Liszt: Venezia e Napoli s. 162 (Ian Lindsey)

Années de Pèlerinage book 2 (supplement) “Venezia e Napoli”:

Liszt wrote in total, 3 books (or collections of pieces) of Années de Pèlerinage. Translated as “years of travel”, each set represents distinctly different styles in his compositional development. The title was of course inspired by Liszt’s own travels, but also at least in part by Goethe’s Novels “Wilhelm Meister’s Apprenticeship” and “Wilhelm Meister’s Journyman Years”.

The first book of Anées is titled Suisse (1855), and was derived from his earlier Album d'un voyageur. Both the the second and third are titled Italie (1858, 1883). Most of the pieces found in first and third volumes have titles that imply descriptions of places, while book 2 concerns itself directly with literature. Many of the pieces are prefaced with literary quotes (though they often don’t appear in modern editions).

In 1861, Liszt published a set of three pieces, titled “Venezia e Napoli” as a supplement to his book 2 . The original version of Venezia e Napoli was a collection of four pieces written between 1838 and 1840, but never published during his lifetime. Two of the pieces were removed, though thematic material from the first was later incorporated into his symphonic poem “Tasso”, while the final two “Gondoliera” and “Tarantella” were heavily revised and incorporated into the final version that we know today.


Gondoliera:

As its title may suggest, Gondoliera is a Venetian barcarolle in the usual 6/8 time. A brief introduction precedes the main body of the piece - a dream-like rendition of the popular gondolier song "La biondina in gondoletta" by Giovanni Battista Peruchini.
The piece is written in the form of through-composed variations, but this easily may go unnoticed because the serene character remains unchanged throughout, despite the ever increasing addition of delicate filigree. A small coda closes the piece with an interesting bell-like effect in the bass that recalls the sound of the“campanili” or bell towers that are often associated with Venice.

Canzone:

Though similar in form, this piece contrasts greatly in tone to the more ethereal Gondoliera. The introduction begins abruptly and the melody descends into the lower depths of the keyboard. Simply accompanied with tremolos reminiscent of mandolin playing, the main body of the piece is based on the gondolier's song "Nessun maggior dolore" from Rossini’s Opera, “Otello”. Liszt heightens Verdi’s use of dramatic melancholy in this version. With its juxtaposition of Major/minor harmonies, the bittersweet coda aptly conveys the title of the song, which is roughly translated as “There is no greater sorrow than to recall happiness in the midst of misery”.

Tarantella:

In terms of both length and popularity, the sprawling tarantella is the standout star of the set. Resembling a form of three parts (fast-moderato-fast), it is actually composed utilizing only two themes (originally by Guillaume-Louis Cottrau, 1797–1847), similar in structure to that of the first Mephisto Waltz.

Interrupting the final bars of the Canzone, the vigorous first theme in g minor makes heavy use of the flat II (Neapolitan) chord. The theme is also characterized by rapid repeated notes, triplets, leaps and arpeggi. Over almost before it begins, the theme gives way to a more lyrical theme in E-flat Major, with a gently swaying guitar-like accompaniment. Liszt modulates through many keys and varies the texture considerably, cleverly using this theme in its many guises throughout the rest of the piece.


Performed October 30, 2021 in Boston’s Glissando Series.