Between opera and the Lied – ‘Tre sonetti di Petrarca’ by Franz Liszt
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Date
2013
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Katedra Muzykologii, Wydawnictwo Naukowe PTPN, Wydawnictwo Naukowe UAM
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Abstract
Franz Liszt composed his songs in the time when Europe was at the peak of the development
of the Romantic form – das Lied. However, it seems that not all of Liszt’s songs should be discussed
from this perspective, pointing at least at signifi cant infl uences of the 19th century Italian opera.
The second version of a set of Tre sonetti di Petrarca refl ects not only some changes in the composer’s
technique or style, but above all, constitutes an evidence of certain tendencies in perceiving vocal
technique and the development of Italian and European vocal aesthetics.
It might be assumed that, even though the music construction of the second version of the Sonnets –
particularly in the layer of melody of the vocal part – brings to mind the Italian operatic aria in its almost
purest form, the deeply emotional musical interpretation of Petrarch’s most beautiful love lyrics seems
to strongly derive from the already shaped German Romantic song. On the whole, the masterpiece is
a bit eclectic, which in the light of Liszt’s reference to the past (belcanto form of an Italian aria, Renaissance
lyrics) constitutes – as it could be called today – the author’s postmodern reinterpretation.
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Liszt, Tre sonetti di Petrarca, das Lied, opera, belcanto, songs, singing aesthetics
Citation
Interdisciplinary Studies in Musicology 13, Poznań 2013, pp. 57-66
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ISBN
ISSN
1734-2406