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Lugansky - Liszt, Deuxième Année de Pèlerinage: Italie - Sposalizio
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Franz Liszt (1811 – 1886)
Deuxième Année de Pèlerinage: Italie, S. 161 (1837-1849; pub. 1858)
No. 1 - Sposalizio, in E major
Nikolai Lugansky, 2012
from Sverdlovsk Philharmonic
[0:00] Andante
[2:44] Più lento
[5:14] Quasi Allegretto mosso
[7:00] Coda
“… Marked Andante and beginning in E major, Liszt’s musical portrayal of Raphael’s painting opens with a solitary melodic line descending in the bass—a graceful motif that takes on both a melodic and accompanimental role throughout the piece. Forming one half of the Sposalizio’s principal motif, this endearing melody is answered by a tender “sigh” in the treble. The first section builds on repetitions of the opening melodic line passing through a myriad of harmonies, depicting the joyous occasion of marriage. In the following section, somewhat slower in pace and modulating to G major, the solemnity of Raphael’s painting is brought to the fore. A new melody of hymn-like beauty is presented, intermixed at times with the melodic line from before. Returning to E major, the hymn-like melody grows in intensity and is transformed, not so much into a wedding march, but a simple expression of triumph and joy. Descending cascades of tones, based on a diminution of the principal melody, draw the piece to its peaceful close and Liszt concludes it with a touch of solemnity. “
- Joseph DuBose
Deuxième Année de Pèlerinage: Italie, S. 161 (1837-1849; pub. 1858)
No. 1 - Sposalizio, in E major
Nikolai Lugansky, 2012
from Sverdlovsk Philharmonic
[0:00] Andante
[2:44] Più lento
[5:14] Quasi Allegretto mosso
[7:00] Coda
“… Marked Andante and beginning in E major, Liszt’s musical portrayal of Raphael’s painting opens with a solitary melodic line descending in the bass—a graceful motif that takes on both a melodic and accompanimental role throughout the piece. Forming one half of the Sposalizio’s principal motif, this endearing melody is answered by a tender “sigh” in the treble. The first section builds on repetitions of the opening melodic line passing through a myriad of harmonies, depicting the joyous occasion of marriage. In the following section, somewhat slower in pace and modulating to G major, the solemnity of Raphael’s painting is brought to the fore. A new melody of hymn-like beauty is presented, intermixed at times with the melodic line from before. Returning to E major, the hymn-like melody grows in intensity and is transformed, not so much into a wedding march, but a simple expression of triumph and joy. Descending cascades of tones, based on a diminution of the principal melody, draw the piece to its peaceful close and Liszt concludes it with a touch of solemnity. “
- Joseph DuBose
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