F R A N Z L I S Z T ' S C R C J C I Sz

I N S E A R C H O F A KTEW S T Y L E

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JENNY LIU N G MUI

(92059560)

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A thesis submitted in partial fulfillment of the requirements

for the degree of Master of Philosophy
in the Graduate School (Music Division) of
The Chinese University of Hong K o n g ,
June, 1994.
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A B S T R A C T

In the nineteenth century, the Cecilian Movement, named after

Saint Cecilia, the patron saint of musicians and music since the

Renaissance, was directed by the Roman Catholic Church to reform

sacred music. In reaction to the escalation of dramatic style in

sacred music, it strove for a revival of both the Gregorian Chant

and the sixteenth century a cape 11a style.

While the Catholic Church authorities carried out church music

reform solely from the religious point of view, Franz Liszt {1811-

1886) openly expressed his opinion on church music reform in 1834-5.

In his article 'On the Future Church Music' (1834)， he put forward

his ideal of church music as a union of the theatre and the church.

Possibly inspired by the Passion engravings of the Renaissance

painter, Albrecht Durer, Liszt composed Via Crucis (Way of the

Cross) during the years 1878-9. Scored for soloists, chorus, organ

and piano, this is a musical meditation, representing in a prelude

and fourteen movements the stations of the Passion of Christ.

Though seemingly regarded by the composer himself as a contribution

>

to the renewal of church music, Via Crucis was rejected by the

Cecilia Society Publisher (the most important publisher of Roman

Catholic church music) in 1884，and the work was not once performed

during Liszt's lifetime.

 This paper seeks to assess the importance of Liszt's Via

Crucis in the light of the evolution of his ideas for church music

reform, and to investigate the late style of Liszt through a study

of Via Crucis, with special emphasis on musical elements which

contribute to unity and contrast in the work.

CONTENTS

INTRODUCTION 1

PART I LISZT'S RELIGIOUS DEVELOPMENT AND HIS POSITION

IN 19TH-CENTURY CHURCH MUSIC REFORM

Chapter 1 Liszt's religious development : 5

The influence of Adam Liszt

The first religious outburst
The influence of the Saint-Simonians
The influence of the Abbe de Lammenais
The influence of Princess Wittgenstein
The Abbe Liszt

Chapter 2 Liszt's position in 19th-century church music

reform 13

The Cecilian Movement

Liszt's ideal of church music
Liszt's sacred choral works
The evolution of Liszt's church music reform
The reception of Liszt's sacred choral works

PART II LISZT'S VIA CRUCIS: COMPOSITIONAL BACKGROUND,

RECEPTION AND TEXT

Chapter 3 The compositional background and reception of

Via Crucis 26

Liszt‘s late years

Date and place of composition
The influence of artworks on the composition
The reception of Via Crucis

Chapter 4 The text of Via Crucis 32

Biblical excerpts
Verses from Latin hymns
The German chorales
The text of Via Crucis as compared with
traditional Passions
PART III UNITY AND CONTRAST IN VIA CRUCIS

Chapter 5 Thematic design in Via Crucis 42

Thematic cross-reference
The Cross motif
Jesus' theme
Veronica's theme

Large-scale repetition
The Prelude and Station XIV
The theme of the procession <
Stations III, VII and IX
Stations IV and XIII

Chapter 6 Harmonic design in Via Crucis 54

The structural importance of the tritone

Station V
Station XI
The six monologues
The broad layout

The emphasis on the use of symmetric structures

Station II
Station IV
Station VIII
Station X
Station XII

Chapter 7 Stylistic contrast in Via Crucis 67

The adoption of Palestrina style

Texture
Rhythmic design
Melodic design
Harmonic design
Text setting

The adopt ion of Bach chorale style

0 Haupt vol I Blut und Wunden
0 Traurigkeit
The coexistence of German chorales and
Latin hymns

CONCLUSION 78

EXAMPLES 80

BIBLIOGRAPHY 123
 1

INTRODUCTION

Possibly inspired by the Passion engravings of the Renaissance

IJ

painter, Albrecht Durer, Franz Liszt (1811-1886) composed Via

Crucis (Way of the Cross) in 1878-9.. Since Liszt was a devout

Catholic, it seems likely that he was very familiar with the

religious practice of Via Crucis, a popular convention of the Roman

Catholic Church as well as many Anglican churches. Oddly enough,

none except Liszt had composed a cyclic work for this particular

religious practice, though many composers since the Renaissance had

written music for the Passion.

Liszt's Via Crucis is essentially a musical meditation on the

passion of Christ. It consists of a prelude and fourteen

movements, and is scored for soloists, chorus, organ and piano.

Though seemingly regarded by the composer himself as an important

contribution to the renewal of church music,^ Via Crucis was

rejected by the publisher Pustet (the most important publisher of

Roman Catholic church music) in 1884，and the work was not once

performed during Liszt's lifetime.

In contrast to the poor reception of Via Crucis during Liszt's

lifetime, generations of musicologists have regarded it as one of

1 As s p e c u l a t e d by some m u s i c o l o g i s t s , b a s e d on one of Liszt‘s letters to

the p u b l i s h e r Pustet.
 2

the most distinguished among Liszt‘s late choral works.2 It

embodies many of the stylistic traits of Liszt's late works and is

one of the composer‘s greatest achievements in his search for a new

style.

V.
According to Michael Saffle, little attention is given to

Liszt，s sacred choral works.^ With respect to Via Crucis, there

are extremely few known examples of researches into the work.

Since 1936, only two short articles on Via Crucis (by Cecil Hill

and Fedinand Kaufmann respectively) have been published/

Moreover, only two musicologists, Alec Robertson and Ralph

Woodward, have each devoted a full chapter in their books for the

discussion of Via Crucis. ^ In short, none of the existing

literature offers an indepth study of the w o r k . The text, the

background (both religious and compositional) and the reception of

Via Crucis are only briefly reviewed. Nor is there enough attempt

to evaluate the position of Via Crucis in the light of 19th-century

2
These musicologists include W a t e r B e c k e t t , A l a n W a l k e r a n d H u m p h r e y
Searle.

3 In his b o o k Franz Liszt: A Guide to Research (19911， Michael Saffle

identifies a n d e v a l u a t e s 1084 s i g n i f i c a n t Liszt s t u d i e s p u b l i s h e d b e t w e e n
1936 a n d late 1989； o n l y 35 are r e s e a r c h into his s a c r e d c h o r a l w o r k s .

Cecil H i l l , " L i s z f s Via Crucis". The Music Review (1964), pp.202-8.

F e r d i n a n d K a u f m a n n , "Eine Passionsmusik von Liszt", Musica sacra 86
(1966), pp.72-8.

5 A l e c R o b e r t s o n , Requiem: Music of Mourning & Consolation (1967)，

C h a p t e r 12， p p . 1 5 4 - 8 .
W o o d w a r d R a l p h , The Large Sacred Choral Works of Franz Liszt (1964),
Chapter 11, p p . 2 9 8 - 3 1 1 .
 3

church music reform. In addition, the music analyses are limited

to short descriptive writings. Such an inadequate research into

Via Crucis reflects the overall underestimation of the importance

of the work. Moreover, it also reminds us of the general lack of

thorough research into Liszt's late sacred choral works, especially

those of smaller scope.

This research seeks to assess the importance of Via Crucis in

the light of the evolution of Liszt's church music reform, and to

investigate Liszt's late style through a study of Via Crucis,

focusing on musical elements which contribute to unity and contrast

in the work.

Only three editions of Via Crucis are presently available,

namely (1) Franz Liszt, Via Crucis (for mixed chorus and soli with

organ or piano), New York: Belwin Mil Is, 1970; (2) Ferenc Liszt,

Various Cyclical Works (Piano reduction), Editio Musica Budapest,

Vol.10 (1980), pp.125-49 and (3) Franz Liszt, Via Crucis (for mixed

choir, vocal solos and organ or piano), Budapest: Edit io Musica,

1988. The first one is not used in this thesis because of its lack

of barline numbers.

In Part I, an examination of Liszt‘s religious development

and his posit ion in 19th-century church music reform provides

background material for approaching the music itself and assessing

the importance of Via Crucis in the evolution of Liszt's church

 4

music reform. An account of the compositional background,

reception and text of Via Crucis is given in Part II. Part III is

principally devoted to an analytical study of Via Crucis,

«
PART I

LISZT'S RELIGIOUS DEVELOPMENT AND HIS POSITION IN

19TH-CENTURY CHURCH MUSIC REFORM

V
 5

CHAPTER 1 LISZT'S RELIGIOUS DEVELOPMENT

To the great astonishment of his contemporaries, Liszt became

the 'Abb^ Liszt ‘ in 1865 and took four minor orders (ostuary,

lector, exorcist and acolyte) in the church. Thereafter, he wore

a clerical cassock and the tonsure. What is the cause of this

amazing transformation of the dandy and flamboyant showman of the

1830s into the reclusive abbe of the 1870s?

The influence of Adam Liszt

Liszt's religious devotion was deeply rooted in his childhood

’ and adolescence. He was baptized the day after his birth at

Unterfrauenhaid, the neighbouring village of his birthplace,

Raiding. His father Adam Liszt had been a Franciscan novice for

two years, having been trained in the monasteries at Malacka and

Tyrnavia. At Tyrnavia, Adam found its severe restrictions

difficult and asked to leave the order repeatedly. At last. on

July 29， 1797, he was dismissed by reason of his inconsistent and

unsteady nature. Though discharged at the age of twenty for both

personal and official reasons, Adam maintained his friendship with

his fellow novitiates. Actually, he often took his small boy, his

only son, to the monastery and told him about his experience as a

Franciscan. All these visits probably left vivid impressions on

Franz‘s mind.
 • 6

Adam was a talented musician and played in the court

orchestra. At a very tender a g e , Franz loved to listen to his

father playing the piano and showed particular interest in gypsy

music as well as sacred music. He composed his first sacred w o r k ,

a Tan turn ergo (now lost)，at the age of eleven. Furthermore, he

of ten attended religious services with his father in the tiny

churches of Raiding and Frauendorf. P r o b a b l y , he was among the

worshippers in the traditional religious practice ^Via Crucis，

which took place every year before E a s t e r .

At the age of sixteen, after three years of constant touring

as a virtuoso pianist, Franz's health was w e a k e n e d . His father

took him to Boulogne for recovery. Franz spent a lot of time in

reading books such as Thomas a Kempis‘s Imitation of Christ and

Fathers of the Desert. ^ He loved to stay in solitude and embarked

on fastings and prayers. He even expressed his wish to become a

priest and begged his father to allow him to enter the Paris

Seminary. Adam firmly rejected his son's petition and reminded

Franz that he should belong to Art instead of religion.

The first religious outburst

Franz met with a severe shock when his father suddenly died

of typhoid fever on August 28， 1827. In the following year when

Liszt was seventeen, he was faced w i t h the first major crisis in

1 W a l t e r B e c k e t t . Liszt (1963), p . 7.
 7

his life. His first love affair with his aristocratic pupil

Caroline de Saint-Crieq fell flat, causing him a nervous breakdown.

In fact, there was even a false obituary of him in a Paris

newspaper Le Corsaire on October 23，1828 under the headline 'Death

of the Young Liszt，：

Young Liszt has died in Paris . . . The event Is painful, not

for his father, who went before him a year ago, but for his
family, whose name he had begun to make famous, painful for
u s , for whom no doubt he would have opened a new spring of
musical impulse and joy. We too mourn his loss, and unite
w i t h his family in lamenting his early death.^

In the meantime, Liszt spent most of his time in church and

visited the confessional daily. He increasingly wished to enter

priesthood and die the death of a martyr. In a letter written to

Princess Wittgenstein in 1860， Liszt mentioned that his inner

calling since he was seventeen was 'a yearning after the Cross and

the raising of the C r o s s ' T h u s , we can assume that Liszt's

entering into a holy post in his late years was just a partial

fulfillment of his youthful religious longings. M o r e o v e r . Liszt's

extensive use of the Cross motif in his compositions testifies to

his reverence for the Cross -- an attitude which stemmed from his

youth.

The influence of the Saint-Simonians

In 1830，at the age of nineteen, Liszt came into close contact

2
Alan W a l k e r , Franz Liszt, The Virtuoso Fears lSll-1847 fl987), pp.134-5.

11 La M a r a , Letters of Franz Liszt, Vol.1 ( 1 9 6 9 ) , p . 4 3 9 .

 8

with a sect named Saint-Simonians, who advocated the combination

of social ism with the teachings of Jesus. In addition, they

stressed that artists are the most important social forces. Emile

Barrault, the movement's leading aesthetician and finest public

speaker, gave the following statement:

In short, only the artist, through the force of that sympathy

which allows him to embrace both God and society, is worthy
of leading humanity.^

This artist-priest idea appealed greatly to Liszt. He kept on

attending the Saint-Simonian meetings. And he was not alone.

Other renowned figures of the Romantic movement, including Berlioz,

Heine, George Sand and Sainte-Beuve were regular participants in

these meetings. Though Liszt's direct relationship with the Saint-

Simonians stopped when the movement was interdicted by the police,

the art-mission idea exerted prolonged influence on him. It

probably sowed the seed for his future desires towards establishing

an ideal style of church music.

The influence of the Abbe de Lamennais

Liszt's associations with the Saint-Simonians stimulated his

social conscience and prepared him for his encounter with the Abbe

de Lamennais in 1834.

4 .
R a l p h Locke； "Liszt‘s Saint Simonian A d v e n t u r e " . 19tb Century Music
(1988)， p . 2 1 3 .
 9

Born at St Malo in 1782， Lamennais was ordained as a priest

in 1816. He proposed 'the combination of a regenerated Catholic

Church with political liberalism'^ through his books and writings.

His ideas mingled politics and philosophy with religion. After the

Revolution of 1830, he founded the newspaper L'Avenir, which

advocated the separation of state and church. His revolutionary

ideas brought him in direct conflict with the Catholic church

authority. Pope Gregory XIV condemned his proposal of the Liberal

Catholic programme in the encyclical Mirari Vos (August 1832). The

incident led to Lamennais' retirement to his country manor, La

Chenaie in Brittany. T h e r e , he continued his writings and was

often surrounded by young admirers. It was in La Chenaie that

Liszt first met Lamennais, who then became his 'spiritual father'

and one of the key persons in shaping his life, art and religious

thinking.

In his last great w o r k , Esquisse d'une Philosophie, Lammenais

put forward that art is an expression of G o d . Its aim is to

perfect the moral order of human beings/) His idea of the

function of art and the inter-relationship between art and religion

greatly appealed to Liszt.

5
A l a n W a l k e r : Franz Liszt. The Virtuoso Years 1811-1847 (1987), p.155.

6 /
A b b e de Lamennais： Esquisse d'une Philosophie, Vol.III. p.117.
F r o m R a l p h Woodward： The Large Sacred Choral Works of Franz Liszt (1964),
pp.29-30.
 10

Liszt composed two sacred, w o r k s , which remained unfinished:

(1) Etude sur 1，Indifference (1832?) and (2) De Pro fundi s (1834)

for piano and orchestra. While the former is based on a religious

work of L a m e n n a i s , the latter includes a favourite plainchant of

his. Liszt dedicated these two works to Lamennais.

Spurred on by the art-mission concept suggested by the Saint-

Si monians and Lammennais, Liszt expressed his opinions on music and

art in several art i d e s submitted to Revue et Gazette musicale de

Paris in 1834-5 (to be discussed in more detail on p.15). Liszt's

friendship with Lamennais continued through correspondence over his

years as a travel ling pianist. Thus Lamennais had a rather

prolonged influence on L i s z t .

The influence of Princess Wittgenstein

During the 1840s Liszt was so busy with performing and

composing that he stopped going to confession. In February 1847，

during a performance in K i e v , he met the Princess Carolyne Sayn-

W i t t g e n s t e i n , who remained his mistress for more than twenty years.

Carolyn w a s a Russian-born Pole of deep Catholic faith. She was

very influential in encouraging, Liszt back to faith. She persuaded

Liszt to quit his career as a travelling v i r t u o s o . In 1848 they

settled in the Protestant city of W e i m a r . Liszt took u p a ful1-

time job as a conductor. Carol yne set u p home with Liszt in the

Altenburg. T h e r e , she stimulated Liszt to return to orthodox

C a t h o l i c i s m . Very often, they prayed together before a prie-dieu.

 11

Liszt 's reverence for God was fostered once more. Joachim Raff,

his close friend, recalled that he had seen Liszt kneeling on the

flagstones for long hours. Moreover, Liszt also expressed his

religious convictions through his letters.

Apart from the rekindled faith, for Liszt, the years in Weimar

(1848-60) were also a period of remarkable productivity. There he

composed or revised most of his major works. Among them were

numerous sacred compositions, including a Missa solemn is and a

setting of Psalm 13. He also started to work on the oratorios St.

Elizabeth and Christus. During these fruitful years of musical

creativity, Liszt became a Freemason in 1841 and a tertiary of St.

Francis in 1857.

The Abbe Liszt

In 1861 Liszt moved to Rome. Four years later he took up four

minor orders in the church. The fact that Liszt became an abbe was

not revealed to the outside world until the end of April 1865.7

The immediate cause for Liszt's decision to accept a holy post

can b e ' traced from his correspondence written between 1862-65.

During that time Liszt was heavily occupied with teaching and

social life in Rome. He expressed his wish to lead a natural kind

of life SO that he could approach more closely his monastico—

7 .
Princess Wittgenstein learnt about it o n l y a month b e f o r e ,
 12

artistic ideal. Moreover, he pointed out that his taking up minor

orders agreed with the antecedents of his y o u t h .

On 25 April, 1865， Liszt received the tonsure and donned the

cassock in the Vatican. On 1 May the church authority asked him

if he wished to enter priesthood. He replied that he was unworthy

of it because he still wished to devote the greater part of his

time to three unaccomplished compositions. On 30 July, Liszt

passed the examination for minor orders and w a s given a Certificate

of Ordination. In a letter written to Princess Wittgenstein, he

stated that he had no wish to become a m o n k . It was quite enough

for him to take four minor orders.^

Liszt's decision not to enter priesthood was in line with his

monastico-artistic ideal. His enthusiasm for composing never

waned. Moreover, his religious devotion obviously motivated him

to compose sacred w o r k s . In fact, part of Christus was composed

in the Vatican. From 1869 until the end of his life Liszt made

regular journeys between R o m e , Weimar and B u d a p e s t . In those last

years, he wrote almost exclusively sacred or piano works and he

became a dominant figure in 19th-century church music reform.

11 Paul M e r r i c k . Revolution and Religion in the Music of Liszt (19S7),

p p . 6 9 - 7 0 , 77 & 79.
 13

CHAPTER 2 LISZT'S POSITION IN 19TH-CENTURY CHURCH MUSIC REFORM

The 19th century was mainly a secular and materialistic age,

with rapid technological advances, more widespread education and

greater economic interdependence. The Industrial Revolution and

improved transportation brought about a rapid growth of cities.

With the disappearance of individual patronage, composers struggled

to reach the v a s t , diverse and relatively unprepared middle-class

audience. The majority of leading composers devoted themselves to

secular compositions, including operas, Lieder, symphonies,

symphonic poems and chamber music. Their works reflect the intense

individualism and subjectivity of the Romantic A g e . Obviously

these circumstances do not particularly favor the development of

church m u s i c .

According to a report made by the composer Gaspare Spontini

(1774-1851) during the reign of Pius VIII (1829-30) in Italy， the

materialist musical context of the century had sown bad seeds on

church m u s i c . Spontini pointed out that there were ‘numerous

profanations of the holy place by the introduction of unseemly

music taken from theatrical works‘.^ For example, the opera

Gerusalemme of Zingarelli was adapted to settings of the Gloria and

brought into the church. Besides, symphonies and theatrical

1 Robert F . H a y b u r n , Papal Legielation on Sacred Music 95 A.D. to 1977 A.D.

(1979)， p . 1 2 3 .
 14

overtures were incorporated into the church services.

The Cecilian Movement

Hence, all through the 19th century, under the direction of

the Roman Catholic Church, groups of musicians including Gaspare

Sponini and Franz Xavier Witt formed associations or societies in

Italy, Germany and the United States, aiming to reform Catholic

Church music. They formulated laws concerned with church music,

and saw that church musicians carried out these legislations. Some

of these laws follow:

(1) All profane forms of music are forbidden by the canons.

(2) All music should be sung a cape 11a, or with organ
accompanied. Any other type of music or instruments
should not be used without special permission.
(3) In the a cape I la music, as in the instrumental, the
repetition of small verses and arbitrary changes should
be avoided.
(4) The gravity and decency demanded in church should be
observed.2

All in all, they strove to cultivate Gregorian chant, vernacular

hymnody and compositions in Palestrina style, a cape 11a or with the

accompaniment of the organ. They also furnished such kind of music

for the use of the church. Their goal was church music imbued

with moral integrity and religious exaltation beyond the world of

2
Robert F . H a y b u r n , Papal Legislation on Sacred Music 95 A.D. to 1977 A.D,
(1979), p p . 1 3 2 - 3 .
11 H o w e v e r , the musical standard of this body of reform c h u r c h m u s i c
r e m a i n e d a controversial issue； some musicologists regarded them as
second r a t e .
 15

the profane. The only purpose of church music was to aid worship.

Liszt's ideal of church music

While the Catholic Church authority carried out church music

reforms solely from a religious point of view, Liszt openly

V

expressed his opinion on church music reform in 1834-5’ reflecting

on his art-priest concept.4 In his article ^On the Future Church

Music' (1834) to the Revue et Gazette musicale de Paris, he

outlined his views on music and art, focusing particularly on

church music:

In these days when the altar is changing and the chance 1 and
religious ceremony serve as a point of ridicule and doubt,
art must leave the inner temple and spread into the outer
world to find the stage for its great performances . . . To
achieve this, a new music must be created. This music, which
for lack of other names, we christen humanistic, should be
full of consecration, strong and effective; it should unite
in fantastic relationship the theater and the Church; it
should b e , at once, dramatic and holy, splendid and simple,
ceremonious, yet sincere . . . This will be the enlightenment
of art.5 ”

In contrast to the solid legislation laid down by the Cecil ian

Movement and the Catholic Church authority, Liszt's statement of

his ideal of church music was quite vague. Nevertheless, we

4
Liszt h a d o n c e stated： 'The C h u r c h c o m p o s e r is b o t h p r e a c h e r a n d
p r i e s t , a n d w h a t the word fails to b r i n g to o u r p o w e r s of p e r c e p t i o n
the tone m a k e s w i n g a n d c l e a r ' .
In La M a r a : Letters of Franz Liszt, Vol.1 ( 1 9 6 9 ) , p . 3 1 6 .

〗 L i n a Ratnann： Franz Liszt 'Gesammelte Schriften' . p . 170.

In S a c h e v e r e l l S i t w e l l , Liszt (1967)， p . S l .
 16

observe that his ideas deviated quite drastically from those

advocated by the Cecilian Movement. Liszt's ideal of church music

reform embodied three fields: the religious, the social and the

philosophical.

Liszt's statement of church music reform reminds us of some

important forces shaping the philosophy of Liszt, obviously

including the Saint Simonians and Lamennais. While the former

considered art as a means of mental cultivation and religious

expression, the latter assigned to art the function of perfecting

the morality of mankind. Moreover, Lamennais advocated the

regeneration of society through religion. Perhaps Liszt's

suggestion of bringing church music into the outer world was an

expansion of Lamennais' ideas.

To Liszt, church music should not be limited to church usage.

It should reach the outer world through concert performances. The

purely Palestrina style of sacred music writing could not serve

this purpose because dramatic music was then in vogue in the world

outside the church. Thus Liszt put forward that a new kind of

church music should be created. Since it is hard to spell out in

concrete terms Liszt's ideal of church music, a study of his sacred

choral works may shed some light on this issue.

Liszt‘s sacred choral works

Liszt is rightly regarded as a dominant figure in Catholic

 17

church music of the 19th century. If we take into consideration

the sheer number of works, Liszt ranked first in the composition

of sacred choral music:

Name of composer Total n o . of

sacred choral works composed

Schubert (1797-1828) 43
Berlioz (1803-69) 10
Schumann (1810-56) 4
Mendelssohn (1809-47) 57
Liszt (1811-86) *73
Verdi (1813-1901) 8
Bruckner (1824-96) 37
Brahms (1833-97) 8

That the sacred works of Liszt outnumber those of his

contemporaries corresponds well with his determination to reform

church music. Obviously, the large number of his sacred choral

works had provided him with ample opportunities to experiment with

his ideal of church music.

Liszt composed over seventy sacred choral works/) About 78%

of these works were composed between the 1860s to 1880s. To be more

precise, about 49% were composed between 1869-85.''

6 T h e s e include r e v i s e d v e r s i o n s .

7
These d a t a are b a s e d on the list of s a c r e d choral w o r k s r e c o r d e d
in the New Grove Dictionary of Music and Musicians, Vol.11, pp.52-3.
 18

Date of composition 1840s 1850s1860s 1870s1880s

N o . of sacred choral works 6 10 28 18 11

composed

It becomes clear from the foregoing that the majority of

Liszt's sacred choral music was composed during his late years.

The 1860s were especially fruitful years of church music

composition. This was the period when Liszt seriously considered

entering the priesthood, finally becoming Abbe Liszt in 1865.

While reaching for the summit of his religious devotion, Liszt

engaged himself intensively in the composition of sacred choral

music.

It is also noteworthy that it was not until the 1840s that

Liszt began producing an increasing number of sacred choral works.

That these were Liszt's Weimar years working as a conductor may be

a crucial factor. Liszt was free to try out his own orchestral

compositions and also various combinations of voices with

orchestra, since the Weimar orchestra was at his disposal. Liszt

probably seized this opportunity to begin composing more sacred

choral works. This may also explain w h y the orchestra plays a

prominent role in many of his choral works of this period.

Liszt‘s sacred choral works include three oratorios, five

masses, twelve motets, six psalms, a Requiem and chorales, adding

 19

up to a total of seventy-three works. We can divide them into two

categories: the large-scale works that employ large orchestral

forces and the smaller liturgical works that lean towards a

compressed simplicity. To what extent do these works realize

Liszt's ideal of church music reform?

V.

The evolution of Liszt's church music reform

Liszt's ideals that church music ^should unite in fantastic

relationship the theater and the Church' are explored in his sacred

choral works by deliberate instrumentation and compositional

techniques.

Similar to Liszt's symphonic poems, a large orchestra is used

in eight of his sacred choral works (see table 2.1), including Gran

Mass (1855-8), St. Elizabeth (1856-62)， Christus (1855-67) and

Hungarian Coronation Mass (1867). All these are large-scale

compositions, some of which are lengthy works. For example, St.

Elizabeth unfolds nearly three hours‘ music and Christus takes up

no fewer than two and a half hours.

Table 2.1 The instrumentation of some of Liszt's sacred choral

works.

The Gran Mass

Mixed chorus, four soloists, an orchestra of double woodwind,
four horns, two trumpets, three trombones, bass trombone or
tuba, timpani, organ and strings.
 20

St. Elizabeth
Mixed chorus, men's and women‘s choirs (in the latter of
which three soloists are indicated), a large orchestra
composed of three flutes, two oboes, English horn, two
clarinets, two bassoons, four horns, three trumpets, three
trombones, tuba, harp, harmonium or organ, strings and full-
percussion, including three timpani and bass drum.

Chris tus
Mixed chorus, soloists (soprano, alto, tenor, baritone and
bass), a large orchestra which calls for two piccolos, two
flutes, two oboes, English horn, two clarinets, two bassoons,
four horns, three trumpets, three trombones, tuba, four
timpani, full-percussion, harp, organ and strings.

Hungarian Coronation Mass

Mixed chorus, four soloists, and orchestra of double
woodwinds, four horns, two trumpets, three trombones, tuba
or bass trombone, organ and strings.

Though the above works remind us of Berlioz's massive sacred

music, they differ from the latter by reacting more to the

spiritual rather than the artistic urge. For example, Berlioz's

Requiem and Te Deum are overwhelming and impressive, not only in

length and number of performers, but also in grandeur of conception

and brilliance of execution. However, despite their use of

liturgical texts, both works are unsuitable for the church service,

for the music impresses more from an aural standpoint than from a

spiritual one. Moreover, the tradition to which they belong is

secular and patriotic, with the grand musical festivals of the

French Revolution serving as their historical forebears.

In contrast, though Liszt used a symphonic orchestra for his

large-scale sacred choral works, he strove to maintain the

 21

religious spirit in these works. For example, in 1857 he reflected

on the Gran Mass:

If I am not quite mistaken, the church element, as well as

the musical style of this work, will be better understood and
more spiritually felt after frequent performances . . . Thus
much I may in all conscientiousness affirm, that I composed
the w o r k , from the first bar to the last, with the deepest
ardour as a Catholic and the utmost care as a musician, and
hence I can leave it with perfect comfort to time to form a
corresponding verdict upon it.^

The above statement clearly indicates Liszt's deepest concern for

maintaining the religious spirit in his sacred choral w o r k s .

In regard to Liszt's sacred choral works of smaller scale,

over half of them comply with the legislations settled down by the

Cecilian Movement: seven are sung a cape 11a, two are sung a cape 11 a

and with organ a d . lib., twenty-seven are for voice and organ and

three for mixed chorus and orchestra (see table 2.2).

Table 2.2 A classification of Liszt's sacred choral works.^

a cape I la 7
voice; organ ad lib. 2
voice; organ 27
mixed chorus； organ 3
voice / voice, chorus； organ / other instruments 11
voice / voice, chorus； organ and other instruments 11
voice / voice, chorus； organ； orch. 8
voice; instruments other than organ 4

g
La M a r a , Letters of Franz Liszt, Vol.1 (1969), p p . 3 3 4 - 5 .

11 These data are b a s e d on the list of sacred choral w o r k s recorded

ill the Nev Grove Dictionary of Music and Musicians, V o l . 1 1 , p p . 52-3.
. 22
Even when Liszt used the a cape 11a style or the standard

instrument (organ) approved by the Catholic Church authorities, his

sacred choral works retained their individuality. For in these

works, Liszt had merged various styles, different compositional

methods of the period and of his own. M o r e o v e r , the experimental

harmonic idioms used in Liszt's sacred choral works became one of

the landmarks of his church music reform.

In some of Liszt's small-scale sacred choral w o r k s , dramatic

qualities are generated by compositional techniques. For example,

the opening section of the motet Ossa arida ('0 ye dry b o n e s , hear

ye the word of the Lord', 1879) is solely based on a gradually

piled-up chord in the organ part. The whole chord is sounded

fortissimo at the entry of the male chorus, singing ‘ Ossa arida’ -

-a truly pictorial and dramatically terrifying effect (ex.2.1).

Liszt's sacred choral works span over forty-six years of the

composer‘s life, from 1840 to 1885，a year before his death. While

the large-scale works with orchestral accompaniment were composed

between 1855 and 1879， works of smaller scopes were composed

between 1840 and 1885.

It is noteworthy that the years of 1875-85 are mostly devoted

to works of smaller s c a l e . I t seems that L i s z t , after spending

O n l y one sacred choral w o r k w i t h o r c h e s t r a l a c c o m p a n i m e n t w a s c o m p o s e d

by Liszt between 1875-85, namely Cantant ibus organis, ant iphon for the
feast of S t . C e c i l i a , for solo v o i c e s , chorus and o r c h e s t r a (1879).
 23

so many years in searching for an ideal kind of church music,

finally arrived at a conclusion -- that church music should be of

a compressed form, with the organ as the main accompanying

instrument (which is in line with the advocation put forward by the

Cecilian Movement and the Catholic Church authorities). The most

It-

important thing is to capture the 'mood， of the text. To do this,

Liszt invented an individual, and for his time bold, choral style.

Experimental harmonic idioms, chromaticisms, silences, 6/4 chords

of a free-floating quality, disintegration of texture intermingled

with chants, modal harmony and the use of the Cross-motif are

common features of his late sacred choral works, including Via

Crucis.

The Reception of Liszt's sacred choral works

It was probably one of the greatest regrets of Liszt that he

failed to see a positive reception of his church music. Along with

Via Crucis, most of his other sacred choral works are

underestimated and strongly rejected by the public as well as the

Catholic authorities.

Bitter criticisms, some of which came from his close relatives

and colleagues, bombarded him. For example, his daughter Cosima

regarded Christus as imitating the gabble of priests, while Wagner

considered Liszt's church music as " a childish play with

 24

intervals’.11 Publishers were more willing to print his secular

works than his sacred ones. The strongest opposition which Liszt

encountered came from the high clergy of Rome, who rejected his

innovative approach towards church music.

The actual reasons underlying the rejection of Liszt's sacred

choral works are still under debate. However, some possible

factors can be traced. At the outset, Liszt was renowned as a

virtuoso pianist. It took time for his admirers to accept his

quitting the concert stage for composition. Possibly, the public

was skeptical about his abilities as a composer. Also, the devout

Catholics or Christians might question the spirituality of Liszt's

sacred works. The composer was notorious for his generally

flamboyant private life, being accredited with successive or

overlapping romances. Concerning the Roman Catholic authorities,

their imposition of restrict ions on 19th-century church music

directly discouraged Liszt‘s innovative approach to the composition

of sacred works.

Despite these difficulties, Liszt went on composing sacred

choral works and attempting to reform church music. What was the

background force for his unfailing resolution? In a letter to

Princess Wittgenstein, Liszt wrote, ^My sole ambition as a musician

U Ernest N e w m a n . The Man Liszt ( 1935), pp.224-5 .

 25

is to hurl my javelin into the unknown spaces of the future'. ^^

Liszt，s attitude was in accordance with some of his contemporary

antisocial artists, who claimed to compose for infinity and for

posterity. However, none of Liszt's contemporaries had walked a

comparable lifelong path in attempting to reform church music.

I
1

12
R a l p h W o o d w a r d , The Large Sacred Choral Works of Franz Liszt ( 1964),
i
p.37.
PART II

LISZT'S VIA CRUCIS: COMPOSITIONAL BACKGROUND, RECEPTION

AND TEXT

V
 26

CHAPTER 3 THE COMPOSITIONAL BACKGROUND AND RECEPTION OF

VIA CRUCIS

Liszt's late years

In his late years, Liszt showed a rather unexpected change in

If-

his life style as well as his compositional style. In 1861-8，

Liszt lived an almost retired life in R o m e , where he became the

Abbe Liszt, withdrawn from public musical life, and wrote mostly

sacred works, including Christus (1862-7), Missa Choral is (1865)

and the Hungarian Coronation Mass (1867). In 1869 he was invited

back to Weimar to give master classes in piano playing. Thereafter

he emerged from his retirement.

From 1869 till the end of his life he constantly moved between

Rome, Weimar and Budapest -- his so-called 'trio journey'. Quite

a regular pattern emerged: he stayed in Weimar from spring to

early summer； then he lived in Rome or the Villa d'Este at Tivoli

for the rest of the year； in the following year he moved to

Budapest. 1

For L i s z t , this 'trio journey' was a time of selfless hard

work and musical duty. At the Villa d'Este, Liszt mostly

concentrated on composition. In W e i m a r , he held piano master-

classes (all of which were free of charge) for talented pianists,

1 Derek W a t s o n , Liszt ( 1 9 8 9 ) . p.135.

 27

teaching mainly interpretation. Among his most prominent students

were Rafael Joseffy, Felix Weingartner, Max Pinner and Vera

Timanoff. In Budapest, he gave tuition and advice at the new

Academy of Music• During this period，many composers of the

younger generation (including Borodin, Faure， Saint-Saens and

. «
Debussy) visited Liszt, who gave them help and advice.

In the field of composition, Liszt embarked on unexplored

paths during his late years. His post-1870 compositions prefigure

some significant twentieth-century styles and techniques. Among

them are piano pieces like Unstern (after 1880)， Nuages gris

(1881)， Csardas Macabre (1882) and Trauer-Vorspiel (1885), all of

which show how Liszt ventured into harmonic experimentation and the

breaking down of tonality.

Liszt's last sacred choral works include the Septum sacrament a

(1878), Via Crucis (1878-9)， Rosario (1879)， Ossa arida (1879) and

Qui seminant in lacrimis (1884). Among these works, as previously

mentioned, Via Crucis is general ly regarded as the most remarkable,

embodying most of the unusual features of Liszt's late style.

According to Robert Collet, Via Crucis is 'unclassifiable' in that

it is unlike all other works written by Liszt.2

11
R o b e r t C o l l e t , "Choral a n d Organ M u s i c " , in A l a n W a l k e r .
Franz Liszt： The Man and His Music (1970)， p . 3 4 4 .
 28

Date and Place of composition

Liszt began the composition of Via Crucis at Santa Francesca

Romana in 1875. However, most of the work was composed at the

Villa d'Este in 1878-9. The work focuses on the Passion of Christ.

It is in essence Passion music, though it does not follow the

<
traditional format of the genre.

The influence of artworks on the composition

Quite apart from its liturgical origin, Liszt's Via Crucis

may have been inspired by artworks on the Passion. It is well-

known that Liszt frequently drew inspiration from paintings. For

example, some of the descriptive pieces from the second book of

Annees de Pelerinage (Italian) are closely associated with great

paintings, including those of Raphael and Michelangelo.

In a letter to the publisher Pustet, Liszt suggested to have

Via Crucis printed with Albrecht Durer‘s Passion engravings on the

cover:

Are you willing to take over their publication, most honored

Sir? If so, I ask you earnestly that the illustrations on
the title pages be adapted to their lofty texts. Perhaps the
wood-carving of the Stations of the Cross by Albrecht Durer
for Via Crucis would be appropriate.^

11
La M a r a , Letters of Franz Liszt, Vol.VIII (19(39)， p . 145.
In R a l p h W o o d w a r d , The Large Sacred Choral Works of Franz Liszt
(1964) . p . 4 5 .
 29

Liszt's request was never realized, since the publisher refused to

have the work published. Neither was it fulfilled in the

Collected Edition of Liszt's Works edited by Busoni or other

editions. However, in more recent performances of Via Crucis’

Liszt's intention was partly accomplished; in one instance works

of fine art were projected onto a screen so that the themes of the

Passion could be both seen and heard at the same t i m e /

Liszt wrote a preface of two paragraphs for Via Crucis, This

preface gives us further hints of the influence of artworks on the

composition. Liszt first gave a general introduction to the

religious practice of Via Crucis in the preface. T h e n , he put

forth the idea that many contemporary paintings accompanying such

occasions were incompetent, and suggested to substitute for those

paintings the admirable 'Stations of the Cross' model led by the

sculptor Gal li. Moreover, he expressed his wish to have his own

music ‘ Via Crucis，accompanying such devotions.^

Summing u p , Liszt twice mentioned works of fine a r t , including

Durer's engravings and Ga11i's sculptures, in relation to Via

Crucis. It thus seems likely that the composition of Via Crucis

has been closely associated with paintings, engravings or

Zoltan G a r d o n y i , sleeve note of Liszt's Choral Works III, Via Crucis,

Budapest C h o i r , conducted by Miklos Szab<^.

11 Liszt,s preface to Via Crucis is in F r e n c h . An English translation

can be found in Paul Merrick's Revolution and Religion in the Music
of Liszt (1964), P.2S1.
 30

sculptures on the Passion.

The reception of Via Crucis

As mentioned before, though highly regarded by the composer

himself as a contribution to the renewal of church music. Via

Crucis, together with Septum sacramenta (1878) and Rosario (1879)，

was rejected by the publisher Pustet in 1884. The avant-garde

nature of these pieces was probably the cause for the rejection.

This happened two years before the death of Liszt. It was

certainly a hard blow to him, who regarded these last sacred works

as a fulfillment of his ideal of church music reform. As expressed

in his letter to the publisher, Liszt was ready to publish these

works without any payment:

Most Honorable Sir and Friend,

For several years three of my sacred works for chorus
with organ or harmonium accompaniment have remained in
manuscript:
1. Via Crucis
2. Die sieben Sacramente
3. Rosenkranz — including a short motet, Si cut cedrus
exalt at a sum in Libano, etc.
I am sending you these three works today in a clean copy.
The question of payment is entirely unimportant. I
write such composition not for monetary gain, but only from
the sincere need of a Catholic h e a r t /

Moreover, Via Crucis was not once performed during Liszt's

lifetime. According to manuscripts preserved in Budapest, Via

^ La M a r a . Letters of Franz Liszt, Vol.VIII ( 1969) , p . 1 4 5 .

From Ralph W o o d w a r d , The Large Sacred Choral Works of Franz Liszt

(1964) , p . 4 5 .
 31

Crucis received its world premiere in Budapest (at the Inner-city

Parish Church) on Good Friday 1929 under the direction of Artur

Harmat, fifty years after Liszt's completion of the w o r k . The

manuscript score was marked 'Budapest, February 26， 1929，.？ In

1936, Via Crucis was at long last published at Leizig in the

Collected Edition edited by Busoni, Raabe and others.

11
Zoltan G a r d o n y i , sleeve note of Liszt's Choral W o r k s III. Via Crucis,
Budapest C h o i r , conducted by M i k l o s Slatv^.
 CHAPTER 4 THE TEXT OF VIA CRUCIS 32

The text of Via Crucis was assembled by Princess Wittgenstein.

Drawn from different sources; it included biblical excerpts, two

medieval Latin hymns and two German chorales. In a letter written

»

to Princess Wittgenstein in October 1877, Liszt expressed his

appreciation for the chosen text:

You have arranged admirably the texts for Via Crucis. I

shall try to thank you by mv composition, which I would like
to undertake straightaway.^

Liszt adopted the events settled by Pope Clement XII for the

fourteen stations.^ The incidents are: (1) Jesus is condemned to

death; (2) Jesus carries his cross; (3) Jesus falls the first time;

(4) Jesus meets his Mother; (5) Simon of Cyrene helps Jesus carry

the cross; (6) Veronica wipes the face of Jesus; (7) Jesus falls

the second time; (8) Jesus speaks to the women of Jerusalem; (9)

Jesus falls the third time; (10) Jesus is stripped of his garments;

1 La M a r a . Letters of Franz Liszt, Vol.VII (1969), p . 4 2 7 .

In Paul M e r r i c k , Revolution a n d R e l i g i o n in the Music of Liszt
(1964), p . 2 5 1 .

2
The religious p r a c t i c e of Via Crucis has its origin from the c r u s a d e s —
indulgences w e r e g r a n t e d to a n y o n e w h o v i s i t e d the Holy Sepulcher in
person. In the 15th c e n t u r y , the F r a n c i s c a n s w h o took charge of the h o l y
places in Jerusalem e l a b o r a t e d upon the idea. They e r e c t e d stations for
devotion on the w a y to C a l v a r y . By the late 17th c e n t u r y , the popes
o f f i c i a l l y r e c o g n i z e d this p r a c t i c e . In 1731’ Pope Clement XII reduced
the number of s t a t i o n s to f o u r t e e n .
 33

(11) Jesus is nailed to the cross； (12) Jesus dies on the cross;

(13) Jesus is taken down from the cross; (14) Jesus is laid in the

sepulcher.3 Among the events mentioned above, only nine

(nos.1,2,5,8 and 10-14) are based on Gospel narratives of the New

Testament, the others are from traditional sayings.

Table 4.1 shows the distribution of the text in Via Crucis,

The table draws our attention to the following points. First,

while biblical excerpts are used in three Stations, verses taken

from Latin hymns are employed in six Stations. In short, non-

biblical excerpts predominate. Second, the exclamations of the

crowd ('Jesus falls') and the shoutings of the Jews ('Crucify') are

used in four Stations. Such theatrical elements were possibly

added by Wittgenstein. Third, two chorales are used, both of which

are sung in German,^

3 J . C . W i l l k e , "Way of the C r o s s " , Encyclopedic Dictionary of Religion

(1966), p.3717.

4
A s t e r i s k s a r e u s e d for classification： Latin hymns ( * ) , b i b l i c a l
e x c e r p t s ( “ ） ’ d e c l a m a t i o n s of the c r o w d s (*«») a n d G e r m a n chorales
(*"*).
5 •
T h e fact that L i s z t a d o p t e d G e r m a n texts into an o v e r a l l L a t i n c o n t e x t
is n o t e w o r t h y . Some p r o b a b l e r e a s o n s w i l l be s u g g e s t e d in Ch.7
(pp.75-70).
 34

Table 4.1 The distribution of the text in Via Crucis

Latin hymns/ Biblical excerpts/ Bar nos.

Declamations of the crowds/
German chorales

Opening movement * Vexilla regis 1-79

Station I ** Matthew 27:24 26-28

” II * Vexilla regis 26

” III * Stabat mater dolorosa 15-24

*** Jesus falls 3-7

__- — IZIIIIII
- - “

“ ^ **** Haupt voll Blut und Wunden 13-42

“ VII * Stabat mater dolorosa 15-33

*** Jesus falls 3-7

“ VIII ** Luke 23:28 23-24

” IX * Stabat mater dolorosa 15-33

- -
*** Jesus falls 3-7

^ XI *** Crucify 1-10

“ m ** Matthew 27:46 1
** Luke 23:46 12
** John 19:30 38-47，63-67
**** 0 Traurigkeit 117-124

“ XIII zzzzzz
“ XIV * Vexilla regis 67-93

Remarks: * Latin hymns

** Biblical excerpts
*** Declamations of the crowds (possibly added by
Princess Wittgenstein)
**** German chorales
 35

In Station VI， the chorale follows the instrumental solo.

In Station XII, both Latin and German texts are included. However,

Liszt avoids any possible incongruity by the interpolation of

instrumental interludes. That these chorales appear at interval

of every six Stations seems not to be a mere coincidence, but

suggests instead an underlying symmetrical design.

Regarding the nature of the text, the biblical excerpts are

monologues of Pilate and Jesus respectively. Besides, the words

of the crowds are also direct speeches. On the other hand, texts

derived from the medieval Latin hymns and German chorales are

reflective in character.

Biblical excerpts

The biblical excerpts are chosen from the Gospels of Matthew,

Luke and John (see Table 4.2). They are the words of Pi late and

Jesus. Out of the five selected verses, four of them are the

speeches of Jesus. The last three verses are components of Jesus'

‘Seven Last Words‘ -- the final utterances of Christ on the Cross.

 36

Table 4.2 Biblical excerpts in Via Crucis^

Matthew 27:24 ‘I am innocent of this man's blood [.]，

(Pilate)

Luke 23:28 ^Do not weep for me; weep for yourselves and for
your children.， (Jesus)
Matthew 27:46 'My G o d , my G o d , why have you forsaken me?‘
(Jesus)

Luke 23:46 'Father, into your hands I commit my spirit.‘

(Jesus)

John 19:30 'It is finished.‘ (Jesus)

Verses from Latin hymns

Verses from two we 11-known Latin hymns are selected, namely

Vexilla regis and Stabat mater dolorosa. Vexi 11a regis (/The royal

banners forward go') was composed by the Bishop Venantius

Fortunatus (c.535?-c.600) at the end of the 6th century. It was

originally written for the reception of a relic of the Cross at

Poitiers on 19 November 569. In the current liturgy it is only

sung at Vespers during Passiontide, and on the Feasts of the Cross

on 3 May and 14 September.7

Vexi 1 la regis, a work direct ly related to the Cross, is aptly

used in the opening and closing movements of Via Crucis. The

first, fourth and ninth verses from this medieval hymn are chosen

6 All the v e r s e s a r e taken from The NIV Study Bible.

7
A l e c R o b e r t s o n . Requiem： Music of Mourning and Consolation (1967),
p.155.
 37

for the Prelude of Via Crucis. Liszt provides contrast by setting

the ninth verse '0 Crux ave spes unica' ('Hail, Cross, the only

hope，） in four-part polyphony, while the former two verses are set

in unison. The adoption of these three verses at once sets up the

meditative mood of Via Crucis. A translation of the verses

follows:

The banners of the king go forth,

the mystery of the Cross shines out,
by which life suffered death
and by death produced life.

Fulfilled are those things which David

sang in his prophetic song,
saying to the nations:
God reigned from a tree.
Amen.

H a i l , C r o s s , the only hope,

in this Passion-tide,
increase grace to the faithful,
and destroy the crimes of the guilty.
Amen.^

The ninth verse reappears in Station XIV and is set for mezzo-

soprano and a terzett of soprano, tenor and bass.

The next medieval Latin hymn employed in Via Crucis is the

five-stanza Stabat mater dolorosa ((Sorrowfully his mother stood').

Though its authorship remains obscure, it is usually attributed to

Jacopone da Todi (1230?-1306), an Italian Franciscan friar.

0
A l e c R o b e r t s o n , Requiem： Music of Mourning and Consolat ion (1967),
p.155.
 38

According to tradition, the poem is used as a sequence in the

Passiontide Mass of the Seven Sorrows of the Blessed Virgin Mary

on 24 March. It is used again as a hymn on 15 September, at

Vespers, Mat ins and Lauds of the March F e a s t . It is also employed

in the religious practice of the Stations of the C r o s s . Though

Stabat mater doloroso was widely admired and used on various

occasions, it was excised by the Council of Trent. Moreover, it

was not until 1727 that this Latin hymn was officially incorporated

into the Roman Missal and Breviary.^

The text of Stabat water doloroso describes Jesus' mother

standing tearfully by the Cross where Jesus was hanging. Stabat

mater dolorosa was much in favor from the sixteenth to the

twentieth-century. There are many well-known settings of it by

composers including Josquin, Palestrina, Lassus, Pergolesi, H a y d n ,

Schubert, Rossini, Dvorak, Verdi and Stanford. Liszt himself

adopted this hymn in the twelfth movement of Christus. Besides, •

he also composed a piano piece based on Stabat mater dolorosa in

his last years. in Via Crucis, the first stanza of Stabat mater

dolorosa is used in Stat ions III，VII and IX. A translation of the

text follows:

9
A l e c R o b e r t s o n , Requiem： Music of Mourning and Consolation (1967),
p.133.

Paul M e r r i c k , Revo Jut ion and Religion in the Music of .Liszt,

( 1 9 6 4 ) , pp.94 a n d 3 1 8 .
T h e manuscript, of this piece is in the N a t i o n a l Szechenyi Library,
B u d a p e s t . It w a s p u b l i s h e d in 1978 in the New L i s z t Edition,
Individual Character Pieces /J. p . 2 8 .
 39

At the Cross her station keeping

Stood the mournful Mother weeping,
Where he hung, the dying Lord;
For her soul, of joy bereaved,
Bowed with anguish, deeply grieved.
Felt the sharp and piercing sword.

Though the above verse depicts Jesus' sorrowful mother, its

adaptation in the Stations seems rather out of context, for the

three Stations describe Jesus' stumbling only, and the crucifixion

has not yet taken place! Although the text does not literally

correspond to the events of these Stations, it does hint at the

agony of Jesus‘ mother. More importantly, it immediately relates

Liszt's Via Crucis to the religious practice of the Stations of the

Cross, where Stabat mater dolorosa is sung by the worshippers

during the devotion.

The German chorales

Both German chorales chosen to be used in Via Crucis are

reflective in nature. The text of Haupt vol I Blut und Wunden「0

Sacred Head now wounded‘) is adapted from the ten-stanza hymn Salve

caput cruentatum by Paul Gerhardt (1656). There are several

celebrated settings of this chorale. For example, J. S. Bach

adopted it in his St. Matthew Passion. In the nineteenth century,

both Mendelssohn and Reger composed an entire cantata on the same

chorale. In Via Crucis, verses from the first stanza of the hymn

are aptly selected for Station VI 【Veronica wipes the face of

11 T r a n s l a t i o n by J. M . N e a l e .
 40
Jesus'. The text reflects on the suffering of Jesus:

0 sacred head,
surrounded by crown of piercing thorn!
0 bleeding head,
so wounded, so shamed and put to scorn!
Death's pallid hue conies o'er thee,
The glow of life decays； 、
Yet angel-hosts adore thee.
And tremble as they gaze.^

The second chorale used is 0 Traurigkeit ('0 sorrow，，1628),

a two-stanza hymn with unknown origin, harmonized by F . Layriz in

1844. The first stanza is chosen for Station XII 'Jesus is dying

on the Cross', mourning the death of Jesus:

0 sorrow, o grief,
is it nothing to bewail
that God the Father's only Child
be carried to His srave?
0 sorrow, o grief. ^

The text of Via Crucis as compared with traditional Passions

When compared with traditional Passions, we observe that the

text of Via Crucis is much smaller in scope. First, the narratives

by the Evangelist are missing. Second, the words of Pilate and

Jesus are brief. Third, the declamations of the crowd ('Jesus

falls' and 'Crufify') are concise. In addition, the verses adapted

from the two Latin hymns and German chorales, though comparatively

12
T h i s t r a n s l a t i o n is by Sir H . W . B a k e r .

11 Text by Johann R i s t . translation by CI ifford B a r t l e t t .

 41

longer, are meditative in nature. The many events of the Passion

are only briefly covered by the text. Despite all these

limitations, the flesh-torn Jesus heading for Calvary and at last

crucified, his grief-stricken mother and his mournful followers are

vividly portrayed. These sorrowful scenes coexist with a context

V'

of turbulent crowds backed up by satanic forces. How did Liszt

convey these programmatic elements through music? How did he

handle the characterizations in the work? The ensuing study of the

music sheds light on these issues (see Part III).

PART III

UNITY AND CONTRAST IN VIA CRUCIS

<
 42

CHAPTER 5 THEMATIC DESIGN IN VIA CRUCIS

Liszt was well-known for his employment of the technique of

thematic transformation, which aims to enhance coherence among

*

separate movements in his cyclic works. Moreover, he used it as

a thorough-going means of musical development. The device of

thematic transformation was used extensively in his symphonic

poems, such as Les Preludes (1848) and Tasso (1849). Other well-

known examples include Sonata in B minor (1852-53), Psalm XIII

(1855) and St. Elizabeth (1857-62).

Even though Via Crucis is a cyclic work comprising a prelude

and fourteen movements, Liszt did not use in it the technique of

thematic transformation. Some possible reasons can be posed. As

expressed in the preface of Liszt's Via Crucis, the work is written

with an aim to accompany the religious practice of Via Crucis.

Probably, Liszt took into consideration the meditative nature of

the occasion and the limited musical resources of local churches.

Thus, musical complexity is avoided. Moreover, although Liszt

embarked on the experimentation of harmony in his late years, he

preferred short and simple melodies as opposed to those long and

embellished ones used in his early years. Furthermore, Liszt

scarcely used the technique of thematic transformation in his late

works. Instead, the persistent use of symmetric structural

components like the tritone, the augmented triad, the diminished

 43
seventh chord and the whole-tone progression served as an important

unifying factor (see chapter 6). In addition, Liszt employed the

devices of thematic cross-reference and large-scale repetition to

enhance the coherence of the work.

THEMATIC CROSS-REFERENCE

An overview of Via Crucis shows the use of motifs or themes

which are repeated mostly literally, without conspicuous changes

in rhythm, melodic detail or dynamic characters. These recurring

motifs or themes include the Cross motif, Jesus' theme and

Veronica's theme. It seems likely that they are used to signify

a person or an object, to reflect an idea or a state of mind. Thus

their function is akin to that of the Leitmotif.

The Cross motif

The successive use of a major second and a minor third forms

one of the most important motifs used in Via Crucis (ex.5.1).

According to Szasz Tiber, this motif is Liszt's own symbol for

Christ, the Cross and the 'solar light of Christianity?

Significantly, many plainchants begin with this motif. However,

1 Szasz T i b e r , " L i s z t ' s Symbols for the D i v i n e a n d D i a b o l i c a l : T h e i r

R e v e l a t i o n of a Program in the D minor S o n a t a " . Journal of the
American Liszt Society, Vol.15 ( 1984) . p . 4 2 .
 44
Liszt singled out Crux fideli^ as the source of his Cross motif

(ex.5.2), as mentioned in his note at the end of St. Elizabeth.

Liszt's use of the Cross motif has been widely acknowledged.

For example, traces of it appear in the Mass for male voices

(1849)， Dante Symphony (1855-6)， Hunnenschlacht (1857) and St.

Elizabeth (1857-62) (ex.5.3a-d). However, none of these works

employed the Cross motif as abundantly as in Via Crucis, where it

is used in nearly every movement (except Stations IV and VIII)， in

its original form (ascending, M2 - m3) or with slight variations

(ex.5.4). The frequent appearances of the Cross motif in Via

Crucis play an important role as a unifying force. Moreover, the

motive arouses an ever-present vision of the Cross throughout the

musical movements.

Jesus， theme

To the Romans and Jews, the 'cross' was a symbol of shame, for

it represented crucifixion, a capital punishment reserved

particularly for violent criminals and political offenders who are

not Roman citizens. To Jesus, it was a symbol of self-sacrifice

and redemption. Thus, although be was under the heavy burden of

the cross-beam and the sins of men, he had a positive attitude

2 The p l a i n c h a n t Crux fidelis is a hymn from the G o o d F r i d a y M a s s w h i c h

is central to the Solemn Adoration of the Holy C r o s s . It d i s t i n g u i s h e s
itself from other chants in two w a y s . F i r s t , it b e g i n s w i t h the w o r d
'Cross‘. S e c o n d , its opening reminds us of the p e n t a t o n i c scale (see
Liber usual is, p.742^.
 45
towards the cross.

In Station II 'Jesus bearing his cross', Jesus declaimed 'Ave,

ave crux' (Hail, hail, cross) (m.l4) which is his first monologne

in Via Crucis (hereafter designated as 'Jesus' th令me，). Example

5.5a shows Jesus‘ theme divided into two halves (x & y)，both

entering with an anacrusis. Figure x starts with a modified Cross

motif (ascending, m2 - M3), being answered by figure y which also

begins with the Cross motif, though this time it is in modified

inversion (descending, m2 - M3). The two figures (x & y) display

further resemblance by ending with repeated notes on the note B .

Jesus' theme reappears in Stations III, VII，IX and XIV, but figure

X is in each case abandoned.

Stations III, VII and IX portray sorrowful scenes on the way

to Calvary: Jesus collapsed under the cross. Between the

exclamations of the crowd and the women commenting on his grief-

stricken mother, the latter half of Jesus' theme (figure y)

reappears in the instrumental part (mm.12-15) (ex.5.5b-d).

The interpolation of figure y (a single melodic line) in

between an overall chorda 1 context is noteworthy. Musically, this

corresponds to Liszt's late style, where textural disintegration

is established as a norm. Programmatically, it seems that Liszt

deliberately hinted to us Jesus' unshaken resolution; though

wounded and suffering intensely from the cruel scourging just

 46
before he is sentenced to death, he is still willing to bear the

cross on his flesh-torn b a c k , since this is the only way for man's

salvation.

Another similar instance occurs in Station X I V , which depicts

Jesus‘ burial. The latter half of Jesus' theme (figure y)，

preceded by the Cross motif (mm. 1-2), reappears twice in the treble

and bass of the instrumental part (mm.3-8) (ex.5.5e). This time,

the interval lie structure of the original version is altered (cf.

Station II, m.14). Probably， Liszt tried to suggest the final

victory of Jesus -- though crucified and buried, Jesus would win

over death. Jesus' resurrection would bring perfect redemption to

men. T h u s , the cross is once again hailed.

Veronica's theme

According to tradition, Veronica was among the sobbing

followers when Jesus was on his way to the Calvary. Witnessing her

master wounded by the thorny crown forced on his h e a d , she wiped

Jesus' face with a piece of cloth. It is believed that Veronica

was the woman recorded in Matthew 9:21-22 who had suffered from

bleeding for twelve years, but was cured by just touching Jesus'

garment.

Station VI 'Veronica wipes the face of Jesus' opens with two

short phrases (mm.1-4), hereafter designated as Veronica's theme

(ex.5.6a). The theme is characterized by the interval of a

 47
tritone. These phases, together with the third phrase (mm.4-8)，

suggest the structural importance of the notes F - B - F - B - D -

B - D, which eventually crystallize into a diminished seventh

chord (F - D - B - G#) in the last phrase, mm.9-13 (ex.5.6a).

Veronica's theme (transposed a major 2nd higher) reappears in

Station VIII (mm.19-23) in the instrumental part (ex.5.6b)，

suggesting that Veronica is among the weeping women of Jerusalem.

Its third appearance is found in mm.11-14 of Station X (ex.5.6c).

The interval lie change of the first two notes, from a perfect

fourth to a tritone, vividly imbues a tone of sadness, which

further portrays Veronica's inner state of mind when she witnesses

Jesus being stripped naked. Its last appearance occurs in Station

XIII (mm.58-59) (ex.5.6d), an exact repetition in the instrumental

part, which maj'* indicate the presence of Veronica when Jesus is

taken down from the cross. Similarly, Veronica's theme functions

as a kind of Leitmotif, probably portraying the scenes in the

pictures or carvings used in the religious practice of Via Crucis.

LARGE-SCALE REPETITION

Apart from employing thematic cross-reference as a unifying

device, Liszt also used large-scale repetition of thematic

materials among movements. The following chart shows the inter-

 48
relationship among movements:^

The Prelude
Station I
’， jj —
’’ jjj
” IV
V V
” VI
” VII
” VIII
” IX
” X
” XI
” XII
” XIII
’’ XIV

The Prelude and Station XIV

The Prelude has two divisions (ex.5.7a), The first (mm.1-50)

is strophic, with two stanzas. It is written for full chorus

(SATB), sung in unison. The second (mm.51-79) is motet-like,

written for four soloists (SATB). The whole movement is in Dorian

mode. From the outset, the text of the Prelude seems to sum up the

main focus of the work -- the Cross. Musical ly, it also begins

with Liszt's familiar 'Cross m o t i f , which is used in Josquin-like

manner in the second division.

A large portion of Station XIV (mm.13-59) is adapted from the

first division of the Prelude (mm.7-45), though with rhythmic and

harmonic modifications (ex.5.7b). Moreover, the full choir is

3 The square brackets signify the inter-relationship among movementg.

They are literal r e p e t i t i o n s , m o d i f i e d versions or in transpositional
relationship.
 49

changed to mezzo-soprano solo with a trio of STB. With respect to

the text, that of the second division of the opening movement is

used. Station X I V ends the work with Ave Crux vocal ly and the

Cross motif instrumentally.

The theme of the procession

Both Stations II and V， entitled ‘Jesus carries his cross' and

'Simon of Cyrene helps Jesus carry the cross' respectively, depict

Jesus and the procession moving towards Calvary. After Jesus'

first monologue ^Ave, ave crux'' (m. 14), Station II (mm. 15-31)

features non-synchronized voice-leadings in both inner and outer

parts (exs.5.8a & 5.8b). The ostinato figure in crochets possibly

evokes the scene of the procession slowly moving on. Its slightly

modified version in Station V (mm.36-52) suggests the same scene

(ex.5.8b).

Stations III, VII and IX

The fact that Jesus stumbles on the road to Calvary is not

recorded in any of the G o s p e l s . H o w e v e r , out of the fourteen

stations, three of them (III， VII & IX) portray Jesus' stumbling.

An overview of the Bible reflects the special status given to the

number ^three'. For example, Jonah dwelt in the belly of a huge

fish for three days (Jonah 1:17); Peter denied Jesus three times:

and Paul pleaded with the Lord three times to take away the ‘thorn'

from h i m . M o r e o v e r , God has three images: the Holy Father, the

Holy Son and the Ho 1y Spirit. Perhaps Jesus did not only stumble
 50

three times on the way to Calvary, but ‘three times' is chosen to

symbolize his complete state of anguish. Liszt adopted similar

musical patterns for the three stumblings of Jesus:

Station III (ex.5.9a) is clearly divided into two sections.

V

Section A (mm.1-14) opens with two measures of instrumental solo.

The opening bare octaves on B and C are followed by the

articulation of a diminished seventh chord, which immediately sets

up the mood for the dramatic declamation. The initial figure

B - C - Eb (mm. 1-2) is a modified version of the Cross motif. The

tenor and bass part exclaim in unison 'Jesus falls' forcefully,

accompanied by dissonant off-beat chords, with predominant

diminished sonorities evoking a spirit of unrest. After the

declamation, the section settles on an F# minor triad (mm.8-9),

which gradually dissolves into Jesus' theme, ending on C# (mm.l2-

14). Section B (mm. 15-34) begins with a duet for Soprano I and II，

which moves in thirds, with an added alto part in mm.27-33. They

sing the harmonized plainchant Stabat mater dolorosa, rendering a

narrative picture of Jesus' anguished mother. The starting chord

of this section recalls the F# minor triad in mm.8-9 of the

previous section. In contrast to the dissonant and thick-textured

section A , section B unfolds quiet, cantabiie melodies. They are

predominantly diatonic, with touches of dissonance in mm.21, 27 and

31. The first phrase in this section (mm.15-19) is closely related

to the concluding phrase in section A (mm.12-14), displaying a

motivie 1 ink between the two sections.

 51

Station VII (ex.5.9b) is a transposition of Station III up a

semitone, which heightens the dramatic tension. There is slight

interval lie expansion in mm.1-2，leading to the emergence of the

Cross motif once again.

Like Station VII， Station IX (ex.5.9c) is also a

transpositional version of Station III. H o w e v e r , it is transposed

u p a major third this time, which further builds up the dramatic

tension. It distinguishes itself from Station III and VII by

rearranging the disposition of parts in Sopranos I and II (ram.15-

25). They move in sixths instead of in thirds, alluding to the key

of Bb minor. The tonal focus shifts from G to Bb in m . 8 , at last

settling on Db in m.32.

Stations IV and XIII

When Jesus was on the cross, most of his close followers fled

away in fear. However, there were still many women watching from

a distance with deep affection. After Jesus' d e a t h , two of his

secret disciples came out into the o p e n . One was Joseph of

A r i m a t h e a , who had not agreed to Jesus' condemnation."^ The other

was Nicodemus, the rich man who had visited Jesus at night.^ As

Sanhedrins, they knew all too well that the Jewish law forbade a

corpse to be left hanging on a tree or cross overnight. They also

realized that Jesus' close disciples were still in hiding. As a

4
Luke 23:51.
5 John 3 : 1 - 2 1 .
 52
r e s u l t , Joseph decided to take the initiative. He bravely asked

Pilate for Jesus' b o d y , and permission was g r a n t e d . T h u s , Jesus

was taken down from the cross. This event was portrayed in Station

XIII ‘Jesus is taken down from the Cross,.

M u s i c a l l y , Station XIII (for instrumental solo) shows the use

of thematic summation, which puts together various themes in one

single movement.6 Excerpts from Stabat mater dolorosa, Station

IV and Veronica's theme reappear in nun. 1 3 - 2 4 ， 2 5 - 5 7 and 58 of

Station XIII respectively, though in modified versions. Such

recurrence of themes and large-scale repetition could have been

intended to suggest the presence of Jesus' female followers, his

mother and V e r o n i c a , when Jesus was taken down from the C r o s s . It

is noteworthy that out of all 58 measures in Station X I I I , 46

measures are adopted from previous movements. Indeed, Station IV

is almost literally repeated in XIII (ex.5.10a).

Liszt's employment of thematic cross-reference rather than

thematic transformation in Via Crucis is in accord with the style

of his late w o r k s , in w h i c h simplicity is p r e f e r r e d . Moreover,

this kind of simplicity and economy in thematic design is also in

6 H o w e v e r , L i s z t ‘ b u s e o f t h e m a t i c s u m m a t i o n i n X I I I is m o r e
s t r a i g h t f o r w a r d than that in his piano piece Sposalizio ( 1 8 5 8 ) , for
the d i f f e r e n t themes in Via Crucis reappear one after the other in
Station XIII. I n m m . 7 7 - 1 1 2 o f Sposalizio, however, the opening motive
of the b e l l s ( m m . 1 - 3 ) and the p r o c e s s i o n a l theme ( m m . 3 S - 5 1 ) are
s u p e r i m p o s e d in a thematic synthesis ( e x . 5 . 1 0 b ) . P r o b a b l y , Liszt
d e l i b e r a t e l y a v o i d e d c o m p l e x i t y in Via Crucis,
 53

line with Liszt's ideal of church music reform, for he put forward

that 'simplicity' should be one of the essential qualities of

church music.

<
 54

CHAPTER 6 HARMONIC DESIGN IN VIA CRUCIS

Besides using the devices of thematic cross-reference and

large-scale repetition to enhance unity and coherence in Via

Crucis, Liszt also adopted the tritone and other symmetric

structures as unifying forces.

THE STRUCTURAL IMPORTANCE OF THE TRITONE

After Guido of Arezzo's development of the hexachordal system,

the tritone was nicknamed the ‘ diabolus in misica, (the devil in

music). From then on until the end of the Renaissance, it was

considered as a dissonance, an unstable and dangerous interval in

a vertical sense, though it was used quite freely melodically.

Harmonically, the tritone is embedded in the dominant seventh

chord which affirms the tonality, especially at cadential points.

It is also hidden in the diminished seventh chord which assists

modulation by weakening the tonality of a passage. Besides, the

tritone is a basic substructure of the whole-tone scale.

Symbolically, the tritone is continuously used to portray the

devil, death, grief or damnation. For example, in Weber's

Freischutz (Wolf's Glen Scene, mm.43-44), Saint-Saens' Danse

macabre (mm.14-21) and Liszt's Mephisto Waltz No.2 (mm.1-7). In

Via Crucis, the tritone assumes an important structural role,

playing a prominent part in the pitch organization of the work.

 55
Station V

Station V is associated with an incident that happened on the

way to Calvary -- Simon of Cyrene helping Jesus to bear the cross.

Surrounded by the mocking crowds and sobbing followers, Jesus

staggered on with the heavy cross on his back. However, he was so

weak that he stumbled many times. Among the spectators was Simon,

probably a Jew from North Africa who came to Jerusalem to celebrate

the Passover. Presumably standing nearby, he was seized by the

Roman soldiers to carry the cross for Jesus.

Station V is divided into three distinct sections, A , B and

C (ex.6.la):

Section A Sect ion B Section C

mm.1-24 mm.25-35 mm.36-52

1-2 Introduction
3-13 Part 1
14-24 Part 2

Section A (mm.1-24) is subdivided into Introduction (mm.1-2), Part

1 (mm.3-13) and Part 2 (mm.14-24) (ex.6.la). It shows Liszt's

emphasis on the tritone. First, the opening descent (mm.1-2) spans

a tritone (B - E#). Second, the transpositional relationship

between the first and the second part is also a tritone (D - G # ) .

In addition, notes are deliberately arranged to intensify the

tritone effect: measures 3 and 14 show the super imposition of

 55

tritones (m.3 D 一 G#， F# - B#; m.l4 G# - D， B - F ) . Besides, the

tritone (B - E#) located in mm.1-2 is restated in the inner voice

of measures 20 and 21. This special emphasis on the tritonal

dissonance, together with a prominent use of diminished triads,

diminished seventh chords, augmented triads and other non-

functional harmonic progressions, projects a high degree of tonal

uncertainty which helps to suggest the agony of Jesus -- wounded,

despised, and heavy laden with the sins of men.

Example 6.1b displays the underlying structure of Section A .

In Part 1 (mm.3-13), the treble part starts with the note D , which

gradually moves up to the top note Bb before it descents to C # .

Concurrently, the use of G# is prolonged in an inner part and it

later recurs as the closing note of the bass part. Part 2 (mm.14-

24) is the transposed version of Part 1 up a tritone. It begins

with G# in the treble and ends with D in the bass part. Similar

to Part 1， G# again plays an important role in the inner part of

Part 2. In addition, Part 2 begins and ends on a diminished

seventh chord built on G# and 24), where the tritone D - G#

is embedded. In short, section A shows an overall emphasis on the

tritone D - G # .

Section B (mm.25-35) unfolds a cantabile melody (ex.6.la).

Marked ‘ do Ice affettuoso', it seems to be a commentative statement

praising the great love of the Saviour: Jesus is willing to

sacrifice Himself on the cross for the sinners. The obvious change
 57
of mood in section B is accompanied by the emergence of tonal

stability. Significantly, its tonal focus on Ab is anticipated in

section A's overall emphasis on G# (G# = Ab enharmonically).

As an echo to the emphasis on the tritone D - G# in section

»

A , this tritone reappears in section C (mm.41 & 47) (ex.6.la).

Furthermore, this section likewise shows an emphasis on Ab (=G#),

though it gradually dissolves into G - - F towards the end

(mm.48-52) (ex.6.Ic).

Station XI

The climatic point of Via Crucis falls on Station XI 'Jesus

is nailed to the Cross，， which is through-composed (ex.6.2). It

opens with pounding fortissimo chords with decisive and vigorous

rhythm punctuated by rests, a vivid tone-painting of the hammering

of nails into Jesus's hands. T h u s , an. intensive dramatic mood is

immediately set u p .

The chords are densely-spaced, hovering over the middle and

lower registers. A chorus of tenors and basses sings in u n i s o n .

It acts as the narrator, describing the central drama of the

Station. The word 'Crucifige' is stated six times. The harmony

and melody change with every two statements of the w o r d . Thus

there are three groups of 'Crucifige': mm.1-3, 4-6 and 7 - 1 0 . All

the chords in mm.1-10 are built upon the pedal note G # .

 58
Traces of the tritone can be spotted in this Station. In

measure 10, the root of the d minor chord and the pedal note G#

form a tritone (G# - D). In mm.11-14, the third and fifth notes

of the melody outline an augmented fourth (D - G#)， though it does

not fall on a structurally important position. This particular

tritone (D - G#) reminds us of Station V， where D - G# is already

stressed. Moreover, both Stations V and XI display an overall

emphasis on the pitch G # .

The six monologues

Apart from playing a prominent role in individual movements,

it is interesting to note that tritones are used in all of the six

monologues, almost each time moving a semitone upward (ex.6.3):^

Station I {mm.26-8) F - B
” II (m.l4) F毋-C .
” VIII (m.23) G - C#
" XII (m. 1) _ D
” XII (m.l2) G# _ D
“ XII (mm.38-45) A -

Among these tritone examples, the fact that only G# _ D is used

twice is worth mentioning, for it again points to the particular

importance of the tritone D - G# in Via Crucis.

1 H o w e v e r , the tritones u s e d in Station II (m.14) a n d Stat ion XII

( m m . 3 7 - 4 0 ) ) are not formed on structurally important positions.
 59

The broad layout

Not only does the tritonal dissonance D - G# play an important

role in Stations V and XI and the monologues, but it also assumes

significance in the broad layout of Via Crucis.

If
As mentioned before, the note G# is used in Stations V and IX

as a note of prime importance. On the other hand, the opening and

closing movements (the Prelude & Station XIV) of Via Crucis

firmly establish the note D as its tonic (ex.6.4). Thus the broad

layout of Via Crucis also outlines the tritone D _ G # .

Prelude I II III IV V VI VII VIII IX X XI XII XIII XIV

D G# G# D

** **

The display of the tonal focus is symmetric in design, for

it is used in every sixth movement. Moreover, the second

appearance of G# is preceded by five Stations. This reminds us of

the use of chorales in Via Crucis (marked with asterisks), which

are similarly displayed. The second chorale is also preceded by

five Stations. The use of structural symmetry is obviously an

important factor in the working out of Via Crucis, Indeed, the

harmonies of Via Crucis also show an overall emphasis on the use

of symmetric structures.
 60

T H E EMPHASIS ON THE USE OF SYMMETRIC STRUCTURES

In Via Crucis, the use of major and minor triads (mostly not

bearing traditional tonal functions) is often outweighed by that

of symmetric harmonies, which include diminished triads, diminished

seventh chords, augmented triads and whole-tone configurations.

V

All these chords or triads are symmetric in their interval lie

structure. In addition, linear chromaticism which offers a

symmetric display of semitones is one of the conspicuous melodic

features in the w o r k .

The prominence of symmetric structures in Via Crucis was in

accord with Liszt's late style. While the technique of thematic

transformation was used as a unifying force in Liszt's early works

of the Weimar period, it was seldom used in his late w o r k s . Liszt

turned instead to symmetric structures as a unifying device. Since

these components are more prominent in Stat ions II，IV，VIII，X and

XII， the following discussion will focus on these six Stations.

Station II

Station II 'Jesus carries the Cross’ is mainly for

instrumental solo, though it is briefly interrupted by Jesus' words

^Ave crux^，outlining a modified version of the Cross motif in m . 14

(ex.6.5a).

The augmented triad plays a dominant role in m m . 1 - 1 2 , which

contain alternating diminished and consonant sonorities. Measures

 61

1-12 begin with a B major triad in first inversion (ex.6.5a).

After passing through several transiently formed augmented triads

(piano), the progression finally arrives at a much prolonged

augmented triad Eb - G - B ( fortissimo) in mm.11-12 (ex.6.5b).2

This marks the end of a section, playing a cadential role. In

m.lO, the use of block chords (as opposed to the previous use of

tremolos in mm.1-9) imposes a point of repose before reaching for

the closing climax in mm.11-12 ( e x . 6 . 5 a ) . 3 In this short passage

of music, Liszt's ingenious manipulation of the augmented triad is

shown.

Station IV

None of the Gospels records Jesus' meeting with his mother on

Calvary. However, this is the main theme of Station IV. The

anguished mood is strongly suggested by prominent chromatic lines.

The first half of the Station (mm.1-17) comprises a series of

chromatic ascents, being counterbalanced by the use of chromatic

descents in the second half, mm.18-34 (ex.6.6a). The chromatic

ascents are at times unaccompanied (e.g. mm.2 and 5). But in most

cases they are harmonized by triads or other block chords without

2 In f a c t , this a u g m e n t e d triad has a l r e a d y b e e n a n t i c i p a t e d in m m . 9 - 1 0

as a passing chord.

‘
• T h e r e a r e two incidences of the a u g m e n t e d triad playing a c a d e n t i a l role
in Via Crvcis. One is found here (Station II, m m . 1 1 - 1 2 ) , the o t h e r is
in S t a t i o n V (nun.34-35). T h o u g h b o t h o c c u p y two m e a s u r e s . the former
is m o r e a r r e s t i n g b e c a u s e of its c l i m a c t i c n a t u r e .
55

creating any sense of tonality. Such a heavy reliance on linear

chromaticism suggests a deliberate emphasis on symmetric

construction.

Example 6.6b shows a reduction of mm.18-34, featuring

chromatic descents in all parts. It is noteworthy that the changes

of notes in the chromatic lines of the accompaniment are non-

synchronized. It is also important to note Liszt's use of the

augmented triad (ex.6.6a). Apart from appearing in mm.3 and 6 as

a vertical formation with ornamental effect, the triad is linearly

outlined in the treble (mm.18-19， 22-23， 26-27 and 28-29) and

projected vertical ly as accompanying triads (e.g. m m . 19, 23，27 and

29). They are reminiscent of the transiently formed augmented

triads used in Station II (mm. 1 - 1 2 ) . Station IV ends on a

diminished triad (m.33), leaving the movement open-ended/

Station VIII

Station VIII ‘Jesus speaks to the women of Jerusalem'

(ex.6.8a) exploits chromaticism and dissonance to an even greater

extent when compared with Station IV. Harmonically, the opening

(mm. 1-18) of this Station exemplifies Liszt's use of the so-called

experimental idiom. It chiefly employs diminished seventh chords,

half-diminished seventh chords and minor-major sevenths, thereby

negating tonality in a traditional sense.

^ It is w o r t h m e n t i o n i n g that Liszt,s late w o r k s are usually o p e n - e n d e d .

A w e l l - k n o w n example is Nuaf^es Gris (1881) w h i c h ends with a w h o l e - t o n e
chord (ex.6.7).
 63

The upper parts of mm.1-8 comprise two phrases of purely

chromatic descents, moving mostly in major thirds (ex.6.8a &

6.8b)). The second phrase (mm.4-8) repeats the first phrase

(mm.1-4), with a slight extension in range (mm.1-4 D - F#， mm.4-8

Eb - F # ) . Measures 8-18 display a series of chromatic descents of

diminished seventh chords in sequential fragments, each time

shifting up a whole tone (ex.6.8a).^ The pedal note B is used

throughout these measures. The relatively thick texture,

accelerando and crescendo of mm.9-18 contrast sharply with the

previous eight measures. Similar to Station IV, Station VIII also

ends on a diminished triad (mm.45-46), another incidence of open-

endedness in Via Crucis.^

Station X

Station X ‘Jesus is stripped of his garments', an instrumental

solo imbued with chromaticism and whole-tone harmonies, is divided

into two sections (ex.6.9). Section B (mm.11-23) is a modified

repetition of section A (mm.1-10). The sense of symmetry is again

heightened.

Measures 1-5 feature chromatic descents in an inner voice;

5 This series of d i m i n i s h e d seventh chords is e c h o e d by a series of

a u g m e n t e d triads in Station XII (mm.2-11).

6 The open-endedness in Via Crucis does not n e c e s s a r i l y involve v e r t i c a l

symmetric structures. S o m e t i m e s , an a l r e a d y sparse textural design
e v e n t u a l l y d i s i n t e g r a t e s to a single m e l o d i c line towards the end (e.g.
Stations II, V , X a n d X I I I ) .
 64

mm.4-5 is a transposed version of mm.2-3 (ex.6.9). In contrast,

mm.6-10 display chromatic ascents in the outer part； mm.8-10 is a

modified repetition of mm.6-7. Moreover, whole-tone harmonies

predominate. These whole-tone chords are seemingly derived from

altered dominant sevenths, with sharpened or flattened 5th

V

replacing its perfect 5th. For example, the whole-tone chord

G - B - Db - F in m.7 is an alternation of the dominant seventh

G - B - D - F.

In section B， Veronica's theme reappears in mm.11-14,

suggesting her presence when Jesus faced the humiliation of being

stripped naked. The closing phrase of this section (mm.19-23)

outlines a whole-tone scale, through the linear articulation of the

whole-tone chords in ni.20. .

Though the tonality of this Station is unstable, it has the

key signature of Ab major, which is closely associated with ‘love'

in works by L i s z t . Indeed, God's love is not only expressed

through His son's physical suffering and the humiliation of being

stripped naked, but also the sacrifice of Himself on the Cross for

all undeserved sinners.

Station XII

The augmented triad is prominently used in Station XII 'Jesus

dies on the Cross， （ex.6.10a) — a movement directly associated

with death and mourning.

 55
Measures 2-11 display a successive use of augmented triads.

The initial augmented triad Bb - D - F# (m.2) is transposed down

an octave in due course (m.8), finally dissolving into a diminished

triad B - D - F in mm.10-11 (ex.6.10b).

It is noteworthy that the points of departure and arrival in

this series of augmented triads are arranged in linear

chromaticism. Similar treatments can be found in Station II (mm.1-

12) and Station VIII (mm.8-18). While the former departs from

B - D# - F# (m.l) and arrives at B - Eb (=D#) - G (m. 12), the

latter departs from F# - A - C - Eb (m.9) and arrives at G - A# -

C# - E (m. 17). In all these cases, the points of departure and

arrival of a series of symmetric harmonies involve semitonal voice-

leadings .

In Station X I I , the series of augmented triads is put in

between two monologues of Jesus. While the former questions 'My

G o d , my G o d , why have you forsaken me?，，the latter proclaims

• 'Father, into your hands I commit my spirit'. Obviously, the

augmented sonority here carries extramusical meanings associated

with grief and death. Moreover, the abrupt insertion of successive

augmented triads in between two monologues suggests that Liszt gave

more priority to the expression of mood than to textural integrity.

Marked do Ice, the ensuing section (mm.13-37) uses mostly

diatonic major and minor triads. It seems likely that this passage
 66
depicts Jesus' serenity after putting his spirit into his beloved

Father's hand. Following Jesus' last monologue 'It is finished，

(mm.38-47)， touches of augmented triads reappear (mm.50, 54 and

56)， each marking the beginning of a phrase. The closing chorale

'OTraurigkeiV (mm. 77-124) rounds out the Station with conspicuous

linear chromaticism (see Ch.7, pp.74-75). ‘

All in all, the harmonic design in Via Crucis displays the

typical harmonic features of Liszt's late works. in that symmetric

harmonic structures and tritones are used to evoke a sense of tonal

uncertainty.7 More importantly, they play a significant role in

achieving unity.

The use of s y m m e t r i c structures and tritones is by no meariK uncommon

among other late w o r k s of L i s z t . For e x a m p l e , in the first nine
m e a s u r e s of his late p i a n o piece la lugubre fiondola N o . 1 ( 1 8 8 2 ) , both
the m e l o d y and the accompanimenta1 ostinato figure are g e n e r a t e d from
a tonally elusive a u g m e n t e d triad. A b - C - E ( e x . 6 . 1 1 ) .
 67

CHAPTER 7 STYLISTIC CONTRAST IN VIA CRUCIS

Despite Liszt's use of thematic and harmonic designs to

enhance unity and coherence in Via Crucis, stylistic eclecticism

remains a prominent characteristic of the work.

Apart from the use of the cyclic form, Liszt also adopted

experimental harmonic idioms in Via Crucis. In stark contrast,

however, both text and melodies derived from medieval Latin

plainsong hymns are also employed. Moreover, some of the Stations

were deliberately model led on Palestrina style as well as Bach

chorale style.

THE ADOPTION OF PALESTRINA STYLE

Via Crucis opens with a Prelude which draws its text from

Vexilla regis prodeunt, a 6th-century Latin hymn by Bishop

Venantius Fortunatus. Only the first, third and sixth stanzas are

used.i Liszt's metrical setting of this plainsong hymn closely

resembles Palestrina's polyphonic writing.

Texture

Liszt's setting of Vexilla regis prodeunt is basically chorda 1

(ex.7.1). However, in the third stanza of the Prelude (mm.51-79),

1 Liber Usual is, p p . 5 7 5 - 6 .

 68

Liszt alternates imitative counterpoint with chorda1 writing. As

in many motets and masses by Palestrina, or in works of other

Renaissance, composers 1 ike Josquin, the imitative entries are well

spaced o u t . More specifically, Liszt employs 'paired imitation'

in mm.51-55 (ex.7.2)， which is also one of the favorite

contrapuntal devices of Palestrina.

Rhythmic design

Even though the Prelude of Via Crucis is in 3/2 instead of C

(the most common time-signature found in Renaissance sacred works；

its modern equivalent being 4/2), the minim remains the basic

rhythmic unit. The overall regularity of rhythmic patterns is a

distinct stylistic trait of Renaissance works.

A list of the note-values used in the Prelude of Via Crucis (voice-

parts only)

Coro Soprano Alto Tenore Basso Total

- J 5 4 5 4 19

^ 4 10 6 3 4 〒
O
0 3 3 2 3 n
a.
72 ^ ^ ^ ^
O
30 5 7 7 9 58
」

{Remarks: (*)=〇* or longer

(**)= O OT 0 i

The above table shows the predominant use of minims in the Prelude
 69

of Via Crucis. The total number of minims (160) well exceeds the

sum total of other kinds of note-values (160:115).

Melodic design

Probably due to the plainchant origin of the melodic lines,

the interval of a perfect fifth is not found in the Prelude. Like

Palestrina, Liszt avoids the use of augmented and diminished

intervals, major sixths, sevenths and all intervals larger than an

octave in the inner and bottom parts. Stepwise movement

predominates. All these contribute to a smooth and even flow of

melody. However, Liszt uses many more repeated notes than

Palestrina. As shown in the following table, major seconds and

unisons are most often used.

A list of the total number of melodic intervals found in all the

voice-parts in the Prelude of Via Crucis

Unison m2 m3 M3 FA

75 40 82 44 17 5

(Remarks: Only the real intervals, i.e. intervals that occur in

the course of a phrase, are under consideration. Dead intervals,
i.e. intervals which occur between the last note of a phrase and
the first note of the next phrase preceded by a rest, are not
counted.)

Harmonic design

The Prelude of Via Crucis is in the Dorian mode, which is

frequently used by the Renaissance composers. Furthermore, major

and minor triads in root position form the majority, creating a

 70
distinctly modal sound much in line with Palestrina's harmonic

style. Triads or chords are mostly complete and the use of

augmented triads is strictly avoided. A list of triads and other

chords used in the Prelude of Via Crucis follows:

Total n o . of triads 98
N o . of triads with the third omitted 0
N o . of triads with the fifth omitted 3

No. of triads in root position UL

No. of triads in first inversion 17
No. of triads in second inversion 1
No. of seventh chords in root position 0
No. of seventh chords in first inversion 0
No. of seventh chords in third inversion 1
No. of seventh chords in fourth inversion 0
No. of secondary dominants 0

N o . of diminished triads 0
N o . of augmented triads 0
N o . of diminished seventh chords 2

In contrast to the frequent use of unessential notes in

Palestrina's music,^ they are only sparingly employed in the

Prelude of Via Crucis. In fact, only two unaccented passing notes

and one auxiliary note are used. The rareness of unessential notes

used in the Prelude is noteworthy. This probably shows that Liszt

strove to maintain an individual style by avoiding direct modelling

on Palestrina.

For e x a m p l e , in the G l o r i a of Palestrina's Missa Papae Marcelli.

a total number of 134 dissonances are u s e d , including 88 unaccented
passing n o t e s , 90 s u s p e n s i o n s , 9 a u x i l i a r y n o t e s , 5 a c c e n t e d passing notes
and 2 anticipations.
 71

Palestrina's cadences chiefly fall into the categories of

perfect, plagal and imperfect cadences. Liszt showed a slightly-

different attitude in the handling of cadences. Eight of the

totality of twelve cadences used in the Prelude are either perfect

or plagal cadences, while the remaining are ambiguous and hardly

classifiable.

The major cadences in the Prelude of Via Crucis

mm.14,33 V - I mm.18,37 ？
mm.22,41 V - I mm.69-70 ？
mm.44-45 IV 一 I mm.73-74 ？
mm.48-50 IV - I mm.77-79 ？
mm.59-60 V4/2 - 16

It is remarkable that Liszt introduced these ambiguous progressions

into a context of 16th-century church music style. But Liszt could

have deliberately done so in order to prepare for the use of more

progressive harmonic idioms in the ensuing Stations.

Text setting

Similar to Palestrina, Liszt gave careful attention to the

syntax and accent patterns of the text he set. Each voice is

shaped to many literary and musical accents with an ease and

naturalness on a par with Palestrina's music:

The e m p l o y m e n t of d i m i n i s h e d seventh chords in m m . 5 7 a n d 73 may a l s o

suggest the same r e a s o n .
 72

1) strong syllables are usually matched with notes of longer values

or higher pitches. Weak syllables or less important words receive

opposite treatment. Example 7.3a shows that both the strong

syllables 'xil' and 're， are matched with notes of longer values;

the former syllable is also given a higher p i t c h .

2) A separate syllable is often given to notes of a minim or longer

value. In example 7.3b, we observe that the syllables 're' and

li-gno De-US‘ are matched with separate note values including

minims and breves. However, in contrast to Palestrina，s practice,

Liszt gave two crochets with different pitches to the syllables

tgna， and 'vit' respectively. It seems likely that Liszt aims at

a certain degree of individuality instead of literally imitating

Palestrina's style.

3) Repeated notes normally involve a change of syllable, if the

first note is a minim or longer. As shown in example 7.3,

different syllables ('noc， and 'pas，） are sung to the repeated

pitch (in minim).

4) The last syllable at a concluding cadence is always

articulated and usually coincides with the last note of the

music (see ex.7.3d).

Among all these deliberate attempts to imitate Palestrina

style, Liszt adopted the organ or piano as accompaniment to the

Prelude. Such an arrangement set the movement apart from

Palestrina's a cape I la style. Indeed, by doing s o , Liszt was in

 73

line with the ideas of the Cecilian Movement, which advocated the

revival of Palestrina style with the organ as accompaniment.

THE ADOPTION OF BACH CHORALE STYLE

That Liszt adopted Bach chorale style in Stations VI and XII

seems natural. To L i s z t , J . S . Bach not only won his admiration

but also exerted substantial influences on him.

Liszt came into contact with Bach‘s music as a young b o y . At

the age of six, he began his piano lessons under the guidance of

his father, who chose for him a repertoire ranging from a

groundwork of Bach to the modern pieces of B e e t h o v e n / In his

years as a virtuoso pianist, Liszt included pieces by Bach in his

repertoire. During the Weimar period, he had transcribed six of

Bach's finest organ Preludes and Fugues for piano (1842-50). The

Prelude and Fugue on the name BACH (1855， revised 1870) is one of

Lisizt's most important organ compositions. Furthermore, he wrote

a set of Variations on the theme of Bach‘s cantata Weinen, Klagen

in 1859.

In a letter to Princess Wittgenstein, Liszt reflected on his

admiration for Bach's St. Matthew Passion after hearing its

performance in Weimar:

4
D e r e k W a t s o n , Liszt (1989), p, 7.
 74

This passion is still one of my great passions; I never tire

of it, and each time I plunge into it anew it redoubles its
attractions.^

Since it was generally accepted that the highest artistic

achievement in the utilization of chorales was reached by J. S.

Bach, it was no wonder that Liszt patterned the two chorales in Via

Crucis on Bach chorale style. Furthermore, Liszt's setting the

chorales in the style of Bach may also be a response to the 'Bach

revival ‘ (a phenomenon of the 19th-century 'historicism') initiated

by Mendelssohn, who conducted the St. Matthew Passion in 1829, when

Liszt was eighteen years old.

0 Haupt vol 1 Blut und Wunden

Bach had written several harmonizations on the chorale 0 Haupt

voll Blut und Wunden, A comparison of Liszt's setting in Station

VI with one of Bach's shows a number of significant similarities.

From examples 7.4a and 7.4b, we note that the chorale tunes used

are virtually the same, though Liszt omitted some of the notes

employed by Bach (marked with in ex.7.4a).

^ La M a r a . Letters of Franz Liszt, Vol.IV (1969), pp.222-3.

In R a l p h W o o d w a r d , The Large Sacred Choral Works of Franz Liszt
(1964), p . 2 9 9 .

6 J.S. Bach m a d e no less than seven h a r m o n i z a t i o n s of 0 Haupt voll

und Wunden a n d sometimes under different titles such as Herzlich tut
mir verlangen (see 370 Chorales and Choloale Preludes by J . S . B a c h ,
e d . R i e m e n s c h n e i d e r , Schirmer (1941)， New Y o r k ) . The different
h a r m o n i z a t i o n s u s e d different text a n d r e s u l t e d in a slight v a r i a t i o n of
the s o p r a n o line. The one in Ex.7.4a is s i n g l e d out to be c o m p a r e d w i t h
Liszt‘s h a r m o n i z a t i o n because of the s i m i l a r i t y of tonality a n d
p a r t i c u l a r l y b o t h e n d on the p r o g r e s s i o n i - V .
 75

Harmonically, Liszt's version shows a clear modelling on

Bach's. Besides employing the key of A minor for the chorale,7

Liszt followed Bach's example by opening and ending the chorale

with the progressions V7-vi and i-V respectively. The extended

ending in Liszt's version dissolves itself smoothly into the

i

initial measure of the postlude, for the dominant harmony is held

in common (ex.7.4b, mm.41-43).

Concerning the probable compositional procedure for this

Station, Liszt finished the harmonization of the chorale first,

model ling on Bach's. Then he put in a prelude (mm. 1-13), which

ends with a melodic phrase outlining a diminished seventh chord on

G # . This note G# becomes the third of the ensuing V7 chord, giving

rise to a smooth and logical connection between the prelude and the

chorale. Added to this, a high percentage of the harmonic

progressions in Liszt's version is modeled after Bach's. In

examples 7.4a and 7.4b, the triads or chords underlined with a

‘ ‘ are exactly the same, while those with a dotted line ‘ ’

denote that the same triads or chords are used, but in different

inversions.

0 Trauriskeit

Bach had provided only one harmonization of 0 Traurigkeit.

Liszt adopted the chorale in Station XII (mm.69-87), where he

4
A P h r y g i a n m o d e interpretation might b e c o n s i d e r e d w i t h r e g a r d to
J . S . Bach's h a r m o n i z a t i o n of this c h o r a l e .
 76
incorporated some features from Bach's version, though he diverged

from it quite drastically in terms of voice-leading.

A comparison of the two versions (exs. 7.5a & 7.5b) shows that

the chorale tune of Liszt's version differs slightly from Bach's,

in that Liszt omitted some of the non-harmonic notes used by Bach

(marked with a circle in ex.7.5a) and replaced them by other notes

instead (marked with * in ex. 7.5b). In addition, Liszt's version

deviates from Bach's in its use of the key of G minor instead of

A minor. Furthermore, Liszt lengthened the chorale by adding a

prelude (mm.61-68) and a postlude (mm.116-124). He also

intensified the elegiac mood of the whole chorale by repeating the

text ‘ 0 Traurigkeit, o Herzeleid, 「0，sorrow,o grief’）three

times with variations on the original melody (mm.88-115).

Though some of the triads and chords in Liszt's version are

modelled on Bach's (underlined with ‘ ’ or ‘ ‘), the overall

effect of Liszt's version differs markedly from Bach's, for the

alto, tenor and bass parts are imbued with linear chromaticism

(marked w i t h [ ]). Moreover, the closing measures of the postlude

(mm.119-122) almost approach atonality.

The coexistence of German chorales and Latin hymns

We may ask the questions: Why did Liszt incorporate German

chorales into an overall Latin context? Wasn't he a devout

Catholic? Why did he use chorales (a vessel of Protestant liturgy)

 77
in Via Crucis"! There may be a mixture of historical, musical and

extramusical reasons.

Surely, what Liszt had done was not without precedent. For

the combination of Latin and vernacular texts is one of the

characteristics of the Lutheran liturgy. Martin Luther suggested

the insertion of vernacular chorales into the purified Latin

version of the Formula missae. This led to a polyglot M a s s , where

vernacular chorales for the congregation are used after the

Epistle， the Gospel and the communion.^

Moreover, the use of chorales in the Passion is a norm in the

Oratorio Passion (e.g. the Passions of Heinrich Schutz) and the

Passion Oratorio (e.g. the Passions of J. S . Bach). Thus Liszt‘s

employment of chorales in Via Crucis simply followed his

predecessors -- a further example of ^historicism' in music.

In addition, as mentioned before, the religious practice of

Via Crucis was popular in the Roman Catholic Church as well as many

Anglican churches. Probably, Liszt deliberately inserted both

Latin hymns and German chorales in Via Crucis so as to suit the

members of these two different denominations.

g
R i c h a r d F . F r e n c h , " C h o r a l e " , The New Harvard Dictionary of Music^
e d i t e d by Don M i c h a e l Randel (1986), p . 1 5 8 .
 78

CONCLUSION

Via Crucis is Passion music with a unique style. While 19th-

century church music under the influence of the Cecilian Movement

is written purely in the Renaissance style, Via Crucis is ecletic,

<

combining the styles of the Medieval, Renaissance, Baroque and

Romantic periods. It also points to developments of the early 20th

century.

Though eclecticism is one of the dominant features of Liszt's

late works, Via Crucis represents the summit the composer reached

in the art, making an important landmark in the evolution of his

ideas of church music reform. From the remark he once made that

the form should be decided by the content, ^ it can be assumed

that it is the text of Via Crucis that determines the choice of its

styles.

Via Crucis is one of Liszt's late sacred choral works which

shows how the composer deviated from his ideal of church music as

expressed in 1834, when he was only twenty-three. Instead of

aiming to ^unite in fantastic relationship the theatre and the

church', Liszt hoped that this work of compressed form could

accompany the actual religious practice of Via Crucis. Probably,

1 In a letter to Louis Kohler on 9 July 1856. Liszt reflected:

‘I o n l y beg for p e r m i s s i o n to be a l l o w e d to decide u p o n the forms
by the c o n t e n t s ' .
(La M a r a , Letters of Franz Liszt. Vol.1 (1969), p p . 2 7 3 - 7 4 . )
 79

this reflects the spiritual journey he took from a flamboyant

virtuoso entangled in the performing platforms to the reclusive

abbe who once dwelt in the Vatican.

In Via Crucis, Liszt aimed U o create a new kind of church

music by allying a new harmonic technique to the old liturgical

framework，.2 This is another significant feature of his late

sacred choral works which sets them apart from those of

contemporary composers. The ingenious manipulation of symmetric

harmonic structures in Via Crucis not only enhances unity in the

w o r k , but also evokes a deep sense of tonal uncertainty which

approaches atonality.

Via Crucis sheds light on the innermost soul of the mature

Liszt, who has often been looked upon as a figure who embraced at

once the conflicting natures of the diabolical and the divine.

The work shows an ardent， devout and courageous composer who kept

pressing towards his goal in the face of vehement opposition.

Indeed, Liszt's Via Crucis is a unique compendium of the composer's

late styles; the work deserves more performance and research.

4
H u m p h r e y S e a r l e , The Music of Liszt (1966) , p . 1 1 9 .
 80
Chapter 2 (examples)

ex.2.1 The opening of Ossa arida

LenTc
. . ‘；- n - o
H4i« cvmi. f - ] ~ j - r j ‘
‘ I 1 ' ！‘ , .「- I
Os - is. a • Ti . “

. 厂——‘厂 ‘‘广 ^j：^‘

Chapter 5 (examples) 81

ex.5.1 The Cross mot if

ex.5.2 Crux fide lis

M , 1 •t •
1 • 5% ' > % ' • s 、•• n
pr • ‘ ‘ ~T~
V A R U X fide-lis, inter omnes Arbor una n6bi- lis :

: " • ^ ' ^ s . - 4 ^
: ‘ a , J % ' % .• E =
Nulla sflva ta-lem pro-fert, Fronde, flo- re, germi-ne :

s~, I • L ~ ~ —

^ • • • . ‘ s • ！I

— • 〜 S •、• • • S N
* Dulce Ifgnum, dulces clivos, D u l c e pondus susti-net

, 1
n
：
B
0 — ^ ~ ~—

Crux fr — cLt lis — Igy^

 82

ex.5.3 The Cross motif used in Liszt's works

(a) Mass for male voice (mm.1-2)

0 I X X X

声 I ' If I' If
Tx So — — Ij^

(b) Dante Symphony (mm.1 & 7)

1 ) I;; f r I

(c) Hunnenschlacht (mm.271-2)

丨 “ ⑷ 丨 ’ 丨 [ f I' _ 丨
d
丨

(d) St. Elizabeth (mm.441-4)

C I \ h I X X X
A I ry J.\ r I i n —r-

么 、 广 ⑷ - J u. H I- f If.

^ fhs Ui'l - j e Uyd, Pal 一 Meh LatU

Remarks: x x x Cross motif

 83
Ex.5.4 The Cross motif used in Via Crucis】

The prelude

_ . l - 6 , 23-26 Patterns 6 & 1

0 X " * < * X

I I I I 、
丨:'[: I 」 0 (i g u
〔W C'J
mm.7-9, 26-28 Pattern 1

Q X * X

_ • 17-18, 36-37 Pattern 1 station I .

rf ！I i ！ ！ _ 咖. 2
卜 ’ 4-5 Pattern 6
,丨 I：’ « ‘ j ‘ iniq
d i I ' ^ azzj X , * "
1. r . I*「广丨
mm.51-55. 61-65 Patterns 1 & 2 ^ •‘ itz^
亂 1 6 - 1 7 Pattern 6
1/ ； n \ _ I 1 I 、 I I I I ^ X

？ — _ _ rZ)卜f| Jj^-Q.^—^J ？
'/]：(."。‘ — 二 _ 丨!:• ‘ - f\'l station TT
V ^ ^ T m I j ' II •
‘ Pattern 2
、‘ X X K.

Station TIT

Pattern 2

station V

ram.25-26 Pattern 1

I .1, “aT * X 1

1 In Via Crucis, the Cross motif appears in eight patterns：

(1) original form (ascending, M2 - m 3 )
(2) m o d i f i e d original form (ascending, m2 - M3 or m2 - m 3 )
(3) inversion (descending, M2 - m 3 )
(4) m o d i f i e d inversion (descending, m2 - M 3 )
(5) retrograde (descending, m3 - M 2 )
(6) retrograde inversion (ascending, m3 - M 2 )
(7) m o d i f i e d retrograde (descending, M3 - m 2 )
(8) m o d i f i e d retrograde inversion (ascending, M3 - m2 or m3 - m 2 )
 84

ex.5.4 The Cross motif used in Via Crucis

station VI • gtat}9n ？{U (cont'd)

mo.4-5 Pattern 7 mn.48-50 Pattern 1

� J J i ��’,—I丨丨^^
mm.47-48 Pattern 3 mm.30-32 Pattern 1

？ ^ t ^ 丨 ： ： ^__ | j 偏 j j 1 " 丨 对 T T , 善

丨‘“ Ji 貞 ^ “I i
station VII 夺 Station XIII
mm.1-2 Pattern 1 mm.31-34 Patterns 1, 2 , 5 & 8

, , X C5) I

I 丨 丨 n … f i ^ I ^"r^
厂；“ 『丨[
丨 ‘^
：iL' ：
CO J
mm.12-13 Pattern 4 Station XIV
pt>, I ‘ \ mm.1-2 Pattern 1 & 2

…^〒-f- > t t 广 主
T I [ I II
丨丨丨丨 ^ ^ . ^ ^ ^ ^ 、
gtatjpn IX / j ] - p ’ j 1 I —
mm.16-17 Pattern 2 ‘

fI 丨 （ I
station K
mm.13-14 Pattern 8 station XIV

r I I • ^ V： mm.9-10 Pattern 2

ijii'iTi ( I I ‘ ^ ^ ^
lis Pattern 8
X i mm. 13-15，18-20 Pattern I

ra.20 Pattern 3 J ‘~“ ~‘

,/f L'lTTT" f I > mm.35-36, 40-41 Pattern 1

W l'l〔;/” I I [ 曰 J _ ,f ^ • I I , “ ,
] ‘ Flbfj] i ：r ； 1 ；J I ：i ^
^：^^^"^;…！ 德 I^ 0 ji ： j ^ :
？tfttjgn XI ^^^
mm. 11-12 Pattern 2 „ „ qc qq _
mm.95-98 Pattern 1

— I — f I I。:”,.、。, - ^ ^

station XII

mm.13-16’ 17-20 Pattern 2

J
 85

ex.5.5 Jesus， theme: Ave, ave crux

(a) Station II (m.l4)

尸 p dolent^ ^ ^ PP
i f ^ • 」 r r , . . r ^ - 萊
A - . - ve, a - - - ve crux!
‘ y ‘ i i
X /
V

(b) Station III (mm.12-15)

« 1 [

(c) station VII (mm.12-15)

"i - I 一 …..义丨丨,)j-

(d) Station IX (mm.12-15)

J • rcr-
). P PP

\ '•*； i , I、 」丨
^
， I* ，• “
」 」 一
 86

(e) Station X I V (mm.1-8) ^

ibidante _ ^ ^ ^ 。

< P

~ . ‘ r 'r " I " ^ — ‘ _

• . 一 - . . .

(丨,1」 ‘ 1 ‘ I I ‘ • 〒 j “

ex.5.6 Veronica's theme

(a) Station VI (mm.1-13)

(mm.1-4 — Veronica's theme)

Andante _

p I I ： T I .

•
〈 p dolorosa
gr~Ir
TT —-* ：
：jz ! ^^
CZ37
‘ /T\
' I ‘

. . 『 . : ？ J • , . i I - 1 . 1 ^

IL- 1 ！ ！ ^ ^ ^ 兰

riten.

^
：
dim.
卜 k smorz.
z L |
; .
\卜’ ， i I " ‘ •丨•••-• 1i I . i . •

Reduction of mm.1-13

/ 3 5- t 1 S 1 I" «l IL 13
 87

ex 5 6 (b) Station VIII (ram.19-23)

•• I : I r i
^ I ， I , 義
(c) Station X (mm.11-14) “

r ^ ^ J丁 J I 」1 _丨」bi j - J 「 _ _

• l,’~p±!cr=^Liij| • [ — I
、口'I I ' l ' 丨 丨 I 1 ^ ^

(d) Station XIII (mm.58-59)

,. ‘ *•
( 卜 “ I

P ^ ^ . 二

• “ — ^ � —
r j4 ^ fnnunnnnndMnnr. ,
—
—H
——
！
一 J^^⑴ ^^^M^M,
•一u• - • o • {I • 2 op • • § • !p
• mm^.imm^nmk.,.-i ,
, UM^I丨Inunn^ _ Im藏；；；：•顶ll^^-jgg-迎4⑶—I^^^^r^l,帘
9- p
•.
•c^ . . • • . • • . <- i • J3 !l - )p . I一 • 5
-1=
IrntfnLMM^^ 一-
-
- r 1 : -
- - ^Itft^^^ -L一
JIJHli » ,「^—’】”】「r hmv^i 1,
JIN
.3
i N Mr 5
OCM •二
- «> • 3m •WW • I • J •— JU2 a • • 3t
f「 t ? .
•1*1 n 1 so ifIMiulx i- J , f \ I^
- s 丨 CXI tlw
— • t ft • • II*
TTrfJyn^ r :」
^
firi^^llF^I^ 3I AI
_ « n 5》II
•• • Ef • . I 5 . ？ 3b • - : t 飞 I ^ ^ ^ 一
l^illilllMff^ r「I . iij——卜』
X ,
TrtTrlr
in^
I rr rn r .1 : :
lr „ I 一 11
—一 1 fru^^
「 一
t
rI ’
！
：= -1 ^^
/ —^ j 「 一 1 _ IH^ 一 i •••—I1 USUI 9!puy
_ 7iL—•ej
ii. Ill
v\, . ?八，-s 2 f s . op
moxpjonaftmstlxp suopss s OS
BFfM^TflBi^^lll^IWU^—fQ 容
SGmlo VIA
OIIL (对)
XixU0n5s p§ apnlsd 口.s
 89

(a) The Prelude (cont'd)

5 6( I inun • dl u • - kM CI Kin • ri •

- ^ ^ ^ ^ ^ ^ ^ ^ ^ T

lUsM) IJ t * I 1 1 hoc pu • -
T “ 0 crux,.

Sttlo l^^zzzzr—J p= “ j~ r j j - _ — f r r z 〒：f「三：：「二

55 • p I •—

If ： “ 4 I I I " * ^ ^ ― I t I••“ ‘ - » - IK K" - 1' • •»".

rrri I ^^ \_2srz=z 一: "rziriizz： • • rr ,« • •、 Mi - mi - kc • n - am.

^ B C S ^ C 丨 隱 & 糖 , * ; 曾 ; ：
， • ru> R*ni p o • »c pi • is jj - *u • ijc Rrt - am.

(l/v f. —, ‘ ， ’

f 1"—

自 : p r
L 一 _ _
三 二 一
J
- C Z H I T
1 _ �

7
7! y

^ • b • q«c • k - mi . ru.

H fc - iK qiic tic • k- cii - nu • na.

rc - IS ' tfuc <lt • te cri - mi - m.

•丨 I 卜

^^ - - 」I

V~X ： mm. A^ 产 “ HP广•

r
> dim._ r O

trl • 飞~~~gisrE^- •R y - =
^ t. • ~ ^ • I
A • iH.*i. A , • »»"'»•
o
三 1 「 "^yrirrrr^^r^" ^flj |
L
一- —-
rtN

-、| -X . _ .
 . 90
<
iI •
I ^

ex.5.7b Station XIV (mm.10-66) | ‘

J

M »

f. 丨 . * A •
. I , ifa^" -
’‘ •I m ‘ 一——-^i
m J I I 1. i M m • I
I • • I:

I � I I I 门 I I; 9 i'^ ) • 了 I ——I
. ‘ » • . 二 •丨 . ^ ^ ！ I
—— , • :^^^^ir , trm
I ^ I I • 丨 ， 印 ,
} . 。1 _。| 卜 ，>
'
-
’ ：
」
：‘ ‘.
. I , •
,‘
: ,1' •
t r‘ r r r ^r' 」 .j _ | — |

f： . • ~ — I- /i丨Wi:�l;丨…,••丨•：二I
的
莨， Hw I I • • M • a.
I . • I I
|!> I I I 3 « . .
V' I ' • 自 rr I ^ _ - j
Hurt • dl M - CI fte . •
‘ - * •• y _' 1 7 f j U ！f — ‘ } ' I , _ , r u v w r Siarthmmt. ^ nrhtt Hamt tont4*} ‘

‘''" 广:I ^ '_ ' ， j : . � ’ … 丨 丨 丄 . — — ： ^ .

I _ I 丨「
: ^ ' I T ji -1 _ . ‘ ！ ‘ • I • —

tlifl ‘ ！ ‘ • I “ ‘ ‘ » i i ''' ‘ ‘ ‘ ‘ V' • ~ ~ ‘ ’ ‘ I 1 I I

~ • • ‘ ‘ • r ‘ J* I rJ I、 ‘
丨、、-_L一；' j

. “ I . I { I i J . I i I“‘ || ii
,• • “― •‘ _ I P I： P*^^ • • ju -tti• • « • am j
I i … I - — - - I I I , I
— I 1 “ Ij" • ； ~ ~ I . : . I _ I j ！ j
V ' ' ' inuH • 仆 ' • . Wtt

, 一 . ‘ 1 I I
I 久‘ -——‘ I , — 及 , « I ’ _ , ；, -— ！
！ ― ] ' ^ ：―---^ ! i i；
, - 〜 1
^ ‘ ‘ . . ‘ ：一"丨.•、广T ； i ；~~：―r-^ 丨
W ‘‘—^ ,

i 3 1 j:一 , E i x " ^ 叫 I ： ：— ‘ ‘ I

！; ； . •• I； 』 ' - 、 - | ]
丨“;』ti^^d^j^^l^Q^:-^：：；：：^—： ^ ― ^ •y I^ • • 1 I^ ： •• v |

. " ^ ^ ^ u J j u ^ i - J ：‘. 〔I , . r ： 3

… 丨 i , 丨 ]
1 班 ? ^ 芸 与 ? J J_'J I ‘ 'J J__,' •；. • . p I .」‘• J ~
•攀 ‘ » • •丨•••丨•丨•i I •
丨 I ‘I 一 丨 » I• f ' ' ' J *'—
IT "*；
. i f « i 1 — 1 r ^ ,. ‘ j » • * t I J y
r - I , U•二 / r ，•丨••丨 » - • •
• •r y : . I I I
 91

ex.5.7b Station X I V (mm.10-66 cont，d)

XI
6]
« K>' I I ‘ I 厂-「• 眉
1- r r .」I" 'J ‘ 丨 专 」 J 1 I I I I I
* fi I _ I I J do • nt < .• ni • ami
令 I I I I ‘ .1
空’ I—— I I I u'.L,' I 丨
^ rVM.«/i SinjisUmme, die mhtf Hnnit laettJ*) , }. .1 J^ J * "T* I

'J j J J J I ' I >t i ^ iTT ' I =

J J J I .； “ 4 ^ I “ ‘ If.^, I I I I
i 一 - -[-' I — T — - 'I I " I • 二. , 丨

——f —

I "丨TEZTi

f I r r «ri_jr ‘ “‘‘= “‘

•) (rtm ihtrt ii 0 anging ”“•• ihtrifbl““: tsnlj

64

un poco rilcn.

I I 丨 I I i

I I I I
- - - » men. I
m n
I>*~"‘“ 目
• ‘ • • Wn. . .

！ … 」 t h J
^ ― aaa^

令 LU '•‘ OL IIH |MHt» nini.

j B 1 — — - I — r ii'^

1 —

1116 rit. u

{ a ^

ml 海
iiiik ri(. J

‘ 以 ^ ^ ^
I = ^
 92

ex.5.8 The theme of the procession

(a) Station II (ram.15-31)

15" M e n o . lento ^>

• *~ Jf ft _ » J » I • " •r > 『 » g . »

\
1,1’. I
P ptsantt
I
’
i � ^ ^i gmpre legato e p

广 厂 广 V r 厂 I ‘ r I 厂 I '「「 厂 「
位 «

I ^^
j > > 一 I t- _ 一

r 「 「 I' :.'r 「 「 r I 「 广 r 了 「 i' :i 」

「

] _ , — > >

： 广 「 广 r I � 广 � r � " ^ ~

。 7 遍 - r . : - .

j ‘ r • r

K r r 'nf ^r '•{' \ .ff r ^ r — ？ — r — ^

^ 丨 . • 丨 .

Reduction of mm.15-31

I 分 " •。 么I 饼 冰 zfe 之7 工3 Jo
f r

= ^
iff �
=
r ^ T O —
 93
>

ex.5.8 (b) Station V (mm.36-52)

Come prima ( meno lento)

\
f r rr sanpre legato
r rr
U I - - 二一 ^ •

【 . 「 广 � I � 「 广 �i � � 「 一r ['� � I
( SSl • .
. ^ . > > > _ ’ 一

r ~ ~ f r r r Y T t t ~ f r r r I f t r r > r r r
> — > > I

�� Y �
f �广「 「 ‘ 厂 广 � r'rr 厂 「 ’「 「 「
. > ^> > • • 、

T T". r r f r r f f r r r If r 〒 r

> ^ • > , , 、 一 、

^ ^ ^ r 「。广厂 「 「 r '""r . 厂 「 i ij 。|| 'f 「

I

一 I - I；；? 、「 Y 产 与广 V 广 pj 、 ^
r rT 〒 广 ... 1. ^ • n
「 ，「 T I V. I T 「 、r 「 T I 、r ； f—^—~^
 94

ex.5.9 (a) Station III

‘ . I、 II
Mannerstimmen y ..'j —— •一「. i | ； J i丁 ：严厂 - » \
Lento i sus - dit

； — O , O l 、 A A dim.

r-f 'n f J ^' n f j ‘ n" p ？ p I『

I L I _

I : -丨丨 I I ^ I ‘丨'I''-
25 Sea - bat ma - tcr do - lo - ro - sa

iirj'^
^yii II 广 〉 》 -
‘ I'' � 1 , ， ' I
— _ 一 | 一 _ 一
I
-

VI ‘ p ^ 1 I • I ！

2j ju - xta cru - can la - cry - mo - iz dum pen •

f^}}ii!iI 」I I I 1 I _ I z"“r"^!

» > j - ^ r ’
^ ‘ I " I - I I _ 一J
28 dc - bat fi li - us
/u^tfifli r: i, F — — sj I I I , ~

^r ('• i' r 丄 ~ ； ^ ^
州 I , P — t , , 一 ^ _ o .
、 z
 95

ex.5.9 (b) Station VII

• , ^ f \ > •
Manncrstimmcn — 「(• 丨卜" >「 / ‘ -丨“ ’产 , i •
；I ‘ I I I I I i • ‘ 2

r ！ Jc ca . clit
Lento j

< ff - di^

—i,.,>. ^ ^ 丨？'。丨•？ I 」 I ||

/^^^f I : I I . I .

I Ir r b r ^
Si 银

Sta • bat nu - tcr do - lo - ro - sa

iu • xca cru ccm la • cry mo sa

'••('• 1—— * g- ^ = = ：

27 dxim pen - dc bat fi • li - us.

‘ — I — — I — ] — I —
* pcrdcndo
0 .1 I, 一 L」 - _ — . , o
^ z ^ "
 96

ex.5.9 (c) Station IX

‘ LV r P r I … * •
Minner^timmen "j*"!^ j广| |i « f •I ！ . j； ？
j Jc - - - sus ca. - dit

,」.，r I . I I -I 八 八
丨

\ ff 一 一 一. . rr==.

‘ I p 「 1 I 「 I

[；'并“ I 斗』I p 11 z l z t ：
Sta - bat ma ter do - lo - ro - sa

\ W pp ~ T J — 广
{ ,
I 丨 I r ^ i - I
问 , j ‘ — - 11. j j r I — g

iu • xta cm - cem la - cry _ mo ,• sa,

1' i j ~ ~ ^ -M . i--

w I ^^^
, dum pen - dc - bat fi - - - li - - us _

‘^ I' I 1 钩
I P A, , I 一 Penkndo •

• 彳 ‘ I Jl^ ‘ ‘ ~~~U——^�jJ,
 97

ex.5.10 (a) Station XIII

Andante modcrato

1 p I I _ I J. I l ^ B
f ^ ^ ^ l ^ r I‘ 1 I
p rallcntando ^ ^
ft , I• ' _ I I I , , • ,, ？ , 1 | lI Z

i-…^ .I I I II Lento (come prima)

y 1. 1 I 111 111 I I .. ? I: V I

I pcrdendo mf si
) _ I __ —_ ——� \ f^ =
. ——

fa^rfrrAL^J4^"��Arr P'M^ 'rr '' rn

I J sf ^ 、

I n ! ' ' I I
口乂“ 一 I- 1 I「li^r^V'Tj*「^^j — •，'1，「1二「fV^
hrr ： ^-

j
P M
dolcissimo cspr,
‘ ‘ I' I 网

)ft • I • I J I• — J ^ I• • . J • ,, I ^ , J. I
" Z 、 z « .

t » 它a a 私 《 5k

58

。 ^ I
p; ; i ! ] i :.丨：)_、（:— n ” ^
 98

ex.5.10 (b) Sposalizio (ram.77-112)

A 、cJolce armonioso

I jlegato

S6 > I 一 s .,
」 丄 」 I 」
] - i I I ！‘ JU, I I ii ^ ^ ^
J _二在• • - n I 1 !j crcsc.. •

[i^ I'l' I rjj^j 一 . I 1"i； I. .，: 11 =

R e m a r k s : — — — T h e opening motive of the bells

^ The processional theme

 99

ex.5.10 (b) Sposalizio (mm.77-112, cont'd)

卯 '二 g-^-^rrrrrz: —

y LiJiiMjiilrlirrFr ^ ―
丨叙 1 、 n r n 11 j ^ j i j . J i n r ^ ^ i n .
i!iii'iTiri>rirrTVf " V
一 一 k). ^

‘ ‘ Ii I'厂_ I 「 i I i " I？

r r I‘ ‘
Si. 5a.

)• rinfbr.—^~~ — '' ，

云•>. Si. i ‘ ^

私. 溢 Su

I . I
]i " 二 ‘ 「r LZTTT「「V " u :: 二 ： 二
< 和f luna foria : ‘―^ 麥, f-^-广 fff ___.

-F M •
Chapter 6 (examples) 綱

ex.6.la Station V

Section A
Andante Introductioii P a p t 1
{ ^ m 1: •丨丨 I • ,
阻 “ ‘ 「 丨 ' 「 罕 t ^ a ^ i I,「丨叫丨_丨_卜’
Si. « Sil ^ 银

“ ~ 0 g ^J
； Z + ‘ ^

1 1 M r 111 r r ^ r I i I 「广「广 r 卞 I" I* � P

70 ^ _ ， Part 2

Iijn.nj I Vml
15

賠 ； 「 「 厂 rrt": 「「「「丨！ r r I" r I 丨）义 i H + H i f r ^ P

Si Si 帝 银 帝 5k «

.g-f^T^i 丨 T T T ^ —
.-
I ~ A cresc.

… I 「 厂 I' f i」I I IT ^
5k » 来
 101

ex.6.la Station V (cont'd)

25 Section B . ^ ^ ~

jV “ 》 ^ > ~ — ‘「' - - 一 -
\ dolce affcttuoso

I III l| I I li I I
« Ss. ^ « Si »
Section C
Come prima (meno lento)

— 丨二 -广 I - p 、

呼 I加： ？ n p f _ -1,•孝」 「r/i_i J 丄 连

Ss. 银 Si). 嵌 5k 嵌

氺 +
38 T
^ I I 1 L> I r. I > I > ^ ^ ^ ^

罕 “
？ r r r fr r T f t r r rt r r
semprc legato I ‘
“ I I I I g - > > >^ ^，

' ^ ' r r r Prr t r '^f^ r r 'r t r ^

溢 条 5k 嵌 . Si. 帝 5k 糸
^ +
43 *

( _ . I t . _ 广 r _ 广
产 r ’ .r .. -tp 卞 . r 广
^ > >
(^^^^"Tt I 厂 r 丫 「 「 i:「T T 「 ||二 「 7 「 ' T r 「
免. 糸 Si. 糸 5k 免

48 * * -^J A

(程I.', - 一 一 -I i - 卞 hp 「 Y 7 「Fr ^ ^ ^
r f r r r f r r . . 1 . . . • : : . ^

r V f f ' f ° r r v t't \ \ t r ^ p. ^

Remarks: * Augmented triad

+ Diminished triad
++ Diminished seventh chord
 102

ex.6.lb Reduction of Station V , Sect ion A (mm.1-24)

2 3 T « f lo 12 13

r i ^ 丨 ， 一

岛 i I？々••丄 — 二
^
• ？• J
-c)： 卜 � 、ifp
/ — 二

'' I峰 I? ！? io al VL 2? 2碎

L-„. �

ex.6.Ic Reduction of Station V , section C (mm.36-52)

对 ko ifl 42 III 科 收 略 kl 伸 k

] f
厂 r ^ � \ > f 叶
A •

芒 三
 103

ex.6.2 Station XI

丨 Andante ^ . ,
rfO' •T ‘ 1 3
Tenore c. - i 益广• + 产.{t^ j ! > ** * | ！

% 产
Cm - ci -
丨
fi - ge, ctu
—
- ci -
.
fi -
「
ge
’ 三

Basso 卜 | | - , 叫 Y V ，
Cru - ci - fi - ge, cru - ci - fi - ge,

、 Andante
{I,_ 1 . ！^. I . i ；^ ： :_、

Pianoforte P 资 锅 码 ^ f f T 1 三
^ . 丄 、 h 。 — r y n : r ^ __ -

Jo , ., I , _ I ^ I ,7 r-t：,

fe 8
h L J T " L/
cru - ci- fi - ge, cm - ci -
「
fi - ge,
广
cm - ci-
^

,、：_ ^ {iri^P-r- • ^ r'/- ^r - _

‘ cru - ci - fi - ge. cru - ci - fi - ge, cru - ci -

j^i ” 》 小 > _rT. ji ^ i ^ - h J.' - 1 J : 叫

^ ' #j ： … ： ！ i '1 {ij： ‘
S stacc. sempre

8 a
rff~ . , ^ ！ I 广
^ ^ 「 」,'「 I • ：
8 - fi - ge, cru - ci- fi - ' - - ge.

r • - - .
- n ge, cm - ci - fi _ 一 ge.

r n f 二 I 。 “ - 一 ‘
i i i i i ^ i • j： ‘
 104

ex.6.2 Station XI (cont'd)

A — [ _ 广 一 广 — lir

( _ •

A I 一 ^ T fp ^ ^

i) ‘ � I
< [Pi
-~‘ h厂 f- .. - , p ~ ^
睡 ‘ J ” 卜- 卜 ’I:

ex.6.3 The monologues in Via Crucis^

. 1
一 <
Station I (mm.23-28)

Basso solo [ — ^ 一 I "• f^ J '；

丨
• In - no - cens.

f i I I I
I ‘
f r
poco r itard. 人
f W - y - 厂 叫 - ' ^ ^ ^ ^ ^ “ ？ ^ 、 、 - 1 1 I ' ^ ^
^ ^ ^ 「i「. ；「 I 1 I 丨 「 i 7' • : ^ — ^
e - go sum a san - gui - ne ju - sli hu jus.

Station II (m.l4)

14 „ dolente : ^ ^
^ ^ ^ ^ r
A - - - ve a ‘
‘ “ “ ••••
a - - ve crux ！

1 The tritone is m a r k e d w i t h a 'x x ' .

 105

ex.6.3 The monologues in Via Crucis (cont'd)

Station VIII (ra.23)

tip广 「 ii广 广 广 玄 二 ^ ^
( ••• • •
• ^ ！ ‘ • _ {

No _ li _ te fie - re su- per me,.

广 ^ '^T'f " T 广 i T T ^ ： ^ :

sed su - per vos ip - sas fie - te et su- per fl - li - os ve -

Station XII (m.l) ‘

Baritono solo ) r - i ‘ 'T > ！- i . i I'f > ：- ；

vi I '' ‘ •
‘ ‘ '•譯•一丨丨• I 一 •
• • 1

E - - li, E - - li lam -

- - m a Sa - bac - tha - _ 、ni ?

Station XII (m.l2)

。、： Pp I p这 严 _ .

. I n ma - nus

• y . 1 I*" ' 「 r ^ \ ,。 ‘ ‘！

> lu _ as com - men - do spi - ri-tum me - urn.

Station XII (mm.35-45)

35 £iten.
卜 。 1 I I I ^ I
} Con - -
• — - •• • " “

. x ^ ^
y^lj 丨 I 二 ， J I T一 ^^ I O I广 一 = j “
「. - ' - Lm - ma - - -一 " ^ est. -

flyi^ . -I"- - j
^H I r °、‘ i-^''
 106

>

ex.6.4 The closing measures of the Prelude and Station XIV

The Prelude (mm.75-79)

75 A - men, a - men.

11
—
. 一

—
I y 3
… I __ _ L 。
^ —
丽

. ‘ ‘

station XIV (mm.88-98)

ritcnuto piu rifen.

TT^I |P: L L I^M

W o O o
. 、 Z � Z
A - vc crux.
^ 、o 、 , ， ^ I ^
T - PP \
丨朋」 \

f"|| I I
<
I I I I i�|I I I I \ PP
f^^ • I 1 •• L —^ — —

、 — z

ex-6.5a Station II

< p

» si ~ ‘ " “ 帝
氺

i +

/^； ^ I I ^ ^ = a - —

谁 t = = d '==== 4 •
Z.M>9
 107

ex.6.5a Station II (cont'd)

* 氺 * + *

~ ~ ~ p 〒 ： _
< simile crcsc.

jji ' i '

* * The Cross motif

w a - t } i " 4-
- -yS^izy^ p 一 I fy- I _ II r 二
~ 丨 : : 厂 ！
< f" ff • — p dolentc — -

、
—> 、
. - • o Meno let^
— 75 、
/^p f"广 ir r"" w I ； 广 iL. j,广 j* 广 _ j» 广广
) sf p p c s a n t e "

i' “ *
I 、 丨 ^ ^
p 「 广 ^ ― [ * I "p" 「 「 I* 丨 ’ J~~r—T ^ Y
< semnre leeato e p

r r 「 广 广 「 广 \\ 「 广 r i ^ - n ^
备 免’ % 'Si. 进 "jk 糸
I * > +

Yj.. I _ — - > — = ^ = = z = ； ： ^

^ ^ ^ Y 「 广 r 卞 「 「 ' ' r ^ 「 广 「 广 T 卜|| 「 广

氺 *
& r — f r li^r 斤 h r 丨知 二

也 帝 -Si). 餘 •

Remarks： * Augmented triad

+ Diminished triad
 108

ex.6.5b Reduction of Station II (mm.1-12)

1 ' I 1
I 2 3 'i 5 b 1 g 9 10 II 12.
氺 * * « * 申

『 c J- ‘ JJ.

Remarks: * Transiently formed augmented triad

** Augmented triad playing a cadential role
 109
J"

ex.6.6a Station IV

Lento ！ 1*

产 一 I :f f
� T

— ^ —tfj- — if-if ^ ―

——I -
•*

* * 丨一 *

l「 1 I 、-、.丨 ~ ~ = 1 .

^ ^ liii 丨iLi I 。 1

Remarks: * Augmented triad

+ Diminished triad
 110

ex.6.6b Station IV (mm.18-33); A reduction of the detached

triads in the bass

I? 19 ZO Z2 Z} If- it 23 l<t io 23 Jtu

f te te ^bg

cl

cl .

/ ——

ex,6.7 The ending of Nuases Oris

露I卜;
¥'' 1 ' i ^ S i [
分 _ _ _ ^ 分

fei* 来 p丄
 Ill

ex.6.8a Station VIII (mm.1-18)

** (++} tf+l (++) ( . ^ ^ -X

Andntile un {kkto mosso H" v ++

- '^f %i>4 4 1 客： '

〜 a 实 於 只 ( I

^ ^ ^ 丨 丨 ？
^ So

Remarks: ** Minor-major seventh chord

++ Diminished seventh chord
[++] Half-diminished seventh chord

ex.6.8b Reduction of Station VIII (mm.1-8, upper part)

I z 3 ^ ：- 6 7 S

f L .
- ^ 〜 - - _ 一

〜 一 ; ， s 〜 丨

i .

Remarks： — The melodic line is in chromatic movement.

 112
ex.6.9 Station X

f f
s W W W
滤卜|、> 丄 」 - J _ U . i IJ 」 「 」 I j ^ ^

T 「 广 * f广 T s VBronicI^s thfrne T
p W W W 妒• W 基： “ ‘
说J、）」 」」J, — 卜 , 1 , 丁 J J J.^J J ^ jZ,

I M^i J J ^ i s L
^ r"^ Lr广L/^ • ' : — [ ； . , : 「 IT ‘ i" .

“ 2 I 丨 W W

� � I — " d 丄
^ ~ ~ L-QLT -lTTT"^-J-J-J ' ' " •—

w w 溢 . w ^

LiU I' ‘ .1
\ • • perdendo >

Z.M59

Remarks: W (Whole-tone harmony)

I
 113

ex.6.10a Station XII

Poco cuidwUe
Barilon solo*)

i,, p m r r ^ m *
j E - li E - l i lam - rm Sa -ba -ctha - ni? *
I ‘ z 、

,f. > fT\ ‘

4 ^
* * * *
*
.
:
*
* *
•

丨
丨I丨 嘱：^ I ,
；J J Ij I !j J I � , 口 巧 可 I
“ 丨 广

/ In ma - nus tu _ as com - men - do spi - ri- turn me - urn.

「”r ^ … , I r 1.1 r - — — 4 -
p dim.
Bar j ton solo

Andante non troppolenio_

< p dolcc
hi i
^ ^ ^ ^ ^ ^

Remarks: * Augmented triad

 114

ex.6.10a Station XII (cont'd)

i(Wi|f 丨丨 1 .j I.j J Hr i
) ‘ ^ Z ^ poco cresc.--

bjJr ^ ^ " r e r g p ^ _ _ ： 接 ” — — —
' r h T I 1 ^ gJ'' ‘^

) cre . . . - seen - - - do - - _
_
_ ： ^ -

Bar. solo ! 「 广 i j i i o ； 1 「 • 丨 • I ~ j
,， ii> I Con • sum • ma • r? • • • turn est.

^^^ , \ Or ‘
\ ‘ rp I

丨广 I _ _
(丨'�‘ 丨 丨 J ；
> »
46 , _ 。 T ^ jl：^ ^ ^
()jij ^ ! •丨丨 }\ |,iJ ^ I. > \t i ^ Ij , — ^
‘ I [丨：
\ “ dolcissimo I

r � T T 广 一 ^ ^ ^ ^ ^ ^ 門

J I ‘ I
 115
ex.6.10a Station XTT (cont'd)

un poco rile/j.
Einc AU-Siimmc 2 Sopran-Siimmcn pp .
rjH^'' . ；• , ；P , , ~ ' I
7 ‘ 'jjX J J 'P I '1 I • "i ~'\schrIiHP^
59 „ /Con - sum - ma • turn est. Con - sum - ma - aim est. \ Pause
⑷丨jlV T 、、？

61 Andante *

T i l III 命 I m
O Trau - rig - kcit, o Her - zc - Icid! 1st das nicht

^ J I 4 」」 4 广丨 J ; I

Pi?。 一 “ I f 「厂-ll七 I一 J I〔 3 4 5

们 be - kla - gen: Gott dcs Va • tcre ci • nigs Kind

此 力 〕卜5. I I . |h : 」 J I J :!,；

丨 ’ I � t 'TT [ T I T ' ‘
wird ins Grab gc - tra - gen. O Trau - rig • kcit, o
4丨 勺 ：丨 fl 」
： ^！ — 丨 1 3丨 1 3 _

-1J 乙，J
(^^rtu^^"^
92 Her - zc - fcid, o Trau - rig - kcit
t I � “ rI..�n o Her - zc - Icid,

^ 3 」 丨 I - 」 I 1 |_ 3 丨 丨 J ^！

I T r r i I I '丨 I'l 11 ‘ I 1丨,I I I

 116

ex.6.10a Station XII (cont’d)

jQQ o Trau • rig - kcit, . o Her - zc - -^Icid, o Trau -

[ m I- I |i�.�L'l
:�ij�卜 ] I, j 卜 I
+ + I I I ll I+l l+ I 丨;"t:
I I

jQg - -rig kcit o Her - zc Icid.

Q 丨 彡I 3 . I , I I ^
• J _ t i o ^ J ^ 3 j “ s
< : „:si—— =二 _ 丨 dim.
J 一 ^ > — ^ 〜 、〜 ^

、 ” 5 � y T � A 1� "[ f V 丨⑶

116
_ I _ 3 I 2 I ._ I I _ I , -I

ex.6.10b Station XII (mm.2, 10-11)

^ 10 - II

1,1 fcS jhtj 三

If ；I.�
ex.6.11 L a lusubre gondola N o . 1 (mm.1-9)

. • Andante.

‘ ^^marcaio aempre legato

urui corda

^ ^ I' ||i I 丨卜 ^
Chapter 7 (examples)

ex•7•1 The Prelude (mm.1-22)

Andante maestoso
A *r^、> - >
MrHH-.l T . J J “ -I- J . J J -

(丨丨』；rtT ” ” 丨 J 二丨）

7 Vc - xil - la Rc - gis pro - - dc - unt, Ful - get

ri^ _ -i^r^r
J f semprc legato
J J 卜'J j 4 i "

b J J |L」I I 「 ^ ^ '^
丨j
^
rlj
[‘ I d
J 三 . ”
^ . 。 f

j2 Cru - cis my - stc - • • ri - urn. Qua vi - - u mor -

4 ,
" ^ ^ bii 5 ^ ^ ~~ J •” -
A I {

^ -d """t: 、 J t
' ) ： , — r 化 - 。 . - g 、 - . ,1
• f ly ‘
•「 T I 「 广 i 11 i 广 d g

jy -tcm per tu - lit, Et mor - tc vi - tam pro • - - ru - lit.

I 4| :」J I H I 卜 ' 」 J I f. ” ， I ,丨 h pf

y “ ’ - I i i ^ 三

^r-H—I-
J J ij 「I [ , I “ r 'i I r '^

ex.7.2 The Prelude (mm.51-55)

/ A Solo rrfespr.丨-一 ^ ^ 1 I .

譯一 “"‘‘r I: O c r u x , — — a
�"~fr - 卜 - - - - -
- - - ve,
^
^lo rrfespr. I I
W — ^ ^ - I ‘ ； J' I I ^ ^
0 r n ^ ^ ， • ^ ^ . - - ve.
h ^^ 一 Solo nfespr. , _ • ^ 一 〜、、

8 0 crux, —L
Solo mfespr. ^

^ ^ — ‘ r i —
•0 crux, ——
 118

ex.7.3 The Prelude

(a) mm.7-9

Tutu unisono
/j', ‘ f 「 — • , ] I , . , , ！

萨 I
‘
_ J Ve
.
-
1「1'
la ⑥ -
l
-
"
gis
、
pro -
‘

V'

(b) mm.38-41

, ritenuto _^
.

“ ‘ gna - - vit @ - ⑩

(c) mm.61-63, soprano

i" d
HOC
d
pas
•* - si ^-
�‘
0 - -
“�
�
• - -
J
nis

(d) mm.77-79

dim.
畅。，'、•、 」”‘ … i

‘ - - I
W CT'
A-^ - - P R ^
& 切 jj I、. dim. ？

A - (^eB)
 119
ex.7.4a 0 Haupt voll Blut und Wunden (Bach's version)

id.. I」j..j || 7 J |J J ^ J "f .||j i.r]

-f_L-„ I I I.. , I J“ f^- '' M I U ^ m

皿 Vil'VJH X i, V；, iii 3 ^ Y h * -nt
I ？ II I I 1 5 」 i T j ^ - 丁 - 厂 | 「 「 1 .—「-jS

^ — ^ '' - T T T T ^ . 1. 正t J 、 J I . vFt it 辦 jgf j g

ex.7.4b 0 Haupt voll Blut und Wunden (Liszt's version)

Andante ^ ^

j 、 P dolorow ^ o

7 I 1 O
t : , I I I : r. 1 I i ； I ^r • •I ； 、 ’I

)
3 • dim. — I smorz. | 血 丨 legaio
..
h
Haupt voll Blut and Wun - den, voll Schmcrz und vol - Icr
14 *) ,

^J ！ I—
j—
—, —— I] - ；J _ 〜
。. ^ \ W ^ 。 J I ‘ 「 ' ;
BL iV i iv| X h rVy ^

Remarks: 1) All non-harnionic notes are marked with a circle.

2) Notes omitted by Liszt are marked with a ,
 120

ex.7.4b 0 Haupt vol I Blut und Wunden (Liszt's v e r s i o n , cont，d)

20 o Haupt zum Spott gc - bun - den mit ci - ncr

I.I ，丨 h I 。 」 卜丨，丨

I ^ ij j '^ ^ I I* i「 「
i 5 W m _v i 1 M^ r r； it ^J；,
^^ Dor - ncn - kron, o Haupt sonst schon gc ~ ziT ~ " T mit

M ！ ‘ ‘ 丨 ^ J . 丨 ， F ^
r 「 厂 令 p: . T g r f _ { —

“ 'I I . . 丨 丨 ； 厂 丨 T ‘ ’’卜
. 5 [ 丑 ^___^ ^ m

刃 hoch - stcr Ehr, und Zicr, jctzt a - bcr hochst schim - pfic •

if^ I .1 I I I 。 I j l ^ l M -

� y— : J ”‘ ‘ ‘ . ‘ ： ‘

： ： 上 , . ——%3；萬 y 正
ret, gc - grii - Bet scist du mir'

^ 」 I I , ^ I广•、丨出？ t - ^ ..

r ^
(gi： - :
�
- J J
r f ‘ I
^ 1 ； ^
^ ^ ^ w i" —。 丨 二 丨
丨
® 217 'V mt vt i (g) @ ifc

44 ^ ^ ^ ^ ~ i u^pocoriten.

= sf dim.

” 3 i = g s
S i . 来 Si.糸
巧 丨 丨 1 I
 121
ex.7.5a 0 Traurigkeit (Bach's version)

J .J J 1 7 J " I ^

kfjj J
「 「 「 「 ； 「 丨 ： I ‘ ‘ 「1.

.J I J j-y ？ i t -"! T -J "71^, j

u o ^ f r ^ ^ I ' L ^ T "
V' ^ ‘ ‘ ‘ I I 门 i |；一「 i
且 V'r Hi m i 玲 i X J_ ；vt oi i
一一 -攀

ex.7.5b 0 Traurigkeit (Liszt，s version)

61 Andante
0 ‘ I
( k ^ ^ ~ ！ - : ； " • ； - … 一 ‘ ， ^

‘ — ‘ ‘ . I 11

^p 〇 丁口u - ris - kcit, o Her - ze - Icid! 1st das nicht

； I : JJ ！ ：! U ^ ^
Q. ^ • ‘ .i 'f '3 '3 、 ‘ ‘ . 3 4 5
〕.丑丄 '^/"rstA^ 27 Vi ivfe- X Et 4 ’
DC kla - ySK": "Gbft dcs Va - tcrs ci • Kind

cJ^JL^'.丨 J , 1 … J I,丨 」 ，丨5

^ if- I：

• 一 一 一 一

Remarks: 1) All non-harmonic notes are marked w i t h a circle.

2) [ ] = Linear chromaticism.
3) Notes omitted by Liszt are marked with a and
.replaced b y notes marked with a ' * ， .
 122

ex.7.5b O Trauriskeit (Liszt's version, cont'd)

wird • ins Grab gc - tri史 - gen. O Trau'- tig - keit,' o

^ 〕• 5 丨1 二 3, :。 丨- J .二 二 丨,:、 1 一 \ I

J ；J p—r-o J I. f

. ill • jfe ii^ ^ L i vft Vii| 工 工k

92 Her - zeJ^ - leiH, o Trau - rig - kei: o Her - ze - ieid,

二 ^。:， 1- :I ‘ : I 「： I.:: I -i、I

j ^ ^ r l ) — 厂 ！ 4 i i _ : ' 」 f f 'H] 2 „.,„|： !。j: I；

i V! V迎 Z z.34,9 K 边 ‘

100 ° T口u - rig - kcit, o Her - ze - Add, o Tnu -

I ‘ ‘ ‘ 1 厂 丨 「 厂 Ij -介 ^ ^ ^ ^ ^

‘ 置 仏 K ill 丨i iV；
m . - kcit o Her - zc - kid.
h ^^^ I 4j i 3 [ .
- I ___U J 5 j

-I I i 、- 丨 一
丨•〜vii》 〜 vi.v iL
116
^ 3 I，

) ‘ — j — pp r^ j

I . bip
 123

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AlIsobrook, David Ian. Liszt: My Travelling Circus Life. London:

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 124

Burger, E . Franz Liszt: A Chronicle of His Life in Pictures and

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(

Chappie, Gerald ed. The Romantic Tradition: German Literature and

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 125

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