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Die verspätete Zukunftsmusik

The Music of the Future

by Franz Liszt

Fugue on BACH

La Lugubr e Gondola I

La Lugubr e Gondola II

Nuages Gris

Unstern

Typeset by Peter Billam

© Peter J Billam, 2014

This score is offered under theCreative Commons Attribution 4.0 International

licence; seecreativecommons.org

This printing 19 January 2016.

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Nuages gris, Unstern and La lugubre gondola

These pieces have been controversial. PeterRaabe inLiszts Schaffen1931,disparagedNuages gris andUnstern(first published in 1927), as symptomsof aVerfall musikalischer Kräfte, the decay of his musical powers.

But then there was a flood of studies during the post-Webern-serialism years,for example Rene Leibowitz Les Prophéties de Franz Liszt1951, HumphreySearle The Music of Liszt1954, Carl DalhausFr anz Liszt und dieVorg eschichte der neuen Musik1961, W.M. Goode 1965, P.A. Pisk 1969,R.Ch. Lee 1970, Dieter Rexroth Zum Spätwerk Franz Liszts1970, PeterSchwarzStudien zur Orgelmusik Franz Liszts1973, Harold A. ThompsonThe Evolution of Whole-tone Sound in Liszt’s Original Piano-works1974,Serge Gut Fr anz Liszt: Les Eléments du Langage Musical 1975, DieterTorkewitz Harmonisches Denken im Frühwerk Franz Liszts1978, NorbertNagler Die verspätete Zukunftsmusik1980. Thesestudies mostly quotedLiszt’s statement that his ambition as a composer was to lance his javelin asfar as possible into the future, and mostly discussed Liszt’s late work asatonal, and the herald of serialism; the proof, therefore, that serialism wasthe legitimate continuation of the whole western art-music tradition.

The opinion of the editor is that these pieces are all gloomy pieces (just lookat their titles), and it would be unwise to adopt their harmonic palette as thefoundation for a whole style.

Technically, they are easy to play; only the quiet tremolandos arechallenging. Butit’s not because of a decay in Liszt’s musical powers; alsothe Valse Oubliéeand Czárdás Macabre are from those years.I think it’sbecause he wanted to speak of senility, disease and death, which will touchus all, and therefore he wanted to speak to us all.

The harmonic palette if often a sustained bare interval such as a fifth, withtension increased by the moving voices, mostly moving in narrow intervals,coming into semitone-dischords withthese bare-interval notes. This givesrise to many chords such as fourth-plus-tritone, which often recurr in thesecond Viennese school; but there they are used as primary harmony ratherthan a sustained consonance plus a discordant melodic voice. Thethreeconsecutive whole-tones that endUnstern were also used by Berg in hisViolinkonzert(bar II/136), where Berg credits them to Bach’sEs ist genug.

The Fugue onBACH is from an earlier time - the original for organ waswritten in 1854, and the piano version in 1870; nevertheless, 29 bars of theFugue are included, because of their great music-theoretic interest.

Peter J Billam, www.pjb.com.au

1Fugue on the Theme BACH : Exposition

Franz Liszt, 1854, 1870

typeset 2014 Peter J Billam

Andante

44pp

misterioso

44

95 5

1 3

5

1

100 15

42

1

4

4−5 13 3

25

12

3

(2)5

23

3

1 1

2

1

24

2 14 3

5

4

2 1

10525

13

12

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2 Fugue on the Theme BACH: Exposition, Franz Liszt


(1)2

4−524

135

24

135

24

13

15

3 1

1102

(5) 2 − 15 5 4

13 2

135

Ped

Ped

125

135

125

135

1

PedPed

125

135

235

1

Ped

2Ped

*8

1153 2 2

115

2

Ped*

Ped

2 2115

2

*Ped

*Ped

2 2 1

888

*Ped

*Ped*

124

35

2 3

3

2 4 1 3

3

2 31

3

42 3

3

1Ped*

1 11

42

3

31 4

4

120 2 3 4−5

3 3

3

4−54 5

32

4 5

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3La Lugubre Gondola I

Franz Liszt, 1882


Lento

68

mf

68

Ped

68

una corda

marcatosempre legato

*Ped

*Ped

*Ped

*Ped * Ped

*

15

Ped*

3

Ped

15

*

Ped*

3

Ped

4

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4 La Lugubre Gondola I, Franz Liszt, 1882


1 4

*

4 3 1

mf legato

Pedsempre una corda

marcato

*

Ped * * Ped * *

Ped*

Ped * Ped

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5La Lugubre Gondola I, Franz Liszt, 1882


*

2

Ped*

Ped

2

*Ped

*Ped

1 4

*

4 3

ptremolando

Ped

marcato

* Ped*

Ped *

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6 La Lugubre Gondola I, Franz Liszt, 1882


Ped * Ped *

Ped

*

crescendo . . .

Ped

8

*

rinforzando molto

8Ped * Ped * Ped *

dim . . .

8Ped

8

*

diminuendo . . .

Ped

. . .

Ped*

Ped

8

*

p

Ped

*Ped

*

pp

Ped

*

ppp

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7La Lugubre Gondola II

Franz Liszt, 1882


andante mesto, non troppo lento

44

mp

44

Ped*

recitando

mf

cresc . . . dim . . . mp

Ped*

recitando

mf cresc . . . dim . . .

Ped

*

recitando

sempre legato

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8 La Lugubre Gondola II, Franz Liszt, 1882


accentato il canto

Ped

2 3 1 3

sempre legato2

*

3 1 3

Ped* Ped

* Ped *

2 1 2 1

piangendo 5

Ped *

4 3

5

Ped *

4 3

sf dim . . .

Ped*

p

Ped *

Ped * Ped *

Ped *

piangendo 4

Ped *

5 4 5 4

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9La Lugubre Gondola II, Franz Liszt, 1882


4

Ped *

5 4 5 4

sf dim . . .

Ped*

p

Un poco meno lento mm=104

dolcissimo, dolente

Ped4

2 1 24

*Ped

42 1 2

4

*

Ped*

Ped*

Ped*

Ped*

Ped*

Ped*

Ped

1 4 2 1 2 4 1

*Ped

1 4 2 1 2 4 1

*

sempre legato

Ped

4

* Ped *

Ped

4 1 1 2 4 1

*Ped

4 1 1 2 4

* Ped

espressivo

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*

sempre dolcissimo

Ped

*Ped

*

Ped*

Ped*

Ped*

Ped*

Ped*

Ped*

Ped

1 4 2 1 2 4 1

*Ped

1 4 2 1 2 4 1

*Ped

1 4

* Ped *

Ped * Ped * Ped

espressivo . . .

*

mf appassionato

Ped

4 3 4

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11La Lugubre Gondola II, Franz Liszt, 1882


cresc . . .

Ped

4 3 4

*Ped

4 3 4

* Ped

4 3 4

*

Ped

4 3 4

*

4 5 4 5 4 5 4

Ped4 3 4

*

3 4 5 4 4 34

rinforzando

Ped*

ff

Ped*

fff legato

Ped

*

ff

Ped

*

Ped

diminuendo . . .

*Ped

*Ped

*

recitando

Ped *

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un poco ritenuto . . .

mf pesante

12

5 5 4

5 5

Ped*

5 5

Ped*

5 5

Ped*

5

Ped *

pp mf pp

ritenuto . . .

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13Nuages Gris

Franz Liszt, 1881


Andante

44

44

p

tremolando

Ped * Ped

* Ped * Ped *

Ped *

cresc . . .

Ped

dim . . .

*

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14 Nuages Gris, Franz Liszt, 1881


3 3sempre legato

8

p arpegg.

Ped

arpegg.

Ped *www.pjb.com.au

15Unstern : Sinistre, Disastro

Franz Liszt, post−1880


Lento

44

mf

44

pesante

Ped*

Ped* Ped

*

Ped

*

ten.

f

Ped

ten.

*

Ped*

Ped *

f

Ped*

Ped *

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16 Unstern: Sinistre, Disastro, Franz Liszt, post−1880


diminuendo . . .

p

p

poco a poco cresc . . .

un poco accelerando

più cresc . . .

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17Unstern: Sinistre, Disastro, Franz Liszt, post−1880


fff

Ped

fff*

*

semprefff

Ped*

sostenuto, quasi Organo

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18 Unstern: Sinistre, Disastro, Franz Liszt, post−1880


p dim . . .

p dim . . .

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ccBY

Peter Billam was born in London in 1948, studied piano, and lived in Switzerland from 1973 to1983, where he studied composition, classical guitar, flute and voice, worked as Musical Directorof the Théâtre Populaire Romand, and as recording engineer, record producer and computerprogrammer. He moved to Tasmania in 1983, and lectured in composition at the Conservatorium.He foundedwww.pjb.com.au, becoming the first composer to sell scores on-line, taking scoresfrom Composer to Performer in one immediate step.Www.pjb.com.auoffers a new approach tomusic publishing. These pieces arewritten to be read, made to be played !

Compositionsat www.pjb.com.auinclude:Five Short Pieces, guitar, 1979;Divisions on an ItalianGround, flute and guitar, 1980;De ProfundisandNacht, on poems by Lama Anagarika Govinda, voice andpiano, 1980;Fünf Bagatellen, piano, 1980;Five Rounds, choir, 1986; Go Forth and Multiply, choir, 1986;Three Violin Duets, 1987; Fable, for piano, 1987;To Erich Jantsch, SAATTB recorders, 1988;A Suite ofCurves, trombone (or horn) and piano, 1990;Two Recorder Duets, alto recorders, or other melodyinstruments, 1991;Tr ombone Quintet, trombone, flute, piano, bass, and percussion, 1994;Three Songs, onpoems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and piano (only the first and third of these areavailable), 1994; Piano Study, piano, 1994;Four Dances, various ensembles including recorder quartet,string quartet, 1995;The Poet in the Clouds, on a poem by S. T. Coleridge,SATB choir, 1995;Tr es Casidasdel Diván del Tamarit, on poems by Federico García Lorca, voice and piano, 1997;Three Suites, for thesolo line, piano, and piano and a solo line, 2000;Die Zeiten, on poems by Kästner, Bachman and Jünger,choir (only the second and third of these are available), 2000;Three Duetsfor flutes, 2001;For Four Handsforpiano four hands, 2002;Three Preludesfor piano, 2003;Second Solo Suitefor flute, violin, viola or cello,2003;Guitar Duetfor two guitars, 2006;We Who Mournfor choir, 2007; Trio With Guitar for guitar andtwo clarinets or two recorders or two violas, 2008;Canonsfor two- and four-hand piano, 2009;Flute Trio,2012; Twenty Studiesfor piano, 2013-14;Music for Stringsand Two Encores for Stringsfor 2vln, 2vla,2vlc, 2015;Album for Choir, 2015.

Arrangements include: By J. S. Bach:Trio BWV 655, piano and flute;Vor deinen Thron BWV 668,piano;Fugue in F minor BWV 689, SATB recorders;Four Duets BWV 802-5, keyboard;Six Preludes andFuguesfrom Book I, keyboard;Flute Sonata BWV 1031transposed into G major for alto recorder andkeyboard;Flute Sonata BWV 1032completed by Peter Billam for flute and keyboard, also in C major foralto recorder, and in G major for descant;Ricercare a 3, from the Musikalisches Opferfor keyboard;Ricercare a 6, for sSATBG recorders, or strings, or two keyboards; andFuga Canonica in Epidiapente;from theArt of Fugue: Contrapuncti 1, 4 and9 for keyboard, andContrapunctus 14as completed by D. F.To v e y, for keyboard, or for SATB recorders, or for strings;Passacaglia and Fugue in cfor piano fourhands;Chorales with Descantfor melody instrument and piano;Cello Suites I, II and III for flute or altorecorder,Forty Chorales for piano,Der Geist hilftfor SATB-SATB recorders. By Brahms:Fugue in Abminor for organ, for SATB recorders and gamba, in A minor;Choralvorspiele for organ plus settings byIsaac, Bach, Praetorius, recorders.John Carr, Divisions on an Italian Ground, flute or recorder and guitar.Franz Liszt,Late piano pieces, G.F. Händel: Concerto Grosso in A minorop 6 no 4, harpsichord andrecorders;Recorder Sonata in Bbno 5, in G for tenor recorder and keyboard. ClaudioMonteverdi, EccoMormorar l’Onde, SSATB recorders. Arnold Schoenberg: Verklärte Nacht for piano. Franz Schubert:Four Songs, voice and guitar;Dances, recorders and guitar, Dances, piano 4 hands.Scriabin,Two Preludesop.67; Five Preludes op.74, piano. Telemann,Twelve Flute Fantasias, recorder. Wilbye, Draw on sweetNight, SSATTB recorders, and for flute choir. Twelve Italian Songs, voice and guitar;Seven English Songs,voice and guitar;Fourteen Folk Dance Tunes, recorder and guitar;Bushband Dances, violin, accordeon andbanjo;Easy Classical Pieces, Bb trumpet and piano;Famous Beginnings, for piano.

These pieces are under theCreative Commons Attribution 4.0licence. Very briefly:

• You may copy and redistribute the material in any medium or format.

• You may transform and build upon the material for any purpose.

• You must give appropriate credit, and indicate if changes were made.

Feel free to visit. . . www.pjb.com.au

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