Bagatelle sans tonalité
Encyclopedia
Bagatelle sans tonalité is a piece for solo piano written by Franz Liszt
in 1885. The manuscript bears the title "Fourth Mephisto Waltz" and may have been intended to replace the piece now known as the Fourth Mephisto Waltz when it appeared Liszt would not be able to finish it; the phrase Bagatelle ohne Tonart actually appears as a sub-title on the front-page of the manuscript.
The Bagatelle is a waltz in a typical sectioned dance form, with repeated sections given inventive variation. While this piece is not especially dissonant or atonal
in the same sense as in Schoenberg
's music, it is extremely chromatic
, becoming what Liszt's contemporary Fetis called "omnitonic" in that it lacks any definite feeling for a tonal center. Some critics have suggested, however, that the various underpinnings of the piece—in other words, the main bass notes and melodic elements—work together to imply an underlying tonality of D
, which would link the Bagatelle in terms of tonality with the Fourth Mephisto Waltz.
, not by Goethe but by Nikolaus Lenau
(1802–1850). The following program note, which Liszt took from Lenau, appears in the printed score of the Mephisto Waltz No. 1:
s. Some have analyzed the piece as being constructed around a symmetrical chord—the G-sharp diminished chord
with which the work ends—with the B
-F
tritone
symbolizing Mephistopholes as part of this chord. The lack of a definite key feeling, these critics continue, is due to the piece's reliance on mainly tritone and diminished seventh
harmony
, as well as the piece's ending in an indefinite manner.
The main theme, marked Scherzando, alternates between F-sharp and F natural
, suggesting an oscillation traditional between major and minor modes. Consequently, the main elements of this melody, E
and A
, combine with C-sharp in the bass to project what would traditionally be considered the dominant
here.
A contrasting appassionato section contains a bass line of C-sharp D E-flat E F, that conforms with a standard tonal progression in D minor
. Moreover, the motivic activity between this bass line and the melodic features of the introduction strengthens the significance of D as a tonal center, overriding sectional contrasts. The second half of this work is basically a repeat of the first half with glittering variations based for the most part on the harmonic underpinning. The fact the Fourth Mephisto Waltz is written in D major
confirms to some critics that Liszt may have intended this work to replace it and that it was indeed written in 1885.
Franz Liszt
Franz Liszt ; ), was a 19th-century Hungarian composer, pianist, conductor, and teacher.Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age...
in 1885. The manuscript bears the title "Fourth Mephisto Waltz" and may have been intended to replace the piece now known as the Fourth Mephisto Waltz when it appeared Liszt would not be able to finish it; the phrase Bagatelle ohne Tonart actually appears as a sub-title on the front-page of the manuscript.
The Bagatelle is a waltz in a typical sectioned dance form, with repeated sections given inventive variation. While this piece is not especially dissonant or atonal
Atonality
Atonality in its broadest sense describes music that lacks a tonal center, or key. Atonality in this sense usually describes compositions written from about 1908 to the present day where a hierarchy of pitches focusing on a single, central tone is not used, and the notes of the chromatic scale...
in the same sense as in Schoenberg
Arnold Schoenberg
Arnold Schoenberg was an Austrian composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School...
's music, it is extremely chromatic
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. Chromaticism is in contrast or addition to tonality or diatonicism...
, becoming what Liszt's contemporary Fetis called "omnitonic" in that it lacks any definite feeling for a tonal center. Some critics have suggested, however, that the various underpinnings of the piece—in other words, the main bass notes and melodic elements—work together to imply an underlying tonality of D
D (musical note)
D is a musical note a whole tone above C, and is known as Re within the solfege system.When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of middle D is approximately 293.665 Hz. See pitch for a discussion of historical variations in...
, which would link the Bagatelle in terms of tonality with the Fourth Mephisto Waltz.
Program
The Bagatelle, like the Mephisto Waltzes, could be considered a typical example of program music, taking for its program an episode from FaustFaust
Faust is the protagonist of a classic German legend; a highly successful scholar, but also dissatisfied with his life, and so makes a deal with the devil, exchanging his soul for unlimited knowledge and worldly pleasures. Faust's tale is the basis for many literary, artistic, cinematic, and musical...
, not by Goethe but by Nikolaus Lenau
Nikolaus Lenau
Nikolaus Lenau was the nom de plume of Nikolaus Franz Niembsch Edler von Strehlenau , was a German language Austrian poet.-Biography:...
(1802–1850). The following program note, which Liszt took from Lenau, appears in the printed score of the Mephisto Waltz No. 1:
There is a wedding feast in progress in the village inn, with music, dancing, carousing. MephistophelesMephistophelesMephistopheles is a demon featured in German folklore...
and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddleFiddleThe term fiddle may refer to any bowed string musical instrument, most often the violin. It is also a colloquial term for the instrument used by players in all genres, including classical music...
from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightengale warbles his love-laden song."
Form
Written in waltz form, the Bagatelle remains one of Liszt's most adventurous experiments in pushing beyond the bounds of tonality, concluding with an upward rush of diminished seventhDiminished seventh
In classical music from Western culture, a diminished seventh is an interval produced by narrowing a minor seventh by a chromatic semitone. For instance, the interval from A to G is a minor seventh, ten semitones wide, and both the intervals from A to G, and from A to G are diminished sevenths,...
s. Some have analyzed the piece as being constructed around a symmetrical chord—the G-sharp diminished chord
Diminished chord
A diminished triad chord or diminished chord is a triad consisting of two minor thirds above the root — if built on C, a diminished chord would have a C, an E and a G. It resembles a minor triad with a lowered fifth....
with which the work ends—with the B
B (musical note)
B, also known as H, Si or Ti, is the seventh note of the solfège. It lies a chromatic semitone below C and is thus the enharmonic equivalent of C-flat....
-F
F (musical note)
F is a musical note, the fourth above C. It is also known as fa in fixed-do solfège.When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle F is approximately 349.228 Hz. See pitch for a discussion of historical variations in...
tritone
Tritone
In classical music from Western culture, the tritone |tone]]) is traditionally defined as a musical interval composed of three whole tones. In a chromatic scale, each whole tone can be further divided into two semitones...
symbolizing Mephistopholes as part of this chord. The lack of a definite key feeling, these critics continue, is due to the piece's reliance on mainly tritone and diminished seventh
Diminished seventh
In classical music from Western culture, a diminished seventh is an interval produced by narrowing a minor seventh by a chromatic semitone. For instance, the interval from A to G is a minor seventh, ten semitones wide, and both the intervals from A to G, and from A to G are diminished sevenths,...
harmony
Harmony
In music, harmony is the use of simultaneous pitches , or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic...
, as well as the piece's ending in an indefinite manner.
The main theme, marked Scherzando, alternates between F-sharp and F natural
F (musical note)
F is a musical note, the fourth above C. It is also known as fa in fixed-do solfège.When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle F is approximately 349.228 Hz. See pitch for a discussion of historical variations in...
, suggesting an oscillation traditional between major and minor modes. Consequently, the main elements of this melody, E
E (musical note)
E or mi is the third note of the solfège.When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle E is approximately 329.628 Hz. See pitch for a discussion of historical variations in frequency.-Designation by octave:...
and A
A (musical note)
La or A is the sixth note of the solfège. "A" is generally used as a standard for tuning. When the orchestra tunes, the oboe plays an "A" and the rest of the instruments tune to match that pitch. Every string instrument in the orchestra has an A string, from which each player can tune the rest of...
, combine with C-sharp in the bass to project what would traditionally be considered the dominant
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
here.
A contrasting appassionato section contains a bass line of C-sharp D E-flat E F, that conforms with a standard tonal progression in D minor
D minor
D minor is a minor scale based on D, consisting of the pitches D, E, F, G, A, B, and C. In the harmonic minor, the C is raised to C. Its key signature has one flat ....
. Moreover, the motivic activity between this bass line and the melodic features of the introduction strengthens the significance of D as a tonal center, overriding sectional contrasts. The second half of this work is basically a repeat of the first half with glittering variations based for the most part on the harmonic underpinning. The fact the Fourth Mephisto Waltz is written in D major
D major
D major is a major scale based on D, consisting of the pitches D, E, F, G, A, B, and C. Its key signature consists of two sharps. Its relative minor is B minor and its parallel minor is D minor....
confirms to some critics that Liszt may have intended this work to replace it and that it was indeed written in 1885.