Pastorale is a charming vignette, its repeated binary structure reflecting the unpretentious simplicity of the music and the country scene it portrays.It acts as an interlude before the second water-study, Au bord d’une source, which in its first version ran on from Au lac de Wallenstadt without a break, both works being in A flat major.These revisions were made between 18, and the new volume was published in 1855.Chapelle de Guillaume Tell, a homage to the Swiss national hero prefaced with the motto ‘Einer für Alle – Alle für Einen’ (‘One for all – and all for one’), opens anthem-like before imitations of the alphorn build to a storm of octaves and powerful chords.It is retained virtually unaltered from its earlier version in the Album d’un voyageur, which was written shortly after Liszt and Marie arrived in Switzerland, en route from Basel to Geneva.
thy contrasted lake, / With the wild world I dwelt in, is a thing / Which warns me, with its stillness, to forsake / Earth’s troubled waters for a purer spring.’ The delicate, rocking accompaniment underpins a melody of innocent lyricism.Again, lines from Byron’s Childe Harold preface the music: ‘But where of ye, O tempests! ’ Liszt wrote many representations of nature’s fury, but none that is more focused and compact than this. Liszt quotes the very next stanza from Childe Harold to introduce Eglogue (‘The morn is up again, the dewy morn, / With breath all incense, and with cheek all bloom; / Laughing the clouds away with playful scorn, / And living as if earth contain’d no tomb! A delicate and fresh-faced pastoral setting, this piece contrasts sharply with the brooding intensity of Vallée d’Obermann.The finest and most extended piece of the set, Vallée d’Obermann was inspired by Senancour’s French novel Obermann, which is set in Switzerland. The darker atmosphere returns in Le mal du pays (‘Nostalgia’ or ‘Homesickness’), albeit with a more wistful character, where the opening alphorn calls a melancholy tune whose unharmonized bleakness is twice relieved by the beautifully poignant melody of the Adagio dolente passages.The models for these pieces are both visual and literary, and Liszt’s music embodies a typically Romantic blend of evocative pictorialism and personalized poetic response.Like so much of the piano music Liszt published in the 1850s during his years in Weimar – where he settled with his new partner Princess Carolyne von Sayn-Wittgenstein, having abandoned his life as a touring virtuoso pianist in 1847 – the Années de pèlerinage are largely based on earlier material, written during Liszt’s time as a travelling concert artist.Festo is a leading global manufacturer of pneumatic and electromechanical systems, components, and controls for process control and factory automation solutions.