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Liszt: Vallée d'Obermann (Pace, Korstick)

A masterclass in thematic transformation from the first book of Liszt's Années de pèlerinage. Texturally, lyrically, and harmonically, there’s so much wonderful stuff going on in here it’s easy to overlook how taut and ingeniously put-together VdO is. In short: a single theme (in minor) gets major-ised, and then its major and minor versions become treated as different themes in a four-part form roughly analogous to sonata form (Theme 1, Theme 2, unstable development, steady build-up to climax). Over the course of the work a three-note motif at the head of the theme becomes more and more prominent, until at points the material is reduced into a descending scale (a trick Liszt also pulls off – albeit via a different transformational procedure, and in an more radical fashion – in the Dante Sonata). The miracle is that something so monomaniacally focussed on such limited material manages to traverse such vast musical terrain – dead-eyed listlessness in the opening bars, lyricism in the second section, blind fury in the third, and rhapsodic ecstasy in the close. “EXPOSITION” – Theme Group 1 00:00 – Theme 1 (Phrase 1). The first three notes in the LH constitute the main motif (M*); this gets lots of independent development. (Note the similarity of T1 to the opening bars of Liszt’s B minor sonata – same rhythm & harmonic restlessness.) There’s nice modulatory scheme here too: the key up in minor thirds to Gm and Bbm before a common-tone shift to F#m, which is followed by a cunning tritone sub (m.13) that leads to the dominant of Cm. 00:44 – Theme 1, (Phrase 2). At first it appears to take a different direction from Phrase 1, but eventually becomes dominated by M* (which appears as soon as m.10). 02:00 – Transition 1. The dominant of Em is spelled as Cb aug 6, preparing for a move into Ebm in which the first phrase comes to a rest on an gorgeous suspension that spells a Gb augmented maj7. The process is repeated a tritone lower, setting the stage for a return to Em via a B7 b9 chord. 02:38 – Theme 1 returns. 03:56 – Transformation 1. Theme 1 suddenly slips into Eb (and B), losing its tail. 04:32 – Transition 1. At 5:07 this is diverted into a statement of T1 in E Neapolitan minor (= A Hungarian minor’s 5th mode). “EXPOSITION” – Theme Group 2 05:47 – Theme 2 (Transformation 2). Now in luminous C, with an emphasis on M* in augmentation (both its melodic and rhythmic contours). It’s a cunning touch that the augmented M* has the same rhythmic profile as T1’s second bar (m.2). Moves into A (6:35). 06:40 – Theme 2 further developed (Transformation 3). “DEVELOPMENT” – dramatic, rhetorical, tense, lots of tremolos 07:36 – Part 1. M* developed as a dramatic recitative over LH tremolos (Transformation 4). 07:59 – Theme 1 appears in the RH, before being transformed into long chains of octave descents (Transformation 5). 08:11 – Part 2. M* developed in the LH in two new and different forms: a stabbing three-note descent in the bass, as well as a chain of descending thirds in the upper registers. Yet again, the theme is distilled into a series of descending scales (8:41; 8:55 – note the prevalence of short descending three-note cells, recalling M*). A climax arrives in the form of RH parallel tritones (9:13). The tension then ebbs via plaintive statements of M* (m.161) in the RH, mirrored by similar descents in the bass (mms.163-164, 167-168). “RECAPITULATION” 10:10 – Theme 2 (Transformation 6), in E, over rolling triplet semiquaver accompaniment. 11:09 – Theme 2 in inversion, quiet but radiant (Transformation 7). The continuation at 11:34 (m.184) is especially clever – combining an inversion of the 4-note descent of T1 (see the LH of m.1) with the two-note (non-inverted) motif that comes right after. (This two-note sigh is also a truncated M*.) 11:52 – Theme 2 (Transformation 8) now with a quivering, repeated chord accompaniment, growing in strength. 12:21 – Theme 2 in inversion (Transformation 9), with dramatic LH descents and ascents. The second phrase gets some nice modal colour, using the minor iv to move into G. 12:36 – M* developed first in the LH, before leaping into the RH. 12:50 – Theme 1, a rhapsodic octave descent (Transformation 10). “CODA” 13:03 – M* developed again – but now in the RH, then the LH (the latter with double harmonic colour). 13:16 – M* repeats 4 times in the bass, emphasising the b7 and b6. Passing C aug 6 harmonies in the RH, before a E arpeggio rises up the keyboard. 13:27 – Closing phrase, reintroducing the darkness from the beginning. T1 returns in E double harmonic (= major-ised Neapolitan minor), with a stark emphasis on the augmented sound of the C appoggiatura (recalling m.201 and similar).