A Symphony to Dante's Divine Comedy,S.109, or simply the "Dante Symphony", is achoral symphony composed byFranz Liszt. Written in the high romantic style, it is based onDante Alighieri's journey throughHell andPurgatory, as depicted inThe Divine Comedy. It was premiered in Dresden on 7. November 1857, with Liszt conducting himself, and was unofficially dedicated to the composer's friend and future son-in-lawRichard Wagner. The entire symphony takes approximately 50 minutes to perform.[1]
Some critics have argued that theDante Symphony is not so much a symphony in the classical sense as it is two descriptivesymphonic poems.[2] Regardless,Dante consists of two movements, both in a loosely structuredternary form with little use ofthematic transformation.[3]
Liszt had been sketching themes for the work since the early 1840s.[4] The French poetJoseph Autran recalled that in summer 1845, Liszt improvised for him "a passionate and magnificent symphony upon Dante'sDivine Comedy" on the organ of the emptyMarseille Cathedral at midnight,[5][6] and later invited Autran to collaborate with him on a Dante oratorio or opera, which the poet failed to pursue.[7] In 1847, he played some fragments on the piano for his Polish mistressPrincess Carolyne zu Sayn-Wittgenstein. At this early stage in the composition, it was Liszt's intention that performances of the work be accompanied by aslideshow depicting scenes from theDivine Comedy by the artistBonaventura Genelli.[8] He also planned to use an experimentalwind machine to recreate the winds of Hell at the end of the first movement. Although Princess Carolyne was willing to defray the costs, nothing came of these ambitious plans and the symphony was set aside until 1855.[9]
In June 1855, Liszt resumed work on the symphony and had completed most of it before the end of the following year. Thus, work on theDante Symphony roughly coincided with work on Liszt's other symphonic masterpiece, theFaust Symphony, which was inspired byJohann Wolfgang von Goethe's dramaFaust. For this reason, and because they are the only symphonies Liszt ever composed (though certainly not his only symphonic works), theDante andFaust symphonies are often recorded together.
In October 1856, Liszt visited Richard Wagner in Zürich and performed hisFaust andDante symphonies on the piano. Wagner was critical of theDante Symphony'sfortissimo conclusion, which he thought was inappropriate as a depiction of Paradise. In his autobiography, he later wrote:
If anything had convinced me of the man's masterly and poetical powers of conception, it was the original ending of theFaust Symphony, in which the delicate fragrance of a last reminiscence of Gretchen overpowers everything, without arresting the attention by a violent disturbance. The ending of theDante Symphony seemed to me to be quite on the same lines, for the delicately introducedMagnificat in the same way only gives a hint of a soft, shimmering Paradise. I was the more startled to hear this beautiful suggestion suddenly interrupted in an alarming way by a pompous, plagal cadence which, as I was told, was supposed to represent St Dominic.
"No!" I exclaimed loudly, "not that! Away with it! No majestic Deity! Leave us the fine soft shimmer!"[10]
Liszt agreed and explained that such had been his original intention, but he had been persuaded by Princess Carolyne to end the symphony in a blaze of glory. He rewrote the concluding measures, but in the printed score, he left the conductor with the option of following thepianissimo coda with thefortissimo one.[11]
Liszt's original intention was to compose the work in three movements: anInferno, aPurgatorio and aParadiso. The first two were to be purely instrumental, and the finale choral.[12] Wagner, however, persuaded Liszt that no earthly composer could faithfully express the joys of Paradise.[13] Liszt dropped the third movement but added a choralMagnificat at the end of the second movement. This action, some critics claim, effectively destroyed the work's balance, leaving the listener, like Dante, gazing upward at the heights ofHeaven and hearing its music from afar.[14] Moreover, Liszt scholarHumphrey Searle argues that while Liszt may have felt more at home portraying the infernal regions than the celestial ones, the task of portraying Paradise in music would not have been beyond his powers.[15]
Liszt put the final touches to the symphony in the autumn of 1857. The premiere of the work took place at theHoftheater in Dresden on 7 November, 1857. The performance was an unmitigated disaster due to inadequate rehearsal; Liszt, who conducted the performance, was publicly humiliated.[16] Nevertheless, he persevered with the work, conducting another performance (along with his symphonic poemDie Ideale and hissecond piano concerto) in Prague on 11 March, 1858. Princess Carolyne prepared a programme for this concert to help the audience follow the unusual form of the symphony.[17]
Like hissymphonic poemsTasso andLes préludes, theDante Symphony is an innovatory work, featuring numerous orchestral and harmonic advances: wind effects, progressive harmonies that generally avoid the tonic-dominant bias of contemporary music, experiments inatonality, unusualkey signatures andtime signatures, fluctuatingtempi, chamber-music interludes, and the use of unusual musical forms. The Symphony is also one of the first to make use ofprogressive tonality, beginning and ending in the radically different keys ofD minor andB major, respectively, anticipating its use in the symphonies ofGustav Mahler by forty years.
Liszt was not the only symphonic composer who was inspired by Dante'sCommedia. In 1863,Giovanni Pacini composed a four-movementSinfonia Dante (the finale depicts Dante's triumphant return to Earth).
The symphony is scored for onepiccolo (doubling as 3rd flute in the second movement), twoflutes, twooboes, oneEnglish horn, twoclarinets in B♭ and A, onebass clarinet in B♭ and A, twobassoons, fourhorns in F, twotrumpets in B♭ and D, two tenortrombones, onebass trombone, onetuba, two sets oftimpani (requiring two players),cymbals,bass drum,tamtam, twoharps (the second harp only in the second movement),[18]strings,harmonium (second movement only), and a women's choir comprisingsoprano andalto singers (second movement only), one of the sopranos being required to sing a solo.[19]
The opening movement is entitledInferno and depicts Dante's andVirgil's passage through thenine Circles of Hell. The structure is essentiallysonata form,[20] but it is punctuated by a number of episodes representing some of the salient incidents of theInferno. The longest and most elaborate of these – theFrancesca da Rimini episode from Canto 5 – lends the movement something of the structure of atriptych.[21]
The music is chromatic and tonally ambiguous; although the movement is essentially in D minor, this is often negated by G♯, which is as far as one can get from D. There are relatively fewauthentic cadences or key signatures to help resolve the tonal ambiguity. The harmony is based on sequences ofdiminished sevenths, which are often not resolved.
The movement opens with a slow introduction (Lento) based on three recitative-like themes,[22] which Liszt has set to four of the nine lines inscribed over the Gates of Hell:
Per me si va nella città dolente, | Through me is the way to the sorrowful city, | 1 |
The first of these themes, which is immediately repeated in a slightly varied form, begins in D minor – a key Liszt associated with Hell[23] – but ends ambiguously on G♯ atritone higher. This interval is traditionally associated with the Devil, being known in the Middle Ages asdiabolus in musica:[24]
The second theme is closely related to the first, but this time there is an unambiguous authentic cadence on G♯:
The third theme begins as a chantlike monotone played by horns and trumpets on E♮ against a string tremolo inC♯ minor. It cadences on a tonally ambiguous diminished seventh on G♯:
The first and third of these themes are punctuated by an important drum-roll motif played on two timpani and the tamtam, which recurs in various forms throughout the movement:
As the tempo increases, a motif derived from the first of these themes is introduced by the strings. ThisDescent motif depicts Dante and Virgil's descent into Hell:
This is accompanied by another motif based on rising and falling semitones (appoggiature), which is also derived from the symphony's opening theme, while the horns play the third theme inaugmentation on G♯:
This passage is punctuated by a brass motif taken from the third theme:
These motifs are developed at length as the tempo gradually increases and the tension builds. The music is dark and turbulent. The chromatic and atonal nature of the material conveys a sense of urgency and growing excitement.
At the climax of thisaccelerando, the tempo becomesAllegro frenetico and the time signature changes fromcommon time toAlla breve: the slow introduction comes to an end and theexposition begins. Thefirst subject, which is introduced by the violins, is based on the same rising and falling semitones that we heard in the introduction. Ostensibly it begins in D minor, but the tonality is ambiguous:
The tempo increases toPresto molto and a second subject is played by wind and strings over apedal on thedominant A:
Although Liszt provides no verbal clues to the literary associations of these themes, it seems reasonable to assume that the exposition and ensuing section represent the Vestibule (in which the dead are condemned to perpetually chase after a whirling standard) and First Circle of Hell (Limbo), which Dante and Virgil traverse after they have passed through the Gates of Hell.[citation needed] It is even possible that the transition between the two subjects represents the riverAcheron, which separates the Vestibule from the First Circle: on paper the figurations are reminiscent of thoseBeethoven uses in the Scene by the Brook in hisPastoral Symphony, though the aural effect is quite different.[citation needed]
The followingdevelopment section explores both subjects at length, but motifs from the introduction are also developed. The second subject is heard in B major.[25] The descent motif reasserts itself as Dante and Virgil descend deeper into Hell. The music reaches a great climax (molto fortissimo); the tempo reverts to the openingLento, and the brass intone theLasciate ogni speranza theme from the slow introduction, accompanied by the drum-roll motif. Once again Liszt inscribes the score with the corresponding words of theInferno.
As Dante and Virgil enter the Second Circle of Hell, rising and falling chromatic scales in the strings and flutes conjure up the infernal Black Wind that perpetually buffets the damned.[26] The music grinds to a halt, and quiet drum beats lead to silence. An episode in5
4 time markedQuasi Andante, ma sempre un poco mosso ensues, beginning with harp glissandi and chromatic figurations in strings and woodwind that once again invoke the swirling wind.[27] After a pause, however, the bass clarinet intones an expressiverecitative, which takes the instrument to the very bottom of its range:
This theme is then taken up and extended by a pair of clarinets, accompanied by the same harp glissandi and chromatic figures that opened the section. After a restatement a fourth higher by the bass clarinet, the recitative is played by the cor anglais and this time Liszt sets the music to the words ofFrancesca da Rimini, whose adulterous affair with her brother-in-law Paolo cost her both her life and her soul:
.... Nessun maggior dolore | .... There is no greater sorrow | 121 |
After a brief passage based on a theme derived from the recitative, there ensues an episode markedAndante amoroso. The tragic love of Francesca and Paolo is depicted at length by a passionate theme in7
4 time, which is also based on the recitative.[28]
Curiously, the key signature suggestsF♯ major, a key Liszt often reserved for divine or beatific music.[23] The theme actually begins in D♯ minor, passingsequentially throughF♯ minor andA minor. Two unmutedviolins are contrasted with the rest of the violins, which aremuted.
As before, the transition to the next circle of Hell is prefaced by a return of theLasciate ogni speranza theme. A shortcadenza for harp, continuing the Black Wind motif, leads to a passage which Liszt marks with the following note:This entire passage is intended to be a blasphemous mocking laughter.... In theInferno, Dante meets the blasphemousCapaneus in the Seventh Circle of Hell (Canto 14).[29] The dominant motifs – triplets, trills and falling seconds – have all been heard before.
The time signature reverts toAlla breve, the key signature is cancelled, and the tempo quickens toTempo primo in preparation for the ensuingrecapitulation.
The first subject is recapitulated inaugmentation, but where before it represented the sufferings of the damned, now it is a cruel parody of that suffering in the mouths of their attendant devils.[30] The tempo quickens and the music reaches a climax; the second subject is recapitulated with little alteration from the exposition. Presumably the recapitulation represents the Eighth and Ninth Circles of Hell.[31]
Another climax leads into thecoda. The final pages of the movement are dominated by the descent motif and the second subject. After a climax, the music comes to a momentary pause. The descent motif quickly builds up to an even greater climax (molto fortissimo). In the final ten measures, however, theLasciate ogni speranza theme returns for the last time: Dante and Virgil emerge from Hell on the other side of the world. The movement ends in D, though there is no conventional authentic cadence. The tonal ambiguity which has coloured the movement from the beginning is maintained to the very last measure.[32]
The second movement, entitledPurgatorio, depicts Dante and Virgil's ascent ofMount Purgatory. It isTernary in structure. The first section is solemn and tranquil and in two parts; in the second section, which is more agitated and lamentable, a fugue is built up to a grand climax; in the final section, there is a return to the mood of the opening, the principal themes of which are recapitulated. This tripartite structure reflects the architecture of Dante's Mount Purgatory, which can also be divided into three parts: the two terraces of Ante-Purgatory, where theexcommunicate and the late repentant expiate their sins; the seven cornices of Mount Purgatory proper, where theSeven Deadly Sins are expiated; and theEarthly Paradise at the summit, from which the soul, now purged of sin, ascends to Paradise.[33]
The movement opens inD major in a slow tempo (Andante con moto quasi Allegretto. Tranquillo assai). A solo horn introduces the opening theme to the accompaniment of rocking chords on muted strings andarpeggiatedtriplets played by the harp. This theme is taken up by thewoodwind and horns, and after twenty-onemeasures dies away against a shimmering haze of rising and falling arpeggios on the harp:
This whole section is then repeated inE♭ (though the key signature is altered from D major toB♭. This tranquil episode represents perhaps the excommunicate, who inhabit the first terrace of Ante-Purgatory.
The tempo then changes toPiù lento and the key signature reverts to D major. Thecellos introduce a new theme, which is quickly passed to the first violins:
As it too dies away like the opening theme, it gradually metamorphoses into achorale-like theme inF♯ minor, which is solemnly intoned by horns and woodwind in a slower tempo (un poco meno mosso):
This is developed at length, being joined in counterpoint with a variant of the second theme. The music finally dies away and silence ensues, bringing this opening section to a close in B minor. The second terrace of Ante-Purgatory is inhabited by the late repentant. In Canto 7 there is a celebrated description of evening in a beautiful valley where the penitents sing theSalve Regina; this passage may have inspired Liszt's chorale-like theme.
The second section of the movement is markedLamentoso and its agonizing figurations are in marked contrast to the beatific music of the opening section. The muted violas introduce the principal theme, which comprises a series of agitated fragments in B minor. The music graphically reflects the pleading and suffering of the penitents before it breaks up into flowing triplets:[34]
This theme is taken up by the other strings and a five-partfugue ensues. The woodwind add their pleas (dolente), and the music becomes louder and more agitated (gemendo). The horns join the fugue as it reaches its climax, at which point the music disintegrates into fragments and grows softer; but it soon finds its voice again and is worked up into a huge climax inF minor for full orchestra (grandioso) that is strikingly reminiscent of the opening movement ofBerlioz'sRequiem:
This liberating[35] climax takes us through a series ofsequences from F minor throughG♭ minor and G minor toE♭ major. A brief transition ensues in whichstaccato triplets in the cellos anddouble basses are answered by static chords in thestopped horns and woodwind.
The key signature reverts to D major. The triplets, now playedlegato on the violins, are accompanied by passionate figures in the woodwind (gemendo,dolente ed appassionato) and muted chords in the horns. The music fades away and the cellos bring things to a standstill.
After a long pause the chorale from the opening section is recapitulated in augmentation, accompanied by stringpizzicati. ThePiù lento theme from the opening section is heard once again, and both themes are briefly alternated. Two harps take up the triplets and the concluding strain of the movement's opening theme returns. The music modulates from B♭ major to B major, and passes without a break to the final chorus.
The symphony concludes with a short setting forwomen's orboys' choir of the first two lines of theMagnificat, culminating in a series ofHosannas andHallelujahs:
Magnificat anima mea Dominum, | My soul magnifies the Lord, |
Curiously, theMagnificat is not mentioned anywhere in theCommedia; nor is there anyHallelujah;[36] theHosanna, however, is heard both in the Earthly Paradise of thePurgatorio and in theParadiso.
In the score, Liszt directs that the choir be hidden from the audience:
The female or boys' choir is not to be placed in front of the orchestra, but is to remain invisible together with the harmonium, or in the case of an amphitheatrical arrangement of the orchestra, is to be placed right at the top. If there is a gallery above the orchestra, it would be suitable to have the choir and harmonium positioned there. In any case, the harmonium must remain near the choir.
The time signature changes to6
4; the score indicates that this time signature may be considered alternatively as2
3, i.e. each bar is divided into two dotted half notes. The choir intones the words against a shimmering backdrop of divided strings, rocking figurations in the woodwind and arpeggios played by two harps.
The tempo quickens and the music becomes gradually louder as the time signature changes to9
4 (=3
3, i.e. each bar is divided into three dotted half notes). The choir sings triumphantly ofGod my saviour.
The tempo drops toUn poco più lento, a solo trumpet call dies away to silence, after which a solo voice sings the opening line of theMagnificat in B major.[37]
The whole orchestra resounds with the same phrase. After another brief silence, the choir sings a chorale to the second line of theMagnificat, accompanied by a solocello, bassoons and clarinets.
In the triumphant coda, the divided chorus singsHosanna andHallelujah in a series of carefully crafted modulations, which reflect Dante's ascent sphere-by-sphere towards theEmpyrean; this is in marked contrast to the first movement, where key shifts were sudden and disjointed.[38] As theHosannas descend step by step from G♯ down to C, theHallelujahs rise from G♯ up to F. The whole chorus then joins together in a final, triumphantHallelujah on the dominant F♯. In this passage, the bass steps down thewhole-tone scale from G♯ to A♯. Liszt was proud of this innovatory use of the whole-tone scale, and mentions it in a letter to Julius Schäffer, the music director of theSchwerin orchestra.[39]
The orchestra concludes with a quietplagal cadence in B major; the timpani add a gentleauthentic cadence of their own. The work endsmolto pianissimo.
The second ending, which follows rather than replaces the first ending, is markedPiù mosso, quasi Allegro. Theppp of the first ending gives way toff. Majestic trumpets and trombones – accompanied by rising scales in the strings and woodwind, and by chords in the horns, harps, harmonium and strings – set the scene for a reappearance of the chorus. Three repetitions of a single word,Hallelujah, bring the work to a towering conclusion with a plagal cadence in B major.
George Bernard Shaw, reviewing the work in 1885, criticized it heavily, complaining that the manner in which the programme was presented by Liszt could just as well represent "a London house when the kitchen chimney is on fire". He then notes that the symphony is "extremely loud", mentioning the fortissimo trombones, that later repeat atfff.[40] On the other hand, James Huneker called the work "the summit of [Liszt's] creative power and the ripest fruit of that style of programme music".[41]
just as the subject of the first fugue in theWohltemperirte is mendelsified into the introduction of theDante symphony.
{{cite book}}: CS1 maint: location missing publisher (link)| Music | |
|---|---|
| Operas | |
| Choral works | |
| Symphonic poems | |
| Other orchestral works | |
| Piano and orchestra | |
| Solo piano |
|
| Opera paraphrases | |
| Family |
|
| Pupils |
|
| Related | |
| International | |
|---|---|
| National | |
| Other | |
