Shochannel TV's video: Franz Liszt Bagatelle sans tonalite

この曲はリストの最晩年、1885年に作曲された曲で、音楽史上もっとも古い無調を標榜する音楽である。ただしシェーンベルクら新ウィーン楽派の、西洋音楽の音律における12のピッチクラスを自由に使用し、後に12音音楽へと発展する無調とは異なり、『移調の限られた旋法』第2番と一致する旋法を基本に作られた曲である。 もともとこの曲のタイトルは「メフィスト・ワルツ第4番」であったが、後にこのタイトルは削除され、しっかりと「無調」と記されたタイトルになった。作曲上の経緯から、「メフィスト・ワルツ集」と称するCDにはこの曲が必ず収録される。 なお「メフィスト・ワルツ第4番」は別の曲として後に彼の手によって作曲されたが、中間部はスケッチのみが残され構想上未完となった。一応曲は終止線のところまで書かれており、曲としては完成している（その後、レスリー・ハワードにより補筆完成された）。 「無調のバガテル」は完成直後の1885年7月10日にヴァイマルで、リストの弟子の一人であるフーゴー・マンスフェルトの演奏で初演されたが、長い間知られておらず、リストの死後70年経過した1956年に再発見され、Editio Musica Budapestより出版された[1]。同時期に「メフィスト・ワルツ第4番」も見つかった。 速度指定はAllegretto mosso、4分の3拍子。曲の雰囲気は非常に独特の空気が漂う。最後は減七和音の半音階的平行移動で終結するようになっており、曲が円満完結されないような和音で終わっているのもこの曲の大きな特徴である。 Program The Bagatelle, like the Mephisto Waltzes, could be considered a typical example of program music, taking for its program an episode from Faust, 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: There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle 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 nightingale 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 sevenths. 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 Mephistopheles 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. Premiere and publication Unlike the Third and Fourth Mephisto Waltzes, the Bagatelle received its premiere within Liszt's lifetime, by his pupil Hugo Mansfeldt in Weimar on June 10, 1885.[10] Like the Fourth Mephisto Waltz, however, it was not published until 1955.