Franz Liszt's lyricism: A discussion of the inspiration for his first Italy album of 'Annee de Pelerinage'

摘要

Annee de Pelerinage was composed during Franz Liszt's traveling years. In many ways, it serves as Liszt's music diary, telling the impressions and reactions of Liszt toward many things. While the first album, the Swiss album, focuses more on his impressions of the natural beauty of Switzerland, the second book centers on the spirit of Italy in the art works, poetry, and literature of Italian artists. The third album is written in Liszt's late years, and is also associated with the Italian subjects.;Most of the works in this first Italy album were sketched during Liszt's stay in Italy from 1837 to 1839, a period during which he frequently visited the great artistic treasures of Italy. It is true that some of the works may have been conceived or composed before or after this period. For example, scholars have discussed the likelihood that Liszt had Dante in mind before he was physically presented in Italy, even though he did not put it into an actual work until 1839. Also, although Canzonetta del Salvator Rosa was inspired by Liszt's Italian journey, unlike the other pieces, it was not written until nearly ten years later. However, traveling in Italy did provoke Liszt's enthusiasm in composing the Italy album of Annee de Pelerinage, and the whole work was collected and published in 1858.;The purpose of this dissertation is to discuss the sources of inspiration for this Italy album, as well as its association to particular pieces of art, poetry, and literature. The first chapter provides general information about Liszt's travels and how he was psychologically connected to other art forms. It then further develops his musical association to these media. A discussion of the program music is also included since the development of the program music plays an important role in Liszt's musical and stylistic development. By noting the sources of inspiration for the musical pieces and Liszt's impressions of these sources and then connecting them to a programmatic title, one is offered a glimpse of his intentions in developing this genre. The individual pieces are discussed from chapter two to chapter six with a focus on the programmatic associations and, most importantly, the musical aspect that Liszt developed to correspond to the non-musical ideas serving as inspirational sources. Chapter six includes a discussion of Liszt's revisions with a special emphasis on the Tre Sonetti di Petrarca as this work has four different editions and had been through several revisions. Chapter six is then followed by a conclusion.