ABSTRACT
My intention in this chapter is to juxtapose a rather particular configuration of stylemes (by which I mean ‘topics’, in the sense elaborated, for example, by Leonard Ratner) detected in the works of Liszt, with the ‘form’ and ‘substance’ of one of the main literary works of reference of the nineteenth century: Goethe’s Faust. On the basis of Molinie´’s model, discussed shortly, I will refer to these as the ‘form of the contents’ and the ‘substance of the contents’. Using the methodology of my earlier studies,2 I propose a serial investigation into the piano works written by Liszt between 1834 and 1863. The pieces are as follows: Andante lagrimoso (no. 9 of the Harmonies poe´tiques et religieuses, 1834-1852), Pense´e des morts (no. 4 of the
1Translated by Jean-Marc Mojon. 2Morphologie des oeuvres pour piano de F. Liszt. Influence du programme sur
l’e´volution des formes instrumentales, Budapest, 1987; 2nd edn, Paris: Kime´ (1996).
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oeuvres pour piano de F. Liszt’, Studia musicologica Academicae Scienciarum
Hungaricae, 26 (Budapest, 1984), pp. 199-218. ‘La sonate en si mineur de Liszt: une
strate´gie narrative complexe’, Analyse musicale, No. 8 (June 1987), pp. 64-70.
‘Strate´gies narratives des ‘e´pope´es philosophiques’ de l’e`re romantique dans l’oeuvre
pianistique de F. Liszt’, Studia musicologia Academicae Scienciarum Hungaricae, 28
(1986), pp. 99-115. ‘La place du roman ‘Oberman’ de Se´nancour et de la ‘Valle´e
d’Obermann’ de F. Liszt parmi les genres musico-litte´raires au XIXe sie`cle’, Mots,
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