THE NINETEENTH-CENTURY SYMPHONY 133

IF"
(g _ etc.

:FJi Jf.({Vc.,Cb.)
p'
sfz =-
.J11£J J

348 524

SUMMARY
Though the fOnTIS and treatments employed deserve comment, it is orchestral manip-
ulation that becomes the substance of this symphony. Effect must succeed for the work to
have credibility. Thus, the primary goal of the program became to suggest, to describe, or
to chronicle, whereas in previous styles it had been to present a series of musical ideas
connected in some logical fashion: This logic was itself the principal effect. In the
overpowering onslaught of Berlioz's orchestral skills, one can overlook some of the
musical devices he used in extending and developing each movement. His use of
counterpoint was skillful, revealing a craft equal to that of any other composer of
Berlioz's time. On more than one occasion, he resorted to the setting of one tune against
the other in the last portion of a movement, probably one of his most effective ways of
working toward a musical climax. Symphonie /anlastique holds a unique position in the
history of music as one of the few surviving program symphonies. It well documents
Berlioz's position as one of the orchestral pioneers of the early nineteenth century.

FRANZ LlSZT {1811-1886}

The influence of Berlioz was felt by most nineteenth-century composers who either knew
him or followed him in symphonic history. Liszt, who was present at the first successful
performance of the Symphonic /a/llaslique, realized that his main goal in symphonic
composition would be e!<.pressive.. There is a point of departure, however, that distin-
guishes his approach from that of Berlioz. Whereas Berlioz attempted to adjust the
dimensions of the symphony in his two major orchestral works (excluding his dramatic
orchestral efforts), Liszt generally abandoned the four-movement form and created other
ways of accomplishing his purposes. From this departure came the one-movement
symphonic poem and Liszt's two program symphonies, neither in four movements. Liszt
did profit from Berlioz 's idee fixe, using that concept to organize each of his works with
one or two principal motives, or.themes. Adjusting the unifying theme to fit the mood and
purpose of the moment, Liszt developed a principle that has become known as theme
Irans/ormation. [n the one-movement symphonic poems, form was quite loose, the
unifying theme providing a. germ from which much of the melodic material was drawn.
Liszt's mUSical style is di:;linguished by theme transformation in most of his orchestral
works.
134 THE NINETEENTH-CENTURY SYMPH0N.Y

Like Berlioz, he sough I' orchestral effect to depict or describe feelings associated witli
his programs, Since his conception of program music was quite different from that 0
Strauss or the more descriptive composers, Liszt never completely explained the eXaol
meaning he was assigning to various orchestral effects, A typical Liszt program was more
philosophical in nature, dealing with the source of his inspiration or with the overall effect
or thoughts the music might suggest.
The overall aural impression one receives from Liszt's orchestral works is similar to
that obtained from Berlioz, The works are colorful, expressive in orchestral resOurces
ever-changing in tempos and dynamics, somewhat chromatic in both melody and harmo_
ny, and not seeki ng an inner musical logic such as that exhibited in the works of the more
conservative composers , The works' rhapsodic style places what formal implications
Liszt used in a subservient position; most of the works employ forms that are leSl
constraining in design or are relaxed versions of some larger forms, The harmonic style
was one of the most innovative of the mid-nineteenth century, employing a type of
chromaticism that at times avoided traditional root relationships such as up a second or
down a fifth. Liszt never really systematized his harmonic resources with the types of
sequential procedures that helped stabilize Wagner's chromaticism_ Melodic development
in the larger works does use sequence and repetition abundantly _ Dynamic contrasts and
changes of tempo appear impulsive as Liszt adjusts his reSOurces to his program, In the
first movement of the Fausl Symphony, there are eleven tempo changes in the exposition
section alone, Lis?-l also adhered to the use of accented dissonance in his more expressive
melodies, Like Berlioz, Liszt relied on effect (orchestral, harmonic. dynamic, tempo , and
so on) as the primary expressive device_ His orchestra was a typical " large" orchestra of
the nineteenth century, the enlargement being primarily in the brass section, where he
often used four horns, three trumpets, three trombones, tuba, and a large percussion
section, Woodwinds were generally in pairs,

Information on Individual Symphonies*

------------------------------------~
Name Date II III IV

Faust 1854 (revised, 1861; SA ABA SA Choral ending added

revised, 1880) to III in 1857
Dante 1856 "Inferno" "Purgatorio" Magnificat for women's
voices added to second
movement in place of the
planned third movement.
"Paradiso_"
'For analysis and background on both Liszt symphonies, see Humphrey Searle, "The Orchestral Works," in
Franz Liszt-The Man and His Music, ed, Alan Walker (London : Barrie & Jenkins, 1970; 2nd ed" 1976). pp.
304--15,

Examples for Study

Liszt : Faust Symphony, completed in 1854; final chorus added in 1857

The legend of Faust was based on (he life of Magister Georgius Sagellicus Faustus, Junior
(first mentioned in a letter of Augus( 20, 1507. from the abbot of Spanheim, a Benedictine