POSSIBLE WAYS OF ANALYSING FORMAL STRUCTURE OF LISZT’S TASSO

Formal designs that started to stray from the traditional ones are still curious issues in
music theory circles when it comes to music in the 19th century and beyond. What we
hear in a single movement work can be designed in a lot of ways as it is the case in the
pieces composed by Liszt, Schumann etc. Theorists always try to analyse and come with
a solution for such uncertainness but what they recommend adds to the confusion and
ongoing discussions about form. Although comparative analysis of these commentaries
would yield fruitful results in such a controversial environment I would like to adhere to
one particular approach and provide comparison where possible. The approach I adopt in
this case is two dimensional sonata form, which is basically something suggesting that in
single movement pieces written in the nineteenth century formal designs show a 2 layered
structure, sonata form and sonata cycle, these layers can either function simultaneously
or singly, one at a time by disabling the other one. Double function theory which is a
similar approach is different from this one in that it says functions always function
together, they do not disable each other, but in two dimensional approach we encounter
for instance exo-cyclic units which could only be attributed to sonata ‘form’ and vice
versa. Writer says that sonata form is the dominant one in these designs as the name of
the approach implies ‘two dimensional sonata form’ not ‘two dimensional sonata cycle’,
therefore analyses should be made from the point of sonata form and then cycle analysis
should be made. Programmatic aspects of the music will be taken from Ben Arnold’s
book ‘The Liszt Companion’ in which we find a programmatic approach to the form of the
piece.

The piece is a symphonic poem which is thought to be a ‘serious’ alternative to

symphonies in the 19th century as in the decades in which symphonic poems were
created there were few symphonies that made a great success, therefore composers tried
to design something that would substitute for symphonies. After a period of standalone
overtures for a while for this purpose, an evolution process gave rise to the birth of the
symphonic poem genre. The genre is also associated with Franz Liszt, who composed
thirteen sinfonische Dichtungen and invented the term. Tasso is the second of these
pieces. Liszt makes use of his frequently used technique of thematic transformation as
well as in this piece and he creates programmatic associations with limited compositional
material as we will see in the slow movements (or sections) of the piece. Actually what
Keith Johns calls ‘paired dualities’ in Liszt’s narrative elements such as title, explanations
etc. is also obvious in this piece as the full name of it is Tasso: Lamento e trionfo (lament
and triumph) and this duality is a way Liszt prepares his programmatic content in
accordance with his thematic transformation technique. In a portion of the music he will
use the theme in ‘lamenting’ context and in another portion in triumphant context.
Therefore I believe musical ideas, at least thematic transformations, were a priori in Liszt’s
mind, even before the programmatic narratives, as we can observe in many other pieces
of his similar assets. Arnolds asserts that the whole piece is based on transformations of
a single theme but he does not give further details about the theme and transformations.

Firstly, let us now analyse the piece superficially without thinking about formal templates.
What do we hear from the beginning to the end? That would provide us with a bird’s-eye
view of the piece with no pre-assumptions. The piece begins with slow descending scales
in C minor, at the end of the first descending scale we observe a D flat in measure 3,
which makes us think of Phrigian mode also encountered in the opening of B minor
sonata. The scale comes to a rest in B natural, an obvious dominant implication which is
followed by strokes of horns and clarinets followed by oboe’s descending in measures 4
and 5. The notes played by horns, clarinets and oboe while the strings are sustaining the
B natural, are F, A flat and D discarding the appoggiatura, E, played by oboe before
settling on D. The resulting chord is a fully diminished seventh chord built on B as one
might expect in C minor. The same descending scale followed by oboe, horn and clarinet
strokes is repeated in a different key. Looking at the fully diminished seventh chord in
measure 12, notes are A sharp, C sharp, E and G. The resulting fully diminished seventh
chord is a signal of B tonality. One might expect B minor but given the G sharps
preceding the G naturals and the descending scale itself we might say that tonality is
major. Looking at the second coming of the theme we observe that there are no F sharps.
This might be meaningful or not, but let us keep in mind that there is a structure which is
called ‘gapped line’ in Schenkerian terms. Gapped lines are usually completed by the
addition of the lacking element at a later time and we see that F sharps come from the
measure 15 on. In these measures oboe plays its descending chromatic scale in an
insistent fashion. Chords change with chromatic alterations, there is a dominant ninth in
measure 15, and another one in 20. There is also a major seventh chord in measure 16
and we also see a half diminished seventh chord in measure 18. Composer uses wide
variety of chords which is accompanied by descending chromatic scale played by
different woodwind instruments. With measure 22 the piece starts to climb. Accelerando
and increased dynamics culminate in the first quasi-climax point in the piece and Allegro
energico section begins with fierce. The climbing and allegro section are usually based on
diminished seventh chords until measure 29 where we observe that F minor tonality is
brought, with chromatic alteration again. The first real climax comes in measure 31 which
is followed by marcato agitato. Here, what strings play is a transformation of a portion of
the descending scales in the beginning but it is not easily heard as the context in which
the transformed theme is heard is quite hard and agitated as implied but it is a
rhythmically transformed theme.

The illustration above shows the descending scales in the beginning and the one below
shows the marcato agitato motive.

The second figure makes use of the first four notes of the descending scales in the
beginning and it repeats itself three times. This part continues until measure 53 with only
fragmentations comprised of descending chromatic scales. Overall texture of the section
between measures 32 and 53 is reminiscent of transitional structures but this is only a
superficial comment based on the fluid or mobile nature of the materials, obviously not
conclusive. Measure 53 brings the slow descending scales in a fragmentation fashion and
the section closes with descending chromatic unit played by clarinet.

The next section is Adagio mesto. Measure 61 takes us into a different realm in that the
tempo is now slow for remarkable amount of time compared to the preceding slow
sections. This new realm is, however, based on the same materials, surely transformed.
We can see this clearly in the rhythmic figure of the chords played by the woodwinds.
Another but less obvious thematic transformation is the ‘sad’ melody itself. Rhythmically
similar structure is obscured by writing with a dot rather than tie and this time figure goes
up before it descends, actually at a later point the same tied notes and mere descending
notes come again, but both structures belong to the descending scale figure in generic
means. This section is characterised by a monodic melody accompanied by harp
arpeggiations. In the programmatic approach, harp arpeggios are likened to the gloomy
ponds of Venice as they were in the poet’s life. The transformed theme now comes in the
form of monody serves as a new theme in a slow section. The melody is played by the
clarinet first and then taken by violins with the same accompaniment texture of harp
arpeggiations and other instruments. After we hear the melody twice another similar
melody comes in cellos in a variation fashion then violins bring back the first melody. The
expressive quality of the section is marked by dolente and espressiro which are primarily
for the melody above tremolo strings. The section come to an end in measure 129 with a
motive of closing character. In measure 130 brass sections plays a majestic melody, now
with a contrasting dynamic, fortissimo. This so called majestic melody is actually another
marvellous thematic transformation of the ‘sweet and emotional’ melody of the previous
section. The transformation of the theme incorporates dynamics, orchestration, rhythm,
playing style and such similar musical and psychological elements and a sensual melody
turns into something gallant and formidable. The continuation of the transformed theme is
interrupted by a fast, chromatic descending scale which is one measure long (measure
134) and then we hear a repetition of the theme which is followed by the completion of it
with a cadence and fast chromatic descending scale comes forward once again as it
 could be seen the illustration, longer
than the previous one. It is of a
transitional quality, one might
expect something new s coming
after this rapid chromatic descend
in the strings but the texture climbs
back in the strings and ends the
section with an E major chord of a
conclusive character.

As the illustration shows above the chromatic descend we hear the

melody still played by brass instruments and still with a formidable
character. The end of the section is very conclusive and
reminiscent of movement endings. From a pure view I believe this
ending will find itself an important place in cyclic analysis of the
two dimensional sonata form. The fermata in measure 143 also
adds to the conclusive character. Before the following section
begins with a thin texture comprised of oboe and pianissimo string
tremolo, the orchestra becomes silent for a moment signalling the
end of a substantial portion of the piece.

In measure 144 we hear the same thematic material from the beginning. This time played
by oboe, pianissimo theme accompanied by tremolo strings is drawn on from the slow
descending scales which we heard in the beginning. Intervallic quality of the theme now
heard in oboe is however slightly changed due to B natural in the implied F minor or A flat
major tonality, this time we hear a augmented second interval between B natural and A
flat, which increases the differentiation of the theme. The identical scale is played by bass
clarinet after the oboe and then trombones play fragmentations of this theme in a
repetitive manner and the overall texture starts to climb with crescendo and we hear a
forthcoming climax just as in the previous section. Fragmentations get shorter and shorter
as the end of the section get closer. Then in measure 163 we hear a conclusive F sharp
major chord which closes the section and is followed by a fermata again.

Arnold states that Liszt’s only use of menuetto is this one. The section which begins in
measure 164, Allegretto moss con grazia, quasi Menuetto mobile. After a succession of
slow sections we finally hear a fast section which has a melody of sweet and naughty
character and chordal staccato accompaniment in the strings. The melody itself is also
played by strings, the low ones, cellos. Looking closely at the theme reveals another
thematic transformation. What we hear as a ‘sweet and naughty’ melody is actually
transformation of the descending scales in the beginning. This time transformation
incorporates rhythm, adding dots to the notes for ‘mobile’ concerns of the menuetto and
octave leaps for the same reason. One of the notes in the descending scales is now an
acciaccatura which increases the mobility and curvy character of the transformed theme.

Another novelty in the section is that the theme is now responded by an ascending scale
which is played marcato. The section maintains the closing tonality of the previous
section and continues in F sharp major.

The menuetto theme is then taken and played by the clarinet initially in exact repetition
and then with modifications. Then fragmentation units are played in question and answer
fashion between string section and woodwind section of the orchestra. We can see

fragmentations in measures 208, 209 and 210 which are followed by a chromatic lead-in
and trill played by strings. Trills become prominent in this section of the piece and are
also played by flute. The theme is played and each statement of the theme is followed by
trill played either by winds or strings and after some point theme is varied in a transitional
fashion and repeated again. The tonality changes from F sharp major to B flat major in
measure 241. Theme is stated in B flat major between measures 243 and 250. A new
short theme is heard in measures 252 and 253 and it is repeated once more.
Fragmentational units follow these measures until 266. Measures 266, 267 and 268 takes
us back to F sharp major again. Menuetto theme is heard again in F sharp major and
another change occur in measure 289. We are in B minor now. This texture continues until
measure 337, climbing and culminating in a quasi-standing on the dominant area not
created by dominant harmony but rather insistent motivic repetitions and a natural
accelerando that is obvious in several recordings, in measures 338 - 343.

Then one of the most important things in terms of formal structure happens and we hear
the recapitulation in measure 344. The first allegro theme is now played. First time the
allegro theme was in F minor and when you analyse it recapitulation is also in F minor, A
flat in the bass again. We hear the syncopated theme derived from the scales again and
then in measures 264 - 369 we hear the rapid chromatic descending unit again,
juxtaposed with the furious fortissimo motive of the first allegro theme in measures 367 -
369. The section comes to a quiet part with Lento assai and non-recapitulated
descending scales in the beginning are now heard and they close the recapitulation.


Quasi-standing on the dominant and recapitulation

After the recapitulation we hear the menuetto theme once again now in faster tempo.
Menuetto theme is followed by festive variations of the previous themes in quasi-Presto
beginning in measures after 470. The piece ends with motivic variations based on
rhythmic values, played by brass instrument with a loud dynamic.

With a clear recapitulation sonata form claims attain a strong position in the formal
analysis of the piece. Overall cyclic structure of the piece in terms of tempo is also
promising for a two dimensional sonata form analysis. The piece consists of a slow
introduction, allegro section, adagio section(s) then menuetto and scherzo like fast and
festive ending. Programmatic approach to the formal structure of the piece, on the other
hand, is parallel to the sections determined by the tempo. The four topical sections are
divided as suffering measures 1- 61, pride measures 62 - 164, courtly life measures 165 -
382 and triumph measures 383 - 584. The suffering corresponds to the first allegro
section. Pride corresponds to the adagio section, courtly life corresponds to the menuetto
and the final section corresponds to the final allegro section after the recapitulation. Such
a semantic analysis in accordance with the poet’s life gives clues to the structural
elements of the piece such as tempo, melodic transformations, rhythm, psychological
tempo expressions and etc.

Let us now examine the piece with two dimensional sonata form view. One of the most
important differentiation of Moortele’s interpretation is about the issue of thematic
transformation. Moortele says that what is heard as fast variation of the slow exposition

material after the recapitulation is not actually a transformation. Moortele says that the
actual transformation is between quasi menuetto section and the theme in measure 397.
In accordance with this approach the descending scales are considered to be slow
introduction. The main theme starts in measure 27 and the first main theme is considered
to be between measures 26 and 52. The structure of the first theme is considered to have
a sentential design with a pattern of 3 + 3 + 21. The second main theme is between
measures 62 and 75. It is said to be a period and repetition of it in measures 79 and 90
leads to a PAC as the main theme cadence. The return of the slow introduction,
descending slow scales, is not defined in term of form.

Measures between 91 and 130 function as an subordinate theme. From 91 to 99 we have

an antecedent at the end of which we hear a half cadence, the consequent that begins in
measure 102 modulates to E major and continues in measures 131 and 144 where we
hear the beginning of developmental area but we hear just after that another subordinate
theme in E major and it concludes the exposition with a PAC in E major. This second
subordinate theme in E major returns in a similar place at the end of the recapitulation,
and in tonic this time.

After Quasi menuetto, which functions as a development, recapitulation comes in

measure 344. The material of the recapitulation is drawn on from the first main theme.
Recapitulation is followed by Allegro com motto brio section whose material is thematic
transformation of menuetto theme. The second subordinate theme begins in measure 533
and the coda begins with the Stretto in measure 558.

One dimensional sonata form makes sense for all the sections correspond to form
functional units in a meaningful manner. However we cannot say that overarching sonata
form is fully usual for a sonata. There are unusual aspects of the overarching sonata form
and these strange points indicate that sonata cycle form also functions in the structure of
the piece. The overarching sonata form is modified to some extent in order to create
sonata cycle form. From the perspective of sonata cycle form measures 62 - 144 function
as a slow movement, measures 165 - 348 function as a minuet and measures 397 - 584
function as a finale. Only recapitulation and coda of the overarching sonata form are not
explained in two dimensional terms. Finale makes use of materials of recapitulation and
coda which come at the end of both sections.

The cycle movements for the formal structure of the piece are also meaningful. Both one
dimensional sonata form and two dimensional sonata form can be used for explaining the
formal design of the music. That all the formal explanations and approaches work and
make sense might be an indication of that the composer might design the piece in a way
that would fit for a number of explanations such as semantic or programmatic ones, one
dimensional sonata form approach or two dimensional sonata form approach as in this
example. Tonal, motivic, rhythmic and other aspects of music have more than one layers
in music of nineteenth century masters. When analyses differ the meaning that we extract
from the music changes. This is an aspect indicating the richness of such pieces.

What I conclude from that there are a few possible ways of analysing or interpreting the
formal structure is that we can use different analytical approaches for our different
purposes. The music gives us opportunity to learn about the life and career of great Italian
Renaissance poet, Tasso, and to witness sonata form manipulations. Therefore such
musical pieces both have programmatic and abstract aspects.

REFERENCES

Arnold, B. (2002). The Liszt companion. Westport, CT: Greenwood Press.

Moortele, S. (2009). Two-Dimensional Sonata Form: Form and Cycle in

Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg and
Zemlinsky. Leuven University Press. Retrieved from http://www.jstor.org/
stable/j.ctt9qf14r