie r s ig , F r itz . "M finnerchor," Die Musik in G e sc h lc h te und
G egenw art. ll+ v o l s . , e d . F r ie d r ic h Blume, V I I I . B a s e l:
8 S r e n r e it e r , i 9 6 0 , lk £ 8 -6 5 .
P o h l, F r ie d r ic h . "Die L i s z t f e i e r in L e ip z ig ," Neue Z e i t -

s c h r l f t ftir Musik XXXV/82 (November £ , 1 8 8 5 ), Itf9 -U l.
R.C. -'Ein Requiem fiir L i s z t und L i s z t s Requiem," Neue
Z e i t s c h r i f t ffir Musik XXXIX/82 (Septem ber 2 U .T 8 8 '6 ).
k H - 19.
R aabe, P e te r . L i s z t s S c h a ffe n . B e r lin : J . G. G o tta ls c h e
Buchhandlung, 1931, I I .
Ramann, L in a . Franz L is z t a l s Psalm ens& nger. L e ip z ig :
B r e itk o p f & M r t e l , 1886.
R ehberg, P a u la . Franz L i s z t , D ie G e sc h lc h te s e in e s L ebens,
S c h a ffe n s und WlrkensT Z urich und S t u t t g a r t : A rtem is,
1961.
R o b ertso n , A le c . Requiem: Music fo r Mourning and C on sola

t i o n . New York: F r e d e r ic k A. P ra eg er, 1967 ',
1*08
R o c k l, S e b a s tia n . "Ein unbekanntea M Bnnerquartett Franz

L i s z t s ," Z e l t s c h r i f t fttr M usik C/6 (June 6 , 1 9 2 9 ) ,
3 3 2 -3 .
S c h a ttn e r , Hermann J o s e f . V olk b lld u n g durch M u slk zleh u n g.
Leben und Werke Hans Georg F & g e lls . O tte r b a c h -
K a ise'rla u ten : A b o g a st, 1 9 0 8 .
Schnapp, F r ie d r ic h . "New Documents on Franz L i s z t ," The

M onthly M u sical R ecord, t r . M. D. C a lv o c o r e s s i,
t,VT/66i* (May l , ” W 2ffr7 133-!?.
S e a r le , Humphrey. "Franz L i s z t ," G rove’ s D ic tio n a r y o f
Music and M u sic ia n s, 10 v o l s . , 5 th e d . , e d . Blom.
New York: S t , M a rtin ’ s P r e s s , 195U> V, 2 0 6 -3 1 6 .
_________ . The Music o f L i s z t , 2nd r e v . e d . New York:
Dover P u b lic a t io n s , In c. , 19 6 6 .
. "The O rch estra Works," Franz L i s z t : The Man and
H is M usic, e d . A lan W alker, flew York: T a p lln g e r
P u b lis h in g C o ., 1 9 7 0 , 2 7 9 -3 1 7 .
S i t w e l l , S a c h e v e r e ll. L i s z t , un abridged r e p r o d u c tio n of
r e v . e d . w ith new p r e fa c e by th e a u th o r . New York:
Dover P u b lic a t io n s , I n c . , 19 6 7 .
S t r a d e l , . A u g u st. Franz L is z t Werke. L e ip z ig : C. F.
Kahnt, 1901*.
T r e it s c h e , H e in r ic h von . H is to r y o f Germany in th e N in e
t e e n t h C en tu ry, 3 v o l s . , t r . fid'en '& Cedar P a u l. Few
York:Mcferide, N ast & C o ., 1916.
W alker, A lan . " L isz t and the T w en tieth C entury," Franz
L i s z t : The Man and His M usic, ed . Alan W alker. New
York: T a p lin g e r P u b lish in g C o ., 1 9 7 0 , 300-61*.
W a lla c e, W illia m . L i s z t , Wagner and th e P r i n c e s s . London:
J . Curwin & Son s, 1 9 2 7 .
W aters, Edward N. "R ecent A c q u is it io n s o f th e Music D i v i
s io n ," The Q u a r ter ly Jou rn al XXVI/l (Jan u ary, 1 9 6 9 ),
2 2 -3 .
"Sur l a P i s t e de L i s z t ," N otes XXVII/1* (Ju n e,
1 9 7 1 ), 667.
k09
Woodward, Ralph. "The Large Sacred Choral Works of Frans

L is z t." Unpublished Ri.D. d is s e r ta tio n . U niversity
of I l l i n o i s , 1966, 3l|.0 pp. (Xerox copy. Ann Arbor:
U n iv ersity M icrofilm s.)
Music*
Sacred
L is z t, Franz. "Cantieo del s o l," L isz ts M asikallsche Werke,
ed. P h illip Wolfrum (Leipzig: B reitkopf & H ftrtel,
1908-1936), reproduced in 3lj. v o ls. Westmead, England,
Gregg P re ss, 1966, V. 5, I - 4 8 . 2
. "Messe fttr vierstim migen M&nnerchor und O rgel,"
Werke. V. 3, 1-28.
________ . "Requiem," Werke. V. 3, 62-111}..
. "Aus der T iefe rufe ich Herr (129 Psalm )," MSS
Ro.' 3U» Washington: L ibrary o f Congress, n .d .
(Xerox copy.)
. Der Psalm 129 (De profundis) fo r b arito n e so lo ,
piano or organ. L eipzig: C. F. Kahnt, n .d .
"Psalm CXXIX (De p ro fu n d is)," MSS 337. Weimar:
R ationale Forschungs- und Gedenkstatten der klassischen
deutschen L ite r a tu r , n .d . (Xerox copy.)
. P er 129 Psalm fo r baritone solo, male chorus and
organ. L eipzig: <J. F. Kahnt, 1902.
. "P ater n o ste r I I fftr Mttnnerchor und O rgel,"
Verjce, V. 6, 106-7.
1. The music se c tio n of t h is bibliography w ill follow

Humphrey S e a r le 's catalogue of L is z t's works beginning
on page 265 in G rove's D ictionary of Music and
M usicians. V o l.T I
2. H e re a fte r, c ita tio n s fo r L isz ts M uslkalische Werke
w ill be shortened to Werke, and the p u b lish er and
e d ito r w ill be omittecTT
R e p ro d u c e d with perm ission of the copyright owner. Fu rther reproduction prohibited without permission.
410
L is z t, Franz. "Domlne salvum fac regera, ffir Mfinnerchor,

Tenor-solo und O rgel," Werke, V. 5, 103-8.
________. "Te Deum Laudamus I I . Hymne S . Ambrosii e t
Augustini ffir M&nnerchor mis O rgelbegleitung," Werke,
V. 7, 173-82.
________ . nFestgesang zu r ErBffnung der zehnten allgem einen
deutschen Lehrerversammlung, g ed ich tet von H. Hoffmann
von F a lle rsle b e n , f u r 4 stimmingen Mfinnerchor mit
b e lie b ig e r B egleitung der O rgel," Werke. V. 6, 61-8.
"An den h e illg e n Franziskus von Paula, Gebet
ffir M&nnerstimmen-Solostimmen und Chor--mit Begleitung
des Harmoniums oder der O rgel, von d re i Posaunen und
Pauken ad l i b . , " Werke, V. 6, 117-24.
________ . "C h ristu s 1 st geboren. W eihnachtslled von Theo-
p h il Landmesser ffir Mttnnerchor mit O rgelbegleitung,"
Werke, V. 6, 40-4l»
______ "Slavino, slavno, Slaveni! Hymne ffir Mflnnerchor
mit O rgelbegleitung," Werke, V. 6, 127-129.
. "Ave m aris s t e l l a ffir Mfinnerchor mit Orgel-
b e g leitu n g ," Werke, V. 6, 30-32.
________. "Cruxi Hymne des m arins," Werke, V. 6, 43*
________. "Mihl autem adhaerere ffir Mfinnerchor mit Orgel
b eg leitu n g ," Werke, V. 6, 77-78.
"P ater n o ste r I I I ffir Mfinnerchor und Orgel
(Harmonium oder K la v ie r)," Werke, V. 6, 110-12.
________ . "Tantum ergo fttr Mfinnerchor m it O rgelbegleitung,"
Werke, V. 6, 130-31*
________. "Anima C h ris ti s a n c tific a me I & I I ffir Mfinner-
chor mit O rg elb egleitung," Werke, V. 6, 1-6.
"Septem sacramenta. Responsorien mit Begleitung
der Orgel oder Harmoniums," Werke, V. 7> 47-80.
________. "Ossa a rid a ffir Mfinnerchor und Orgel zu 4 Hfinden
mit P edal," Werke, V. 6, 94-7*
R e p ro d u c e d with perm ission of th e copyright owner. Further reproduction prohibited without permission.
1*11
L i s z t , F ran z. "Tu ea P e tr u s ffir Mfinnerchor m it O rg elb eg

l e i t u n g , ” Werke, V. 6 , 13l*.
. "Der C horale 'Nun danket a l l e G o tt' f fir Orgel
_
g e s e t z t . Chor und B e g le itu n g der Trom peten, Posaunen

und Pauken ad l i b . , " Werke. V. 7 , 13i*-3i>.
. "Pax vobiscu m l M otett ffir I* Mfinnerstimmen ( S o l i
_
oder Chor) m it O r g e lb e g le itu n g (ad l i b . ) , " Werke,

V. 6 , 113-11*.
Secular
L is z t, Franz. Chfire zu Herders E ntfesseltem Prometheus.
L eipzig: d. Kahnt, n .d .
__ . An die K finstler, componlrt ffir Mfinnergesang
(Soli und Chor) und O rchester. B erlin : A. M.
S chlessinger, l8£l*.
______ . An die K finstler, Gedicht von S c h ille r componirt
ffir Mfinnergesang (S o li und Chor) und O rchester.
L eipzig: C. F. Kahnt, 186*?.
________. Gaudeamus i g l t u r , Humoreske ffir O rchester, Soli
und Chor. L eipzig: J . Schuberth & Co., 1871.
________. Rheinw einlled, te x t von Herwegh. Mainz:
B. Schotts Sfihne, n .d .
S tu d en ten lled, aus Goethes F a u st. Mainz:
S . "Schotts Sfihne, n .d •
_______ . R e ite r lie d , F ir s t version, te x t von Herwegh.
M ainz : B. S c h o tts Sfihne, n .d .
________. Re i t e r l i e d . Second v ersio n , te x t von Herwegh.
Mainz: B. Sckotts Sfihne, n .d .
"Trinkspruch," Z eitschrift_ ffir_ Musik 100/6
fTune, 1929), 2-8.
"Das Deutsche Vaterland (neue v ersio n )" den
B e rlin e r, Wiener, Kfinigsberger, B reslauer, H aller,
Jenaer Studenten. P hiladelphia: C urtis I n s titu te o f
Music (M icrofilm ), 1969.
1*12
L i s z t , F ran z. Le F o r g e r o n , pour choeur d'hommes avec a c -

compagnement de p ia n o . B udapest: Zenemfikadtf V a l l a l a t ,
1962.
Arbe i t e r chor fttr v ie r stim m ig e n Mftnnerchor m it
B a s s -S o lo und K la v ie r b e g le it u n g . L e ip z ig : B r e itk o p f 4
H ftrtel, 1 9 1 1 .
A r b e Ite rc h o r fttr Mftnnerchor, B a s s -S o lo und K la v ie r .
B u d a p est: 2enemtikadcf V A lla la t , 1951* •
" L ich t mehr L ic h t," L e ip z ig e r I l l u s t r i e r t e _ Z e i t » , lg
Hfugust 2 5 , 181*9), 1 2 0 -2 2 .
______ .__ . " F estch o r zu r E n th ttllu n g d e s H erderdenkm als in
Weimar," L e ip z ig e r I l l u s t r i e r t e Z e ltu n g (November 2 ,
1850 ) , 28i|.-b7.
_________ . Welmars V olk a l l ed fttr Singstim m e m it p ia n o .
Weimar! V e ri ag und fii'genthum von T. T. C. Ktthn, 1 8 5 8 .
. " V e r e i n s li e d ,,, V o lk s lie d e r b u c h fttr Mftnnerchor.

h e r a u sg eg eb en a u f v e r a n la ssu n g s e in e r 14a j e s t I t d e s
d e u tsch en K a is e r s W ilhelm I I , z w e lte r Band, e d . L i l l i e n -
c r o n . L e ip z ig : C, F . P e t e r s , 1 9 0 6 , 28-1*3-
_________ . S tftn d sch en , Mftnnerchor m it T e n o r -S o lo . L e ip z ig :
C." F . K ahnt, n .d .
. "Wir s in d n ic h t Mumraien," V o lk s lie d e r b u c h fttr
H Snnerchor, h era u sg eg eb en a u f v e r a n la s su n g s e in e r
M a je stIt d es d e u tsc h e n K a is e r s W ilhelm I I , z w e ite r
Band, e d . L i l l l e n c r o n . L e ip z ig : C. F. P e t e r s , 1 9 06,
11*6-51.
. S o ld a t e n lle d au s G oeth es F a u s t. L e ip z ig : C. F.
Kabnt, n .d .
_________ . S a a ten g rfln . L indau: C. F . Kahnt, n .d .
________ . Der Gang um M itte r n a c h t. L e ip z ig : C. F . Kahnt,
n7d.
_________ . G ottea 1 s t d er O rien t I Bonn: C. F . K ahnt, n .d .
*H3
L i s z t , F ran z. MDas L ied der B e g e is te r u n g ," MSS No. 2 7 .
W ashington: The L ib rary o f C o n g ress, 1969 (M ic r o film ).
. F e stg e sa n g (C arl August w e i l t m it u n s ) , zur
E n th u liu n g d e s Car1 -August-Denkm als in Weimar am 3»
Septem ber, 1875* L e ip z ig : K is t n e r , 1906.
G russ fttr Mftnnerchor. L e ip z ig : L ic h t & Meyer,
1 9 0 5 . ----------
In str u m e n ta l Works Which In clu d e

Male Chorus Segments
L i s z t , F ra n z. ”E in e F aust-Sym phonie in d r e i C h a ra c ter -

b ild e r n nach G oeth e, m it S c h lu s s c h o r ,” Werke, I .
8 & 9 , 1 8 8 -2 0 3 .
_______ • “T r o is Odes funfcbres ( l . L es Morts / T e x t de
Lam ennais7, Ode fun&bre pour o r c h e s t r e e t choeur
d'hom m es)," Werke, I . 1 2 , 7 5 -9 8 .

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The University of Iowa, Ph.D., 1972

University Microfilms, A XEROX Company, Ann Arbor, Michigan |

James Thompson Fudge

ALL RIGHTS RESERVED

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED.

Some pages may have

U niversity Microfilm s, A Xerox Edu cat i on Company

h as been approved by th e Exam ining Committee

T h e sis Committee: >J\jOLAJL

At th e c u lm in a tio n o f my stu d y a t The U n iv e r s it y o f

F e h lin g , Eugene Helm, D a n ie l Moe, P r o fe s s o r H erald S ta r k ,

and Dr. Marvin T h o sten so n f o r t h e i r e x p e r t i n s t r u c t i o n

II MALE CHORUS LITERATURE: 181*0-181*9..........................

C om m en tary............................................ ................................. 232

IX THE MALE CHORUS P SA L M S............................................... 3H

Commentary and M u s i c ................................ 311

E xam ple Page

1. Das D eutsche V aterland

2. Das D eutsch e V a terla n d , Meas. 60-61; . . . . 52

3. T rin kspruch Q u a rtet, Meas. 1 -3 ........................ 5k

12. Le F orgeron , Meas. 177-182 ................................. 60

13. Le F orgeron, Meas. 196-198 ................................. 61

Ik. A r b e ite r c h o r , Meas. Ij-U—

15. A r b e ite r c h o r , Meas. 156-162 ................................. 62

16. A r b e ite r c h o r ................................................................. 63

17. Lyon, Meas. 10 -1 3 ............................................................... 65

22. R h e in w e ln lle d , Meas. 1 0 1 4 - 1 0 7 .........................................69

2^* S t u d e n t e n l l e d , Meas. k3~h-S ■ • ........................................ 70

29. R e lte r lle d

31. R e lte r lle d (se c o n d v e r s i o n ) , Meas. 3 3 -3 6 . . 76

32. R e lte r lle d (se c o n d v e r s i o n ) , Meas. I4I-I 4.8 . . 77

33. L ic h t mehr L i c h t , Meas. 1 - 1 + .............................................79

l+l. F e s t c h o r , Meas. J+O-I4 . 8 ........................................................ 107

1+8. The Vine Growers, Meas. 6 2 -6 9 .................................. 112

52. Ocean P e o p le , Meas. 1 - 2 ................................................... 115

E xam ple Page

53* The D ryads, Meas. 1 - 3 ........................................................... H 6

62. The S u b te r r a n e a n s, Meas. 16 -2 2 122

63. Domlne salvum f a c regem ( f i r s t v e r s i o n ) ,

E xam ple Page

69. Te Deum i n t o n a t i o n ......................................................... 130

7 0. Te Deum I I , Meas. 1 -7 ............................................... 130

71. Te Deum I I , Meas. 238-21*6 ...................................... 131

72. Te Deum I I , Meas. 255-259 ...................................... 132

7 3. Te Deum I I , Meas. 288-2 89 ...................................... 132

71*. Te Deum I I , Meas. l * l * - 5 l ........................................... 133

75. Te Deum I I , Meas. 13U-137 ...................................... 13k

76. Te Deum I I , Meas. 1 1 * 6 - 1 5 2 ...................................... 13k

77. P aust Symphony (S c h lu ssc h o r ), Meas. 1 8 -2 2 . . 137

78. P aust Symphony (S c h lu ssc h o r ), Meas. 96 . . . 137

82. F e s tg e s a n g , Meas. 1 1 6 -1 2 7 ................................. * 11*1*

V e r e i n s l i e d , Meas. 1*5-1*8 ........................................... il*5

81*. V erein slied

88. Wlr s in d n i c h t Mumien, Meas. 3 6 - 3 7 ..........................153

91c S a aten grlin , Meas. 3 8 - 4 3 ...................................................... 155

II MALE CHORUS LITERATURE: 1810-1819..........................

71. Te Deum I I , Meas. l l * - 5 l ........................................... 133

82. F e s tg e s a n g , Meas. 1 1 6 -1 2 7 ................................. * 111

V e r e i n s l i e d , Meas. 15-18 ........................................... il*5

c o n tr o v e r s y r e g a r d in g Pranz L is z t was a b la z e in the n in e

On August 3 1 , 1856, M lssa S o lem n ls f o r t h e c o n s e c r a

The Emperor Pranz Joseph and many o f th e A rch

The H ungarian C oron ation M ass, fo r q u a r te t o f s o l o