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1067:, but where before it represented the sufferings of the damned, now it is a cruel parody of that suffering in the mouths of their attendant devils. The tempo quickens and the music reaches a climax; the second subject is recapitulated with little alteration from the exposition. Presumably the recapitulation represents the Eighth and Ninth Circles of Hell.
1756:, reviewing the work in 1885, criticized it heavily, complaining that the manner in which the programme was presented by Liszt could just as well represent "a London house when the kitchen chimney is on fire". He then notes that the symphony is "extremely loud", mentioning the fortissimo trombones, that later repeat at
1508:
The female or boys' choir is not to be placed in front of the orchestra, but is to remain invisible together with the harmonium, or in the case of an amphitheatrical arrangement of the orchestra, is to be placed right at the top. If there is a gallery above the orchestra, it would be suitable to have
1254:
and its agonizing figurations are in marked contrast to the beatific music of the opening section. The muted violas introduce the principal theme, which comprises a series of agitated fragments in B minor. The music graphically reflects the pleading and suffering of the penitents before it breaks up
1235:
This is developed at length, being joined in counterpoint with a variant of the second theme. The music finally dies away and silence ensues, bringing this opening section to a close in B minor. The second terrace of Ante-Purgatory is inhabited by the late repentant. In Canto 7 there is a celebrated
874:
This theme is then taken up and extended by a pair of clarinets, accompanied by the same harp glissandi and chromatic figures that opened the section. After a restatement a fourth higher by the bass clarinet, the recitative is played by the cor anglais and this time Liszt sets the music to the words
1108:
in structure. The first section is solemn and tranquil and in two parts; in the second section, which is more agitated and lamentable, a fugue is built up to a grand climax; in the final section, there is a return to the mood of the opening, the principal themes of which are recapitulated. This
791:
Although Liszt provides no verbal clues to the literary associations of these themes, it seems reasonable to assume that the exposition and ensuing section represent the
Vestibule (in which the dead are condemned to perpetually chase after a whirling standard) and First Circle of Hell
1087:
theme returns for the last time: Dante and Virgil emerge from Hell on the other side of the world. The movement ends in D, though there is no conventional authentic cadence. The tonal ambiguity which has coloured the movement from the beginning is maintained to the very last measure.
212:
Liszt agreed and explained that such had been his original intention, but he had been persuaded by
Princess Carolyne to end the symphony in a blaze of glory. He rewrote the concluding measures, but in the printed score, he left the conductor with the option of following the
263:
in
Dresden on 7 November, 1857. The performance was an unmitigated disaster due to inadequate rehearsal; Liszt, who conducted the performance, was publicly humiliated. Nevertheless, he persevered with the work, conducting another performance (along with his symphonic poem
840:
As Dante and Virgil enter the Second Circle of Hell, rising and falling chromatic scales in the strings and flutes conjure up the infernal Black Wind that perpetually buffets the damned. The music grinds to a halt, and quiet drum beats lead to silence. An episode in
815:
section explores both subjects at length, but motifs from the introduction are also developed. The second subject is heard in B major. The descent motif reasserts itself as Dante and Virgil descend deeper into Hell. The music reaches a great climax
197:
in the same way only gives a hint of a soft, shimmering
Paradise. I was the more startled to hear this beautiful suggestion suddenly interrupted in an alarming way by a pompous, plagal cadence which, as I was told, was supposed to represent St
2094:
tout chargé de commentaires et de notes... Il me priait de tirer de là , si je pouvais, un poëme d'oratorio, ou même d’opéra mystique en trois parties. J'aurais dû peut-être tenter la chose. Pourquoi ne le fis-je pas? je n'en sais rien."
1741:. Majestic trumpets and trombones – accompanied by rising scales in the strings and woodwind, and by chords in the horns, harps, harmonium and strings – set the scene for a reappearance of the chorus. Three repetitions of a single word,
2402:
Jean-Pierre
Barracelli (1982), p. 158, identifies this passage with the band of sneering and obscene devils who provide an escort for Dante and Virgil in the Eighth Circle (Cantos 21 and 22). He also mentions Liszt's use of the
244:. The first two were to be purely instrumental, and the finale choral. Wagner, however, persuaded Liszt that no earthly composer could faithfully express the joys of Paradise. Liszt dropped the third movement but added a choral
724:
These motifs are developed at length as the tempo gradually increases and the tension builds. The music is dark and turbulent. The chromatic and atonal nature of the material conveys a sense of urgency and growing excitement.
1377:
theme from the opening section is heard once again, and both themes are briefly alternated. Two harps take up the triplets and the concluding strain of the movement's opening theme returns. The music modulates from
1079:. The final pages of the movement are dominated by the descent motif and the second subject. After a climax, the music comes to a momentary pause. The descent motif quickly builds up to an even greater climax (
2460:
Jean-Pierre
Barricelli (1982) suggests that the liturgical music of the first part represents the collective suffering of the penitents, while the "introspective fugue" suggests individual meditation on one's
127:
to recreate the winds of Hell at the end of the first movement. Although
Princess Carolyne was willing to defray the costs, nothing came of these ambitious plans and the symphony was set aside until 1855.
1544:, i.e. each bar is divided into two dotted half notes. The choir intones the words against a shimmering backdrop of divided strings, rocking figurations in the woodwind and arpeggios played by two harps.
2429:
Jean-Pierre
Barracelli (1982), p. 152, identifies this section as representative of the sneering devils in the Eighth Circle (Cantos 21 and 22) and the sight of Lucifer in the Ninth Circle (Canto 34).
1281:). The horns join the fugue as it reaches its climax, at which point the music disintegrates into fragments and grows softer; but it soon finds its voice again and is worked up into a huge climax in
107:
at midnight, and later invited Autran to collaborate with him on a Dante oratorio or opera, which the poet failed to pursue. In 1847, he played some fragments on the piano for his Polish mistress
860:
ensues, beginning with harp glissandi and chromatic figurations in strings and woodwind that once again invoke the swirling wind. After a pause, however, the bass clarinet intones an expressive
296:
is an innovatory work, featuring numerous orchestral and harmonic advances: wind effects, progressive harmonies that generally avoid the tonic-dominant bias of contemporary music, experiments in
4426:
3112:
256:
argues that while Liszt may have felt more at home portraying the infernal regions than the celestial ones, the task of portraying
Paradise in music would not have been beyond his powers.
759:, which is introduced by the violins, is based on the same rising and falling semitones that we heard in the introduction. Ostensibly it begins in D minor, but the tonality is ambiguous:
2359:
Jean-Pierre
Barracelli (1982) identifies this with the defiance of Capaneus (Canto 14) and Vanni Fucci (Canto 24), whom Dante encounters in the Seventh and Eighth Circles respectively.
666:
The first and third of these themes are punctuated by an important drum-roll motif played on two timpani and the tamtam, which recurs in various forms throughout the movement:
248:
at the end of the second movement. This action, some critics claim, effectively destroyed the work's balance, leaving the listener, like Dante, gazing upward at the heights of
4418:
796:), which Dante and Virgil traverse after they have passed through the Gates of Hell. It is even possible that the transition between the two subjects represents the river
2120:
Alan Walker (1989), p. 50. Here, Walker writes that the symphony was "shelved until 1856", but on page 260, he writes that work on the symphony was resumed in June 1855.
189:, in which the delicate fragrance of a last reminiscence of Gretchen overpowers everything, without arresting the attention by a violent disturbance. The ending of the
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tripartite structure reflects the architecture of Dante's Mount Purgatory, which can also be divided into three parts: the two terraces of Ante-Purgatory, where the
2798:
594:
The first of these themes, which is immediately repeated in a slightly varied form, begins in D minor – a key Liszt associated with Hell – but ends ambiguously on G
3047:
2451:
movement makes no attempt to depict Dante's journey in strict chronological order, presenting instead contrasting aspects of the penitents' hopes and sufferings.
60:. It was premiered in Dresden on 7. November 1857, with Liszt conducting himself, and was unofficially dedicated to the composer's friend and future son-in-law
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274:) in Prague on 11 March, 1858. Princess Carolyne prepared a programme for this concert to help the audience follow the unusual form of the symphony.
25:
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theme from the slow introduction, accompanied by the drum-roll motif. Once again Liszt inscribes the score with the corresponding words of the
2090:
de Dante, dont nous venions de parler ensemble... A quelque temps de là , je reçus d'Italie une lettre de Listz accompagnée d'un exemplaire de
1692:. Liszt was proud of this innovatory use of the whole-tone scale, and mentions it in a letter to Julius Schäffer, the music director of the
5121:
1764:. On the other hand, James Huneker called the work "the summit of creative power and the ripest fruit of that style of programme music".
5401:
2596:. Bucknell Review. Vol. 26: Literature, Arts and Religion. Lewisburg, Pennsylvania: Bucknell University Press. pp. 149–166.
131:
In June 1855, Liszt resumed work on the symphony and had completed most of it before the end of the following year. Thus, work on the
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2826:
2787:
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151:. For this reason, and because they are the only symphonies Liszt ever composed (though certainly not his only symphonic works), the
1616:
The whole orchestra resounds with the same phrase. After another brief silence, the choir sings a chorale to the second line of the
4970:
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in the Seventh Circle of Hell (Canto 14). The dominant motifs – triplets, trills and falling seconds – have all been heard before.
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518:) based on three recitative-like themes, which Liszt has set to four of the nine lines inscribed over the Gates of Hell:
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The music is chromatic and tonally ambiguous; although the movement is essentially in D minor, this is often negated by G
4951:
185:
If anything had convinced me of the man's masterly and poetical powers of conception, it was the original ending of the
5530:
4990:
4769:
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movement to be choral, it is not at all certain to what extent the final outcome was due to Wagner's intervention: the
1968:
1819:
312:, chamber-music interludes, and the use of unusual musical forms. The Symphony is also one of the first to make use of
2256:, "Female chorus. Female or boys' voices." He also requests that the harmonium and choir be invisible to the audience.
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111:. At this early stage in the composition, it was Liszt's intention that performances of the work be accompanied by a
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12:88, Virgil refers to Beatrice as one who briefly left off her singing of the Hallelujah in order to visit him.
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conclusion, which he thought was inappropriate as a depiction of Paradise. In his autobiography, he later wrote:
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1369:
After a long pause the chorale from the opening section is recapitulated in augmentation, accompanied by string
4326:
4087:
4055:
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1892:
1182:. This tranquil episode represents perhaps the excommunicate, who inhabit the first terrace of Ante-Purgatory.
618:
The second theme is closely related to the first, but this time there is an unambiguous authentic cadence on G
259:
Liszt put the final touches to the symphony in the autumn of 1857. The premiere of the work took place at the
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recalled that in summer 1845, Liszt improvised for him "a passionate and magnificent symphony upon Dante's
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676:
As the tempo increases, a motif derived from the first of these themes is introduced by the strings. This
5128:
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4369:
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3128:
2111:
A performance with slideshow was eventually given in Brussels in 1984. See Derek B. Scott (2003), p. 140.
1028:
for harp, continuing the Black Wind motif, leads to a passage which Liszt marks with the following note:
800:, which separates the Vestibule from the First Circle: on paper the figurations are reminiscent of those
1646:; this is in marked contrast to the first movement, where key shifts were sudden and disjointed. As the
1642:
in a series of carefully crafted modulations, which reflect Dante's ascent sphere-by-sphere towards the
1139:). A solo horn introduces the opening theme to the accompaniment of rocking chords on muted strings and
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1918:
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207:"No!" I exclaimed loudly, "not that! Away with it! No majestic Deity! Leave us the fine soft shimmer!"
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2438:
According to Jean-Pierre Barracelli (1982), p. 158, the final open fifths denote Lucifer's impotence.
2316:
1841:
694:), which is also derived from the symphony's opening theme, while the horns play the third theme in
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higher. This interval is traditionally associated with the Devil, being known in the Middle Ages as
4804:
4776:
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4112:
3213:
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2812:
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It was at this point during a rehearsal of the symphony that Liszt turned to the strings and said,
1827:
1823:
1777:
1602:, a solo trumpet call dies away to silence, after which a solo voice sings the opening line of the
1361:) and muted chords in the horns. The music fades away and the cellos bring things to a standstill.
1113:
and the late repentant expiate their sins; the seven cornices of Mount Purgatory proper, where the
941:
After a brief passage based on a theme derived from the recitative, there ensues an episode marked
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477:, but it is punctuated by a number of episodes representing some of the salient incidents of the
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84:
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the choir and harmonium positioned there. In any case, the harmonium must remain near the choir.
288:
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3019:
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1954:
879:, whose adulterous affair with her brother-in-law Paolo cost her both her life and her soul:
356:
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or key signatures to help resolve the tonal ambiguity. The harmony is based on sequences of
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The tempo quickens and the music becomes gradually louder as the time signature changes to
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1584:, i.e. each bar is divided into three dotted half notes). The choir sings triumphantly of
8:
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2038:: "I will attempt a symphonic composition based on ." See Kenneth Hamilton (2005), p.219.
1958:
1795:
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980:, a key Liszt often reserved for divine or beatific music. The theme actually begins in D
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1837:
945:. The tragic love of Francesca and Paolo is depicted at length by a passionate theme in
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This theme has been compared to the subject of the Fugue in C Major from Book One of
1950:
1932:
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1114:
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147:
56:
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In the full score, Liszt sanctions the use of a pianoforte "in the absence of harp".
1020:
As before, the transition to the next circle of Hell is prefaced by a return of the
95:
Liszt had been sketching themes for the work since the early 1840s. The French poet
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Jean-Pierre Barracelli (1982), p. 163, suggests that this is the voice of Beatrice.
2208:
Searle, "Orchestral," 310–11. It could be argued that this is precisely what Liszt
1936:
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singers (second movement only), one of the sopranos being required to sing a solo.
224:
1721:
The second ending, which follows rather than replaces the first ending, is marked
1529:; the score indicates that this time signature may be considered alternatively as
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dies away against a shimmering haze of rising and falling arpeggios on the harp:
336:
305:
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43:
35:
5135:
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2726:. Ed. Robert Simpson. 3 Vols. London, UK: Redwood Press Limited, 1972. 262–274.
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The third theme begins as a chantlike monotone played by horns and trumpets on E
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As it too dies away like the opening theme, it gradually metamorphoses into a
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2328:. Vol. 6. London: Kegan Paul, Trench, TrĂĽbner & Co., Ltd. pp.
1745:, bring the work to a towering conclusion with a plagal cadence in B major.
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at the summit, from which the soul, now purged of sin, ascends to Paradise.
690:
This is accompanied by another motif based on rising and falling semitones (
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description of evening in a beautiful valley where the penitents sing the
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episode from Canto 5 – lends the movement something of the structure of a
232:
Liszt's original intention was to compose the work in three movements: an
193:
seemed to me to be quite on the same lines, for the delicately introduced
162:
In October 1856, Liszt visited Richard Wagner in ZĂĽrich and performed his
71:
is not so much a symphony in the classical sense as it is two descriptive
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In the score, Liszt directs that the choir be hidden from the audience:
1030:
This entire passage is intended to be a blasphemous mocking laughter....
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This passage is punctuated by a brass motif taken from the third theme:
135:
roughly coincided with work on Liszt's other symphonic masterpiece, the
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on the violins, are accompanied by passionate figures in the woodwind (
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Liszt was not the only symphonic composer who was inspired by Dante's
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Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil
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Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil
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up to F. The whole chorus then joins together in a final, triumphant
1370:
1219:, which is solemnly intoned by horns and woodwind in a slower tempo (
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introduce a new theme, which is quickly passed to the first violins:
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major to B major, and passes without a break to the final chorus.
498:, which is as far as one can get from D. There are relatively few
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64:. The entire symphony takes approximately 50 minutes to perform.
2740:(New York: Taplinger Publishing Company, 1970). SBN 8008-2990-5
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The New Grove Dictionary of Music and Musicians, Second Edition
2086:"Il joua, il improvisa une symphonie ardente et magnifique sur
1904:
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1859:
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The key signature reverts to D major. The triplets, now played
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The New Grove Dictionary of Music and Musicians, First Edition
864:, which takes the instrument to the very bottom of its range:
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3413:
1266:
1240:; this passage may have inspired Liszt's chorale-like theme.
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793:
309:
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The Wood of the Self-Murderers: The Harpies and the Suicides
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2195:
is choral and is clearly meant to be a depiction of Dante's
1291:) that is strikingly reminiscent of the opening movement of
1265:
This theme is taken up by the other strings and a five-part
1047:, the key signature is cancelled, and the tempo quickens to
650:. It cadences on a tonally ambiguous diminished seventh on G
3811:
3468:
2624:(Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1965).
450:
434:
414:
360:
47:
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and a second subject is played by wind and strings over a
324:, respectively, anticipating its use in the symphonies of
316:, beginning and ending in the radically different keys of
3866:
2447:
Jean-Pierre Barracelli (1982), p. 159, suggests that the
2293:
1922:
728:
343:(the finale depicts Dante's triumphant return to Earth).
252:
and hearing its music from afar. Moreover, Liszt scholar
2795:
Analysis and description of Franz Liszt's Dante Symphony
1492:, however, is heard both in the Earthly Paradise of the
1243:
228:
The Dresden Hoftheater (later rebuilt as the Semperoper)
79:
consists of two movements, both in a loosely structured
5161:
Fantasy on Themes from Mozart's Figaro and Don Giovanni
2144:
Alan Walker (1989), pp. 409–410; Richard Wagner (1857).
1008:
are contrasted with the rest of the violins, which are
445:(second movement only), and a women's choir comprising
5407:
Franz Liszt International Piano Competition (Budapest)
2716:
From the Erotic to the Demonic: On Critical Musicology
2393:("Bluer, gentlemen!"). See Alan Walker (1989), p. 278:
5463:
1173:(though the key signature is altered from D major to
42:. Written in the high romantic style, it is based on
2073:
Studia Musicologica Academiae Scientiarum Hungaricae
1308:
This liberating climax takes us through a series of
680:
motif depicts Dante and Virgil's descent into Hell:
355:(doubling as 3rd flute in the second movement), two
170:
symphonies on the piano. Wagner was critical of the
2775:
Dante Symphony, full score and parts (Liszt, S.109)
2613:(1925). "Liszt's 'Dante' Symphony and Tone Poems."
1862:(recorded 2018, Congress Centrum Neue Weimarhalle,
1275:), and the music becomes louder and more agitated (
1136:
Andante con moto quasi Allegretto. Tranquillo assai
3254:
2784:Dante Symphony, 2 piano arrangement (Liszt, S.648)
2554:
2521:
1146:played by the harp. This theme is taken up by the
4295:Après une Lecture de Dante: Fantasia quasi Sonata
1634:In the triumphant coda, the divided chorus sings
1438:Et exsultavit spiritus meus in Deo salutari meo.
5487:
1925:(recorded September 1980, Paul-Gerhardt Church,
1392:The symphony concludes with a short setting for
751:: the slow introduction comes to an end and the
481:. The longest and most elaborate of these – the
2501:Jean-Pierre Barricelli (1982), pp. 155 and 164.
2407:here, though no such instrument appears in the
2279:, Volume 66, No. 988 (1 June 1925), pp. 505–507
2047:
437:(the second harp only in the second movement),
2340:just as the subject of the first fugue in the
2096:
2070:
1191:and the key signature reverts to D major. The
808:, though the aural effect is quite different.
4633:
3240:
2820:
2524:The great composers: reviews and bombardments
2344:is mendelsified into the introduction of the
1248:The second section of the movement is marked
1015:
960:time, which is also based on the recitative.
566:Through me is the way among the lost people.
558:Through me is the way to the sorrowful city,
514:The movement opens with a slow introduction (
5516:Musical settings of poems by Dante Alighieri
2321:
2071:Mária Eckhardt (1982), "Liszt à Marseille",
835:
5402:International Franz Liszt Piano Competition
2528:. University of California Press. pp.
2265:Jean-Pierre Barracelli (1982), pp. 151–152.
2234:Alan Walker (1989), p. 317 and pp. 488–489.
1676:. In this passage, the bass steps down the
1083:). In the final ten measures, however, the
4640:
4626:
3247:
3233:
2827:
2813:
2753:. Vol. 2. London: Faber & Faber.
2658:: CS1 maint: location missing publisher (
2589:
2187:, 11:45. As Liszt originally intended the
1459:And my spirit rejoices in God my saviour.
2788:International Music Score Library Project
2779:International Music Score Library Project
2724:The Symphony, Volume One: Haydn to Dvorak
2593:Liszt's Journey Through Dante's Hereafter
562:Through me is the way to eternal sorrow,
123:. He also planned to use an experimental
2743:Searle, Humphrey, "The Orchestral Works"
2631:
223:
159:symphonies are often recorded together.
4183:Divine Comedy Illustrated by Botticelli
1364:
1164:This whole section is then repeated in
1100:, depicts Dante and Virgil's ascent of
549:Lasciate ogni speranza voi ch'entrate.
5521:Cultural depictions of Dante Alighieri
5488:
5425:University of Music Franz Liszt Weimar
5392:Liszthaus Raiding (Liszt's birthplace)
2748:
2634:The Cambridge Companion to Franz Liszt
2552:
2470:Jean-Pierre Barracelli (1982), p. 162.
2420:Jean-Pierre Barracelli (1982), p. 158.
2254:Frauenchor. Frauen- oder Knabenstimmen
1269:ensues. The woodwind add their pleas (
1063:The first subject is recapitulated in
970:Curiously, the key signature suggests
858:Quasi Andante, ma sempre un poco mosso
804:uses in the Scene by the Brook in his
729:The Vestibule and First Circle of Hell
109:Princess Carolyne zu Sayn-Wittgenstein
4731:The Bells of the Strasbourg Cathedral
4621:
3228:
2808:
2713:
2646:Franz Liszt: Studien und Erinnerungen
2561:. Bucknell University Press. p.
1780:Orchestra, on Profil (recorded 1983,
1748:
1710:in B major; the timpani add a gentle
1706:The orchestra concludes with a quiet
1340:are answered by static chords in the
1332:. A brief transition ensues in which
1244:The Seven Cornices of Mount Purgatory
572:Abandon all hope you who enter here.
4244:As I Was Going Down Sackville Street
2689:Temperley, Nicholas, "Symphony (II)"
2640:
2622:The Complete Book on Classical Music
2519:
2513:
2322:Ashton Ellis, William (1908). "IV".
1400:choir of the first two lines of the
820:); the tempo reverts to the opening
741:and the time signature changes from
509:
2834:
2722:Searle, Humphrey. "Franz Liszt" in
2252:In the full score, Liszt calls for
2172:, Volume 2, Letter 190, 7 June 1855
2157:, Volume 2, Letter 189, 2 June 1855
543:Per me si va tra la perduta gente.
21:A Symphony to Dante's Divine Comedy
13:
5014:Harmonies poétiques et religieuses
2738:Franz Liszt: The Man and His Music
2170:Correspondence of Wagner and Liszt
2155:Correspondence of Wagner and Liszt
2034:In February 1839, he noted in his
1969:Los Angeles Philharmonic Orchestra
1820:Netherlands Philharmonic Orchestra
1698:
1626:
1608:
1590:
1546:
1300:
1257:
1227:
1197:
1156:
962:
866:
783:
761:
716:
706:
682:
668:
658:
626:
610:
535:Per me si va nella cittĂ dolente,
346:
67:Some critics have argued that the
14:
5562:
4097:Dante's Inferno: An Animated Epic
2995:Alighiero di Bellincione (father)
2768:
1733:of the first ending gives way to
1480:is not mentioned anywhere in the
1124:
1058:
539:Per me si va nell'eterno dolore,
461:The opening movement is entitled
5551:Music based on the Divine Comedy
5473:
5447:
5438:
5437:
4971:Variation on a Waltz by Diabelli
4600:
4599:
2686:Searle, Humphrey, "Liszt, Franz"
2590:Barricelli, Jean-Pierre (1982).
1955:Sächsische Staatskapelle Dresden
1810:Rotterdams Philharmonisch Orkest
1150:and horns, and after twenty-one
913:.... There is no greater sorrow
900:che ricordarsi del tempo felice
506:, which are often not resolved.
5211:Hans Bronsart von Schellendorff
4770:Ce qu'on entend sur la montagne
4647:
4392:A Place Where the Sun Is Silent
3076:Scuola Italiana Dante Alighieri
2583:
2546:
2504:
2495:
2486:
2473:
2464:
2454:
2441:
2432:
2423:
2414:
2396:
2383:
2374:
2362:
2353:
2305:
2284:
2268:
2259:
2246:
2237:
2228:
2219:
2202:
2177:
2162:
2147:
2138:
2123:
1884:Budapest Philharmonic Orchestra
1051:in preparation for the ensuing
473:. The structure is essentially
351:The symphony is scored for one
5526:Music based on Inferno (Dante)
3379:Gianni Schicchi de' Cavalcanti
2557:Literature, arts, and religion
2553:Garvin, Harry Raphael (1981).
2290:Derek B. Scott (2003), p. 134.
2114:
2105:
2080:
2064:
2041:
2028:
2015:
2006:
1994:
1893:Orchestre de la Suisse Romande
1514:The time signature changes to
1434:Magnificat anima mea Dominum,
1096:The second movement, entitled
1075:Another climax leads into the
1043:The time signature reverts to
1036:, Dante meets the blasphemous
90:
1:
4459:Paolo and Francesca da Rimini
3984:Pape SatĂ n, pape SatĂ n aleppe
2636:. Cambridge University Press.
1987:
1767:
1406:, culminating in a series of
1387:
1091:
5536:The Devil in classical music
5397:Franz Liszt Academy of Music
4081:The Deep and Dreamless Sleep
3991:Raphèl mai amècche zabì almi
2793:Franz Liszt's Dante Symphony
2708:Walker, Alan, "Liszt, Franz"
2628:Card Catalog Number 65-11033
2302:Alan Walker (1989), p. 154n.
2101:. Calmann-LĂ©vy. p. 101.
2099:"Lettres et notes de voyage"
2001:Franz Liszt’s Dante Symphony
1714:of their own. The work ends
1455:My soul magnifies the Lord,
640:against a string tremolo in
103:" on the organ of the empty
7:
5506:Compositions by Franz Liszt
2801:Description of the symphony
2698:(London: Macmillan, 2001).
2670:(London: Macmillan, 1980).
2510:Alan Walker (1989), p. 324.
2380:Alan Walker (1989), p. 316.
2225:Alan Walker (1989), p. 296.
2075:(T. 24, Fasc. 1/2): 163–197
2057:The New Hungarian Quarterly
1975:
1915:Gewandhausorchester Leipzig
1650:descend step by step from G
1336:triplets in the cellos and
917:Than to recall happy times
896:.... Nessun maggior dolore
824:, and the brass intone the
10:
5567:
4952:Morceau de salon, Ab Irato
4946:Grandes Ă©tudes de Paganini
4252:The System of Dante's Hell
3837:Constance, Queen of Sicily
2718:. Oxford University Press.
2632:Hamilton, Kenneth (2005).
2050:"The Organ Music of Liszt"
1919:VEB Deutsche Schallplatten
1624:, bassoons and clarinets.
1185:The tempo then changes to
1016:The Seventh Circle of Hell
456:
143:Johann Wolfgang von Goethe
115:depicting scenes from the
5531:Works based on Purgatorio
5433:
5384:
5193:
5170:
5154:RĂ©miniscences de Don Juan
5145:
4930:
4890:
4856:
4759:
4722:
4697:
4664:
4655:
4595:
4569:
4522:
4485:
4402:
4361:
4286:
4203:
4174:
4131:
4032:
4007:
4000:
3975:
3949:
3800:
3662:Bonconte I da Montefeltro
3620:
3553:
3497:
3474:Ugolino della Gherardesca
3314:Cavalcante de' Cavalcanti
3277:
3268:
3201:
3046:
3028:
2987:
2956:Books, articles, concepts
2955:
2914:
2882:
2842:
1842:Orchester Wiener Akademie
836:The Second Circle of Hell
421:(requiring two players),
339:composed a four-movement
4777:Tasso: lamento e trionfo
4737:Slavimo slavno, Slaveni!
3214:Dante Society of America
3048:Dante in popular culture
2714:Scott, Derek B. (2003).
2391:Mehr blau, meine Herren!
2048:Zoltán Gárdonyi (1985),
1778:Frankfurt Radio Symphony
1723:PiĂą mosso, quasi Allegro
1620:, accompanied by a solo
921:In the midst of misery.
465:and depicts Dante's and
141:, which was inspired by
5346:Agnes Street-Klindworth
5094:Grand galop chromatique
5080:Bagatelle sans tonalité
4105:La commedia di Amos Poe
3832:Charles Martel of Anjou
3707:Giovanna da Montefeltro
3459:Ruggieri degli Ubaldini
3071:Dante Alighieri Academy
2371:, Canto 5, lines 25–51.
2097:Autran, Joseph (1878).
1796:Berliner Philharmoniker
1359:dolente ed appassionato
1255:into flowing triplets:
1070:
769:The tempo increases to
469:'s passage through the
85:thematic transformation
16:Symphony by Franz Liszt
5032:Sarabande and Chaconne
4857:Other orchestral works
3767:Omberto Aldobrandeschi
3702:Gherardo III da Camino
3399:Guido I da Montefeltro
3000:Jacopo Alighieri (son)
2988:People in Dante's life
2520:Shaw, Bernard (1978).
2409:Breitkopf & Härtel
2325:Life of Richard Wagner
2003:Robert Greenberg Music
1703:
1631:
1613:
1595:
1551:
1512:
1305:
1262:
1232:
1202:
1161:
1129:The movement opens in
1117:are expiated; and the
1085:Lasciate ogni speranza
1022:Lasciate ogni speranza
967:
871:
826:Lasciate ogni speranza
788:
766:
733:At the climax of this
721:
711:
687:
673:
663:
631:
615:
229:
210:
5336:William Hall Sherwood
5231:Élie-Miriam Delaborde
4939:Transcendental Études
4467:La barca de Aqueronte
4113:Dante's Hell Animated
3897:Mary, mother of Jesus
3657:Bonagiunta Orbicciani
3359:Farinata degli Uberti
2978:Enciclopedia Dantesca
2851:De vulgari eloquentia
2749:Walker, Alan (1989).
2317:Well-Tempered Clavier
1899:(recorded June 1977,
1702:
1630:
1612:
1594:
1550:
1505:
1312:from F minor through
1304:
1261:
1231:
1201:
1160:
966:
870:
787:
765:
720:
710:
686:
672:
662:
630:
614:
272:second piano concerto
227:
182:
5291:José Vianna da Motta
5286:Sebastian Bach Mills
5108:Hungarian Rhapsodies
5045:Dem Andenken Petőfis
4977:Années de pèlerinage
4958:Three Concert Études
4915:Piano Concerto No. 3
4910:Piano Concerto No. 2
4905:Piano Concerto No. 1
4658:List of compositions
4582:English translations
4539:Devil May Cry series
4322:(Rachmaninoff, 1904)
3817:Bernard of Clairvaux
3086:Dante Park, Montreal
3081:Dante Park, New York
3037:Cando lucis aeternae
2871:Epistle to Cangrande
2275:M. D. Calvocoressi,
1856:Staatskapelle Weimar
1365:The Earthly Paradise
1344:horns and woodwind.
1285:for full orchestra (
737:, the tempo becomes
471:nine Circles of Hell
314:progressive tonality
5546:Magnificat settings
5496:Romantic symphonies
5129:Rhapsodie espagnole
5122:Rondeau fantastique
5115:Glanes de Woronince
4891:Piano and orchestra
4577:Cultural references
4443:The Barque of Dante
4411:The Barque of Dante
4327:Francesca da Rimini
4319:Francesca da Rimini
4314:(Tchaikovsky, 1876)
4311:Francesca da Rimini
4212:The Story of Rimini
3872:Hierarchy of angels
3857:Folquet de Marselha
3369:Francesca da Rimini
3175:Italian battleship
3129:The Barque of Dante
3097:The Barque of Dante
3020:Ferreto de' Ferreti
2947:Cultural references
2799:A Symphony to Dante
2694:ed Sadie, Stanley,
2666:ed Sadie, Stanley,
2626:Library of Congress
2611:Calvocoressi, M. D.
1959:Deutsche Grammophon
1754:George Bernard Shaw
1598:The tempo drops to
1484:; nor is there any
1427:
889:
877:Francesca da Rimini
528:
504:diminished sevenths
483:Francesca da Rimini
121:Bonaventura Genelli
105:Marseille Cathedral
83:with little use of
46:'s journey through
5420:Lisztomania (song)
5059:La lugubre gondola
4965:Two Concert Études
4750:Les quatre élémens
4587:In popular culture
4220:La Comédie humaine
4124:(2016 documentary)
4121:Botticelli Inferno
3722:Jacopo del Cassero
3642:Beatrice Portinari
3449:Pope Boniface VIII
3439:Pietro della Vigna
3145:Dante and Beatrice
3029:Papal commentaries
3015:Beatrice Portinari
2971:Dante Encyclopedia
2736:ed. Walker, Alan,
2683:, "Symphonic poem"
2617:66 (988): 505–507.
1965:Alfred Wallenstein
1749:Critical reception
1704:
1632:
1614:
1596:
1552:
1421:
1306:
1263:
1233:
1222:un poco meno mosso
1203:
1162:
968:
882:
872:
789:
767:
722:
712:
688:
674:
664:
632:
616:
606:diabolus in musica
521:
500:authentic cadences
230:
5511:1856 compositions
5501:Choral symphonies
5461:
5460:
5331:Giovanni Sgambati
5146:Opera paraphrases
5027:Sonata in B minor
4899:Hungarian Fantasy
4615:
4614:
4565:
4564:
4494:The Gates of Hell
4475:La Laguna Estigia
4414:(Delacroix, 1822)
4377:"Dante's Inferno"
4354:(Ronchetti, 2020)
4343:The Divine Comedy
4287:Music (classical)
4065:The Dante Quartet
3945:
3944:
3842:Cunizza da Romano
3762:Oderisi da Gubbio
3727:Giovanna Visconti
3616:
3615:
3454:Pope Nicholas III
3404:Iacopo Rusticucci
3222:
3221:
3091:Monument to Dante
2875:
2620:ed. Ewen, David,
2615:The Musical Times
2572:978-0-8387-5021-6
2539:978-0-520-03266-8
2277:The Musical Times
2092:la Divine Comédie
2088:la Divine Comédie
1951:Giuseppe Sinopoli
1933:Gianandrea Noseda
1889:JesĂşs LĂłpez-Cobos
1712:authentic cadence
1670:on the dominant F
1600:Un poco piĂą lento
1474:
1473:
1133:in a slow tempo (
1115:Seven Deadly Sins
939:
938:
806:Pastoral Symphony
739:Allegro frenetico
592:
591:
510:The Gates of Hell
405:and D, two tenor
57:The Divine Comedy
54:, as depicted in
28:, or simply the "
5558:
5478:
5477:
5476:
5469:
5451:
5441:
5440:
5371:JĂłzef Wieniawski
5341:Alexander Siloti
5241:Arthur Friedheim
5073:Mephisto Waltzes
4991:Feuilles d'album
4881:Mephisto Waltzes
4642:
4635:
4628:
4619:
4618:
4603:
4602:
4462:(Rossetti, 1885)
4454:(Rossetti, 1868)
4438:(Flandrin, 1835)
4430:(Scheffer, 1835)
4330:(Zandonai, 1914)
4140:Demon Lord Dante
4025:(Terragni, 1938)
4005:
4004:
3887:John the Apostle
3712:Guido Guinizelli
3677:Conrad Malaspina
3672:Cato the Younger
3495:
3494:
3275:
3274:
3249:
3242:
3235:
3226:
3225:
3164:(1921 sculpture)
3121:Dante and Virgil
3005:Guido Cavalcanti
2883:Works in Italian
2873:
2829:
2822:
2815:
2806:
2805:
2786:: Scores at the
2777:: Scores at the
2764:
2719:
2663:
2657:
2649:
2637:
2607:
2577:
2576:
2560:
2550:
2544:
2543:
2527:
2517:
2511:
2508:
2502:
2499:
2493:
2490:
2484:
2477:
2471:
2468:
2462:
2458:
2452:
2445:
2439:
2436:
2430:
2427:
2421:
2418:
2412:
2400:
2394:
2387:
2381:
2378:
2372:
2366:
2360:
2357:
2351:
2350:
2337:
2336:
2309:
2303:
2300:
2291:
2288:
2282:
2272:
2266:
2263:
2257:
2250:
2244:
2241:
2235:
2232:
2226:
2223:
2217:
2206:
2200:
2181:
2175:
2166:
2160:
2151:
2145:
2142:
2136:
2130:Richard Wagner,
2127:
2121:
2118:
2112:
2109:
2103:
2102:
2084:
2078:
2076:
2068:
2062:
2060:
2054:
2045:
2039:
2032:
2026:
2019:
2013:
2010:
2004:
1998:
1943:(recorded 2008,
1937:BBC Philharmonic
1876:Orchestra (2018)
1838:Martin Haselböck
1826:(recorded 1995,
1816:Hartmut Haenchen
1792:Daniel Barenboim
1774:Yuri Ahronovitch
1763:
1740:
1732:
1716:molto pianissimo
1691:
1690:
1685:
1684:
1678:whole-tone scale
1675:
1674:
1665:
1664:
1655:
1654:
1583:
1582:
1581:
1580:
1568:
1567:
1566:
1565:
1543:
1542:
1541:
1540:
1528:
1527:
1526:
1525:
1428:
1383:
1382:
1329:
1328:
1319:
1318:
1216:
1215:
1180:
1179:
1171:
1170:
1119:Earthly Paradise
1081:molto fortissimo
997:
996:
985:
984:
977:
976:
959:
958:
957:
956:
890:
855:
854:
853:
852:
818:molto fortissimo
703:
702:
655:
654:
647:
646:
639:
638:
623:
622:
599:
598:
529:
497:
496:
404:
403:
386:
385:
376:
375:
328:by forty years.
176:
5566:
5565:
5561:
5560:
5559:
5557:
5556:
5555:
5486:
5485:
5484:
5480:Classical Music
5474:
5472:
5464:
5462:
5457:
5429:
5380:
5321:Moriz Rosenthal
5296:Dionys Pruckner
5276:Heinrich Lutter
5261:Frederic Lamond
5246:Karl Klindworth
5226:Arthur De Greef
5189:
5166:
5141:
5066:Valse-Impromptu
4926:
4886:
4852:
4819:Héroïde funèbre
4761:Symphonic poems
4755:
4718:
4693:
4660:
4651:
4646:
4616:
4611:
4591:
4561:
4547:Dante's Inferno
4518:
4481:
4478:(Hidalgo, 1887)
4470:(Hidalgo, 1887)
4451:Pia de' Tolomei
4398:
4357:
4338:(Puccini, 1918)
4335:Gianni Schicchi
4282:
4199:
4170:
4156:Dante's Inferno
4148:Jimbo's Inferno
4127:
4089:Dante's Inferno
4057:Dante's Inferno
4049:Dante's Inferno
4028:
4017:(Palanti, 1923)
3996:
3971:
3941:
3882:James the Great
3796:
3772:Pia de' Tolomei
3647:Beatrice d'Este
3612:
3549:
3498:Circles of Hell
3493:
3424:Paolo Malatesta
3389:Gualdrada Berti
3364:Filippo Argenti
3304:Brunetto Latini
3294:Bertran de Born
3270:
3264:
3253:
3223:
3218:
3197:
3191:Dante's Inferno
3177:Dante Alighieri
3161:Dante Alighieri
3148:(1883 painting)
3140:(1871 painting)
3132:(1858 painting)
3124:(1850 painting)
3116:(1835 painting)
3108:(1835 painting)
3100:(1822 painting)
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3010:Brunetto Latini
2983:
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2836:Dante Alighieri
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2681:MacDonald, Hugh
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2036:Journal des Zyi
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2016:
2011:
2007:
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1995:
1990:
1978:
1961:(1998, Dresden)
1852:Kirill Karabits
1822:and Chorus, on
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1656:down to C, the
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1476:Curiously, the
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1322:and G minor to
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1209:-like theme in
1177:
1176:
1168:
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1102:Mount Purgatory
1094:
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1024:theme. A short
1018:
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986:minor, passing
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943:Andante amoroso
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904:ne la miseria.
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347:Instrumentation
337:Giovanni Pacini
306:time signatures
279:symphonic poems
254:Humphrey Searle
203:
200:
174:
93:
73:symphonic poems
44:Dante Alighieri
36:choral symphony
17:
12:
11:
5:
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5366:Bettina Walker
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5361:Anton Urspruch
5358:
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5326:Emil von Sauer
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5311:Martha Remmert
5308:
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5301:Laura Rappoldi
5298:
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5266:Georg Liebling
5263:
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5221:Eugen d'Albert
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5216:Hans von BĂĽlow
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5206:Arthur H. Bird
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4682:Transcriptions
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4531:King of Demons
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4497:(Rodin, 1917)
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4446:(Manet, 1850s)
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4362:Music (modern)
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4303:Dante Symphony
4299:
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4268:The Dante Club
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4164:Gert's Inferno
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4015:Palacio Barolo
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3932:Thomas Aquinas
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3877:Imperial Eagle
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3742:Marco Lombardo
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3697:Garden of Eden
3694:
3692:Gaia da Camino
3689:
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3632:Alagia Fieschi
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3169:Dante Symphony
3165:
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3125:
3117:
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3061:Dante asteroid
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2843:Works in Latin
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2769:External links
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2342:Wohltemperirte
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1870:Varujan Kojian
1867:
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1747:
1708:plagal cadence
1586:God my saviour
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1125:Ante-Purgatory
1123:
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1059:Recapitulation
1057:
1053:recapitulation
1017:
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1004:. Two unmuted
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811:The following
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511:
508:
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417:, two sets of
348:
345:
341:Sinfonia Dante
308:, fluctuating
302:key signatures
294:Dante Symphony
217:coda with the
191:Dante Symphony
187:Faust Symphony
172:Dante Symphony
138:Faust Symphony
133:Dante Symphony
119:by the artist
92:
89:
75:. Regardless,
69:Dante Symphony
62:Richard Wagner
31:Dante Symphony
15:
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5356:István Thomán
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5306:Carl Reinecke
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5281:Sophie Menter
5279:
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5264:
5262:
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5256:Carl Lachmund
5254:
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5251:Martin Krause
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5209:
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5201:Carl Baermann
5199:
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5185:
5184:Cosima Wagner
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5022:
5021:Deux légendes
5018:
5016:
5015:
5011:
5009:
5008:
5004:
5002:
5001:Ballade No. 2
4999:
4997:
4996:Ballade No. 1
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4992:
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4672:Musical works
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4435:Dante in Hell
4432:
4429:
4428:
4424:
4422:(Blake, 1827)
4421:
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4412:
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4346:(Smith, 1996)
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4306:(Liszt, 1857)
4305:
4304:
4300:
4298:(Liszt, 1849)
4297:
4296:
4292:
4291:
4289:
4285:
4278:
4277:
4273:
4270:
4269:
4265:
4262:
4261:
4257:
4254:
4253:
4249:
4246:
4245:
4241:
4238:
4237:
4233:
4230:
4229:
4228:Earth Inferno
4225:
4222:
4221:
4217:
4214:
4213:
4209:
4208:
4206:
4202:
4195:
4191:
4188:
4185:
4184:
4180:
4179:
4177:
4175:Illustrations
4173:
4166:
4165:
4161:
4158:
4157:
4153:
4150:
4149:
4145:
4142:
4141:
4137:
4136:
4134:
4130:
4123:
4122:
4118:
4115:
4114:
4110:
4107:
4106:
4102:
4099:
4098:
4094:
4091:
4090:
4086:
4083:
4082:
4078:
4075:
4074:
4070:
4067:
4066:
4062:
4059:
4058:
4054:
4051:
4050:
4046:
4043:
4042:
4038:
4037:
4035:
4031:
4024:
4023:
4019:
4016:
4013:
4012:
4010:
4006:
4003:
3999:
3992:
3988:
3985:
3981:
3980:
3978:
3974:
3968:
3967:Great refusal
3965:
3963:
3960:
3958:
3955:
3954:
3952:
3948:
3938:
3935:
3933:
3930:
3928:
3925:
3923:
3920:
3918:
3915:
3913:
3910:
3908:
3907:Peter Lombard
3905:
3903:
3900:
3898:
3895:
3893:
3890:
3888:
3885:
3883:
3880:
3878:
3875:
3873:
3870:
3868:
3865:
3863:
3860:
3858:
3855:
3853:
3850:
3848:
3845:
3843:
3840:
3838:
3835:
3833:
3830:
3828:
3825:
3823:
3820:
3818:
3815:
3813:
3810:
3809:
3807:
3805:
3804:
3799:
3793:
3790:
3788:
3785:
3783:
3782:Sapia Salvani
3780:
3778:
3777:Pope Adrian V
3775:
3773:
3770:
3768:
3765:
3763:
3760:
3758:
3757:Nino Visconti
3755:
3753:
3750:
3748:
3745:
3743:
3740:
3738:
3735:
3733:
3730:
3728:
3725:
3723:
3720:
3718:
3715:
3713:
3710:
3708:
3705:
3703:
3700:
3698:
3695:
3693:
3690:
3688:
3687:Forese Donati
3685:
3683:
3680:
3678:
3675:
3673:
3670:
3668:
3665:
3663:
3660:
3658:
3655:
3653:
3650:
3648:
3645:
3643:
3640:
3638:
3637:Arnaut Daniel
3635:
3633:
3630:
3629:
3627:
3625:
3624:
3619:
3609:
3606:
3604:
3601:
3599:
3596:
3594:
3591:
3589:
3586:
3584:
3581:
3579:
3576:
3574:
3571:
3569:
3566:
3564:
3561:
3560:
3558:
3556:
3552:
3546:
3543:
3541:
3538:
3536:
3533:
3531:
3528:
3526:
3523:
3521:
3518:
3516:
3513:
3511:
3508:
3506:
3503:
3502:
3500:
3496:
3490:
3487:
3485:
3482:
3480:
3477:
3475:
3472:
3470:
3467:
3465:
3462:
3460:
3457:
3455:
3452:
3450:
3447:
3445:
3442:
3440:
3437:
3435:
3432:
3430:
3427:
3425:
3422:
3420:
3417:
3415:
3412:
3410:
3407:
3405:
3402:
3400:
3397:
3395:
3392:
3390:
3387:
3385:
3384:Great refusal
3382:
3380:
3377:
3375:
3372:
3370:
3367:
3365:
3362:
3360:
3357:
3355:
3352:
3350:
3347:
3345:
3342:
3340:
3337:
3335:
3332:
3330:
3327:
3325:
3322:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3302:
3300:
3297:
3295:
3292:
3290:
3287:
3286:
3284:
3282:
3281:
3276:
3273:
3271:and locations
3267:
3263:
3262:
3261:Divine Comedy
3257:
3250:
3245:
3243:
3238:
3236:
3231:
3230:
3227:
3215:
3212:
3210:
3209:Tomb of Dante
3207:
3206:
3204:
3200:
3193:
3192:
3188:
3186:
3185:
3184:Devil May Cry
3181:
3179:
3178:
3173:
3171:
3170:
3166:
3163:
3162:
3158:
3155:
3154:
3150:
3147:
3146:
3142:
3139:
3138:
3137:Dante's Dream
3134:
3131:
3130:
3126:
3123:
3122:
3118:
3115:
3114:
3110:
3107:
3106:
3105:Dante in Hell
3102:
3099:
3098:
3094:
3092:
3089:
3087:
3084:
3082:
3079:
3077:
3074:
3072:
3069:
3067:
3064:
3062:
3059:
3057:
3054:
3053:
3051:
3049:
3045:
3039:
3038:
3034:
3033:
3031:
3027:
3021:
3018:
3016:
3013:
3011:
3008:
3006:
3003:
3001:
2998:
2996:
2993:
2992:
2990:
2986:
2980:
2979:
2975:
2973:
2972:
2968:
2966:
2965:
2961:
2960:
2958:
2954:
2948:
2945:
2943:
2942:
2938:
2936:
2935:
2931:
2929:
2928:
2924:
2923:
2921:
2919:
2918:
2917:Divine Comedy
2913:
2907:
2906:
2902:
2900:
2899:
2895:
2893:
2892:
2891:La Vita Nuova
2888:
2887:
2885:
2881:
2872:
2869:
2867:
2866:
2862:
2860:
2859:
2855:
2853:
2852:
2848:
2847:
2845:
2841:
2837:
2830:
2825:
2823:
2818:
2816:
2811:
2810:
2807:
2800:
2797:
2794:
2791:
2789:
2785:
2782:
2780:
2776:
2773:
2772:
2762:
2760:0-571-17215-6
2756:
2752:
2747:
2742:
2741:
2739:
2735:
2733:
2732:0-7153-5523-6
2729:
2725:
2721:
2717:
2712:
2707:
2706:
2705:
2704:0-333-60800-3
2701:
2697:
2693:
2688:
2685:
2682:
2679:
2678:
2677:
2676:0-333-23111-2
2673:
2669:
2665:
2661:
2655:
2647:
2643:
2642:Pohl, Richard
2639:
2635:
2630:
2627:
2623:
2619:
2616:
2612:
2609:
2605:
2603:9780838750216
2599:
2595:
2594:
2588:
2587:
2574:
2568:
2564:
2559:
2558:
2549:
2541:
2535:
2531:
2526:
2525:
2516:
2507:
2498:
2489:
2482:
2476:
2467:
2457:
2450:
2444:
2435:
2426:
2417:
2410:
2406:
2405:contrabassoon
2399:
2392:
2386:
2377:
2370:
2365:
2356:
2349:
2347:
2343:
2331:
2327:
2326:
2319:
2318:
2314:
2308:
2299:
2297:
2287:
2280:
2278:
2271:
2262:
2255:
2249:
2240:
2231:
2222:
2215:
2211:
2205:
2198:
2194:
2190:
2186:
2180:
2173:
2171:
2165:
2158:
2156:
2150:
2141:
2134:
2133:
2126:
2117:
2108:
2100:
2093:
2089:
2083:
2074:
2067:
2059:(Winter 1985)
2058:
2051:
2044:
2037:
2031:
2024:
2018:
2009:
2002:
1997:
1993:
1983:
1980:
1979:
1970:
1966:
1963:
1960:
1956:
1952:
1949:
1946:
1942:
1938:
1934:
1931:
1928:
1924:
1920:
1916:
1912:
1909:
1906:
1902:
1901:Victoria Hall
1898:
1894:
1890:
1887:
1885:
1881:
1878:
1875:
1874:Utah Symphony
1871:
1868:
1865:
1861:
1857:
1853:
1850:
1847:
1843:
1839:
1836:
1833:
1829:
1828:Concertgebouw
1825:
1821:
1817:
1814:
1811:
1807:
1804:
1801:
1797:
1793:
1790:
1787:
1783:
1779:
1775:
1772:
1771:
1765:
1762:
1761:
1755:
1746:
1744:
1739:
1738:
1731:
1730:
1724:
1719:
1717:
1713:
1709:
1701:
1697:
1695:
1679:
1669:
1659:
1649:
1645:
1641:
1637:
1629:
1625:
1623:
1619:
1611:
1607:
1605:
1601:
1593:
1589:
1587:
1578:
1563:
1549:
1545:
1538:
1523:
1511:
1510:
1504:
1501:
1499:
1495:
1491:
1487:
1483:
1479:
1469:
1468:
1464:
1460:
1456:
1451:
1448:
1447:
1443:
1439:
1435:
1430:
1429:
1426:
1425:
1419:
1417:
1416:
1411:
1410:
1405:
1404:
1399:
1395:
1385:
1376:
1372:
1362:
1360:
1356:
1352:
1351:
1345:
1343:
1339:
1338:double basses
1335:
1331:
1321:
1311:
1303:
1299:
1297:
1294:
1290:
1289:
1284:
1280:
1279:
1274:
1273:
1268:
1260:
1256:
1253:
1252:
1241:
1239:
1230:
1226:
1224:
1223:
1218:
1208:
1200:
1196:
1194:
1190:
1189:
1183:
1181:
1172:
1159:
1155:
1153:
1149:
1145:
1142:
1138:
1137:
1132:
1122:
1120:
1116:
1112:
1111:excommunicate
1107:
1103:
1099:
1089:
1086:
1082:
1078:
1068:
1066:
1056:
1054:
1050:
1046:
1041:
1039:
1035:
1031:
1027:
1023:
1013:
1011:
1007:
1003:
999:
989:
979:
965:
961:
954:
944:
934:
926:
923:
922:
918:
914:
909:
906:
905:
901:
897:
892:
891:
888:
886:
880:
878:
869:
865:
863:
859:
850:
833:
831:
827:
823:
819:
814:
809:
807:
803:
799:
795:
786:
782:
780:
776:
772:
764:
760:
758:
757:first subject
754:
750:
749:
744:
740:
736:
726:
719:
715:
709:
705:
697:
693:
685:
681:
679:
671:
667:
661:
657:
649:
629:
625:
613:
609:
607:
603:
587:
577:
574:
573:
567:
563:
559:
554:
551:
550:
544:
540:
536:
531:
530:
527:
525:
519:
517:
507:
505:
501:
490:
488:
484:
480:
476:
472:
468:
464:
454:
452:
448:
444:
440:
436:
432:
428:
424:
420:
416:
412:
411:bass trombone
408:
398:
394:
390:
380:
379:bass clarinet
370:
366:
362:
358:
354:
344:
342:
338:
334:
329:
327:
326:Gustav Mahler
323:
319:
315:
311:
307:
303:
299:
295:
291:
290:
285:
284:
280:
275:
273:
269:
268:
262:
257:
255:
251:
247:
243:
239:
235:
226:
222:
220:
216:
209:
208:
204:
201:
199:
194:
190:
186:
181:
179:
173:
169:
165:
160:
158:
154:
150:
149:
144:
140:
139:
134:
129:
126:
122:
118:
117:Divine Comedy
114:
110:
106:
102:
101:Divine Comedy
98:
97:Joseph Autran
88:
86:
82:
78:
74:
70:
65:
63:
59:
58:
53:
49:
45:
41:
37:
33:
32:
27:
23:
22:
5412:
5316:Eduard Reuss
5271:Max Liebling
5159:
5152:
5136:Liebesträume
5134:
5127:
5113:
5106:
5099:
5071:
5036:
5019:
5012:
5007:Consolations
5005:
4983:
4975:
4963:
4956:
4944:
4937:
4919:
4897:
4879:
4872:
4871:
4864:
4845:
4838:
4831:
4824:
4817:
4810:
4803:
4796:
4789:
4784:Les préludes
4782:
4775:
4768:
4748:
4741:
4729:
4723:Choral works
4711:
4704:
4605:
4553:
4545:
4537:
4529:
4508:
4500:
4492:
4473:
4465:
4457:
4449:
4441:
4433:
4425:
4417:
4409:
4395:(2011 album)
4390:
4387:(2006 album)
4382:
4373:(1973 album)
4368:
4349:
4341:
4333:
4325:
4317:
4309:
4302:
4301:
4294:
4274:
4266:
4258:
4250:
4242:
4234:
4226:
4218:
4210:
4193:
4181:
4162:
4154:
4146:
4138:
4119:
4111:
4103:
4095:
4088:
4079:
4071:
4063:
4056:
4048:
4039:
4020:
4008:Architecture
3902:Peter Damian
3802:
3752:Nella Donati
3621:
3608:Scarmiglione
3588:Draghignazzo
3394:Guido Guerra
3299:Bonturo Dati
3278:
3259:
3194:(video game)
3189:
3182:
3176:
3168:
3167:
3159:
3151:
3143:
3135:
3127:
3119:
3111:
3103:
3095:
3056:Dante crater
3035:
2976:
2969:
2962:
2939:
2932:
2925:
2915:
2903:
2896:
2889:
2863:
2858:De Monarchia
2856:
2849:
2750:
2737:
2723:
2715:
2695:
2667:
2645:
2633:
2621:
2614:
2592:
2584:Bibliography
2556:
2548:
2523:
2515:
2506:
2497:
2488:
2480:
2475:
2466:
2456:
2448:
2443:
2434:
2425:
2416:
2398:
2390:
2385:
2376:
2368:
2364:
2355:
2345:
2341:
2339:
2333:. Retrieved
2324:
2315:
2307:
2286:
2276:
2270:
2261:
2253:
2248:
2239:
2230:
2221:
2213:
2212:done in the
2209:
2204:
2196:
2192:
2188:
2184:
2179:
2169:
2164:
2154:
2149:
2140:
2131:
2125:
2116:
2107:
2091:
2087:
2082:
2072:
2066:
2056:
2043:
2035:
2030:
2022:
2017:
2008:
1996:
1982:Dante Sonata
1880:György Lehel
1806:James Conlon
1759:
1758:
1752:
1742:
1736:
1735:
1728:
1727:
1722:
1720:
1715:
1705:
1667:
1657:
1647:
1639:
1635:
1633:
1617:
1615:
1606:in B major.
1603:
1599:
1597:
1585:
1576:
1561:
1553:
1536:
1521:
1513:
1507:
1506:
1502:
1497:
1493:
1489:
1485:
1481:
1477:
1475:
1466:
1462:
1458:
1454:
1453:
1445:
1441:
1437:
1433:
1432:
1423:
1422:
1413:
1407:
1401:
1391:
1374:
1368:
1358:
1354:
1348:
1346:
1307:
1286:
1276:
1270:
1264:
1249:
1247:
1238:Salve Regina
1234:
1220:
1204:
1186:
1184:
1163:
1134:
1128:
1097:
1095:
1084:
1080:
1074:
1065:augmentation
1062:
1048:
1044:
1042:
1033:
1029:
1021:
1019:
988:sequentially
969:
952:
942:
940:
928:
920:
916:
912:
911:
903:
899:
895:
894:
884:
883:
873:
857:
856:time marked
848:
839:
829:
825:
821:
817:
810:
790:
771:Presto molto
770:
768:
755:begins. The
746:
738:
734:
732:
723:
713:
696:augmentation
692:appoggiature
689:
677:
675:
665:
633:
617:
605:
593:
579:
571:
565:
561:
557:
556:
548:
542:
538:
534:
533:
523:
522:
515:
513:
491:
478:
462:
460:
365:English horn
350:
340:
332:
330:
293:
289:Les préludes
287:
281:
276:
265:
258:
241:
237:
233:
231:
218:
214:
211:
206:
205:
202:
196:
192:
188:
184:
183:
177:
171:
167:
163:
161:
156:
152:
146:
136:
132:
130:
125:wind machine
116:
100:
94:
81:ternary form
76:
68:
66:
55:
38:composed by
30:
29:
20:
19:
18:
5415:(1975 film)
5413:Lisztomania
5351:Karl Tausig
5052:Nuages gris
4713:Sardanapalo
4689:Lisztomania
4649:Franz Liszt
4558:(cancelled)
4523:Video games
4510:The Thinker
4379:(1995 song)
4239:(1917–1962)
4223:(1830–1850)
4190:Jean Giraud
4001:Adaptations
3957:Contrapasso
3927:Saint Peter
3892:Justinian I
3827:Cacciaguida
3822:Bonaventure
3568:Barbariccia
3555:Malebranche
3484:Vanni Fucci
3156:(1919 film)
2964:Contrapasso
2751:Franz Liszt
2021:Temperley,
1696:orchestra.
1660:rise from G
1658:Hallelujahs
1496:and in the
1467:Hallelujah!
1446:Hallelujah!
1415:Hallelujahs
1141:arpeggiated
1049:Tempo primo
813:development
743:common time
735:accelerando
475:sonata form
387:and A, two
377:and A, one
335:. In 1863,
91:Composition
40:Franz Liszt
5490:Categories
5376:GĂ©za Zichy
5186:(daughter)
5178:Adam Liszt
4931:Solo piano
4847:Die Ideale
4812:Festklänge
4798:Prometheus
4743:Via crucis
4706:Don Sanche
4677:Late works
4486:Sculptures
4236:The Cantos
4204:Literature
4073:A TV Dante
3962:Terza rima
3717:Hugh Capet
3623:Purgatorio
3593:Farfarello
3578:Calcabrina
3429:Phlegethon
3269:Characters
3066:83 Beatrix
2934:Purgatorio
2874:(disputed)
2648:. Leipzig.
2449:Purgatorio
2335:2009-12-27
2214:Magnificat
2193:Magnificat
2132:Mein Leben
2012:Ewen, 517.
1988:References
1971:, on Decca
1945:Manchester
1911:Kurt Masur
1768:Recordings
1743:Hallelujah
1668:Hallelujah
1640:Hallelujah
1618:Magnificat
1604:Magnificat
1494:Purgatorio
1486:Hallelujah
1478:Magnificat
1424:Magnificat
1403:Magnificat
1388:Magnificat
1098:Purgatorio
1092:Purgatorio
1045:Alla breve
862:recitative
753:exposition
748:Alla breve
395:in F, two
300:, unusual
267:Die Ideale
261:Hoftheater
246:Magnificat
238:Purgatorio
219:fortissimo
215:pianissimo
195:Magnificat
178:fortissimo
4921:Totentanz
4403:Paintings
4384:Dante XXI
4041:L'Inferno
3603:Rubicante
3409:Malebolge
2654:cite book
2348:symphony.
2185:New Grove
2025:, 18:460.
2023:New Grove
1832:Amsterdam
1824:Capriccio
1786:Frankfurt
1782:Alte Oper
1463:Hosanna!
1442:Hosanna!
1375:PiĂą lento
1371:pizzicati
1310:sequences
1293:Berlioz's
1288:grandioso
1251:Lamentoso
1188:PiĂą lento
887:, Canto 5
802:Beethoven
526:, Canto 3
443:harmonium
427:bass drum
407:trombones
369:clarinets
298:atonality
277:Like his
145:'s drama
113:slideshow
52:Purgatory
5443:Category
5180:(father)
4875:Symphony
4867:Symphony
4826:Hungaria
4606:Category
4555:The Lost
4502:The Kiss
4194:Paradiso
3950:Concepts
3912:Piccarda
3852:Empyrean
3803:Paradiso
3787:Sordello
3652:Belacqua
3598:Malacoda
3583:Ciriatto
3573:Cagnazzo
3563:Alichino
3434:Phlegyas
3344:Ciampolo
3324:Cerberus
3319:Capaneus
3309:Caiaphas
3153:Beatrice
2941:Paradiso
2905:Convivio
2865:Eclogues
2644:(1883).
2197:Paradiso
2189:Paradiso
2183:Searle,
1976:See also
1694:Schwerin
1689:♯
1683:♯
1673:♯
1663:♯
1653:♯
1648:Hosannas
1644:Empyrean
1498:Paradiso
1482:Commedia
1409:Hosannas
1381:♭
1334:staccato
1327:♭
1317:♭
1214:♯
1178:♭
1169:♭
1152:measures
1148:woodwind
1144:triplets
1104:. It is
1038:Capaneus
995:♯
990:through
983:♯
975:♯
779:dominant
701:♯
653:♯
645:♯
637:♮
621:♯
597:♯
495:♯
487:triptych
402:♭
397:trumpets
389:bassoons
384:♭
374:♭
333:Commedia
270:and his
242:Paradiso
198:Dominic.
34:", is a
5385:Related
5236:Amy Fay
5101:Csárdás
4805:Mazeppa
4791:Orpheus
4570:Related
4370:Inferno
4351:Inferno
4276:Inferno
4260:Inferno
4196:, 1999)
4022:Danteum
3922:Solomon
3917:Ripheus
3862:Gabriel
3792:Statius
3747:Matelda
3737:Manfred
3667:Casella
3535:Seventh
3479:Ulysses
3349:Cocytus
3289:Acheron
3280:Inferno
3202:Related
2927:Inferno
2898:Le Rime
2530:131–134
2481:Inferno
2479:In the
2369:Inferno
1941:Chandos
1927:Leipzig
1846:Gramola
1636:Hosanna
1490:Hosanna
1394:women's
1355:gemendo
1342:stopped
1296:Requiem
1283:F minor
1278:gemendo
1272:dolente
1207:chorale
1131:D major
1106:Ternary
1034:Inferno
1032:In the
1026:cadenza
1006:violins
1002:A minor
885:Inferno
830:Inferno
798:Acheron
777:on the
678:Descent
602:tritone
524:Inferno
479:Inferno
463:Inferno
457:Inferno
447:soprano
439:strings
423:cymbals
419:timpani
391:, four
353:piccolo
322:B major
318:D minor
234:Inferno
5466:Portal
5194:Pupils
5171:Family
4986:Sonata
4833:Hamlet
4698:Operas
4550:(2010)
4542:(2001)
4534:(1996)
4513:(1904)
4505:(1882)
4279:(2013)
4271:(2003)
4263:(1976)
4255:(1965)
4247:(1937)
4231:(1905)
4215:(1816)
4186:(1485)
4167:(2023)
4159:(2023)
4151:(2006)
4143:(1971)
4132:Comics
4116:(2013)
4108:(2010)
4100:(2010)
4092:(2007)
4084:(2006)
4076:(1989)
4068:(1987)
4060:(1935)
4052:(1924)
4044:(1911)
4033:Cinema
3976:Verses
3937:Trajan
3540:Eighth
3520:Fourth
3510:Second
3489:Virgil
3444:Plutus
3419:Nessus
3374:Geryon
3339:Ciacco
3334:Chiron
3329:Charon
2757:
2730:
2702:
2674:
2600:
2569:
2536:
2411:score.
2313:Bach's
1905:Geneva
1864:Weimar
1860:Audite
1848:(2018)
1812:(1986)
1802:(1994)
1800:Warner
1725:. The
1680:from G
1488:; the
1373:. The
1350:legato
1193:cellos
467:Virgil
433:, two
431:tamtam
413:, one
409:, one
367:, two
363:, one
359:, two
357:flutes
292:, the
250:Heaven
240:and a
175:'s
5541:Limbo
5453:Audio
4984:Dante
4873:Dante
4865:Faust
4665:Music
3847:David
3732:Lethe
3682:Eunoe
3545:Ninth
3530:Sixth
3525:Fifth
3515:Third
3505:First
3464:Satan
3414:Minos
3256:Dante
2461:sins.
2346:Dante
2053:(PDF)
1957:, on
1939:, on
1917:, on
1897:Decca
1895:, on
1858:, on
1844:, on
1798:, on
1622:cello
1398:boys'
1330:major
1320:minor
1267:fugue
1217:minor
1010:muted
998:minor
978:major
822:Lento
794:Limbo
775:pedal
648:minor
516:Lento
435:harps
393:horns
361:oboes
310:tempi
283:Tasso
221:one.
168:Dante
164:Faust
157:Faust
153:Dante
148:Faust
77:Dante
26:S.109
3812:Adam
3469:Styx
2755:ISBN
2728:ISBN
2700:ISBN
2672:ISBN
2660:link
2598:ISBN
2567:ISBN
2534:ISBN
1891:, L'
1686:to A
1638:and
1412:and
1077:coda
1071:Coda
1000:and
933:123
698:on G
569:...
546:...
451:alto
449:and
415:tuba
399:in B
381:in B
371:in B
320:and
304:and
286:and
236:, a
166:and
155:and
50:and
48:Hell
3867:God
3354:Dis
3258:'s
2563:165
2330:166
2210:has
1923:EMI
1760:fff
1729:ppp
1569:(=
1396:or
1225:):
931:122
929:121
875:of
781:A:
745:to
5492::
2656:}}
2652:{{
2565:.
2532:.
2338:.
2320::
2295:^
2055:,
1967:,
1953:,
1935:,
1913:,
1903:,
1882:,
1872:,
1854:,
1840:,
1830:,
1818:,
1808:,
1794:,
1784:,
1776:,
1737:ff
1718:.
1588:.
1500:.
1418::
1357:,
1298::
1055:.
1012:.
832:.
704::
656::
624::
608::
600:a
586:9
489:.
441:,
429:,
425:,
87:.
24:,
5468::
5124:"
5120:"
5096:"
5092:"
5089:"
5085:"
5082:"
5078:"
5068:"
5064:"
5061:"
5057:"
5054:"
5050:"
5047:"
5043:"
4641:e
4634:t
4627:v
4192:(
3993:"
3989:"
3986:"
3982:"
3248:e
3241:t
3234:v
2828:e
2821:t
2814:v
2763:.
2662:)
2606:.
2575:.
2542:.
2281:.
2216:.
2199:.
2174:.
2159:.
2135:.
2077:.
2061:.
1947:)
1929:)
1921:/
1907:)
1866:)
1834:)
1788:)
1577:3
1562:4
1537:3
1522:4
1378:B
1324:E
1314:G
1211:F
1175:B
1166:E
992:F
972:F
953:4
849:4
816:(
792:(
642:C
583:3
580:1
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