Ending Formulae in Liszt's Lieder: The Plagal Cadence Revisited

David Falterman, University of North Texas

Through the eighteenth century, the plagal cadence is a relatively routine IV-I elaboration of the tonic at the conclusion of a piece. In this paper, I posit that the increasingly chromatic language of the nineteenth century allows for a rich array of possible substitutions for the IV chord in this context. Specifically, I will be developing theoretical grounding for understanding a variety of chromatic and diatonic mediant chords as functional harmonic substitutions for IV in Liszt's songs. Not only do Liszt's substitutions take on the same formal function as IV, but they also create a similar aural effect and express similar poetic themes as traditional plagal cadences did before them.

I will examine Liszt's body of over eighty lieder to explore these harmonic alternatives in depth. The body of this paper elaborates in detail the specific theoretical underpinnings that make these substitutions effective and defines three different formations the chords appear in on the surface the music. I will then briefly explore how Liszt's use of these harmonic substitutions reflects the broader Romantic trend of sacralization in normally secular poetic ideas and musical genres; specifically, how the aesthetic ideal of Kunstreligion -- normally reserved for instrumental genres -- can nevertheless help us to understand the changing role of the plagal cadence as an indicator of quasi-religious topics in these songs. Although the paper focuses exclusively on Liszt's lieder, the theoretical phenomenon at hand has broader implications for theories of harmonic function and cadential articulation.