"'Canto l'armi pietose e'l Capitano
Che'l gran Sepolcro liberò di Christo!'
"'Canto l'armi pietose e'l Capitano
Che'l gran Sepolcro liberò di Christo!'
"'Canto l'armi pietose e'l Capitano
Che'l gran Sepolcro liberò di Christo!'
"'Canto l'armi pietose e'l Capitano
Che'l gran Sepolcro liberò di Christo!'
"'Canto l'armi pietose e'l Capitano
Che'l gran Sepolcro liberò di Christo!'
"'Canto l'armi pietose e'l Capitano
Che'l gran Sepolcro liberò di Christo!'
With the help of the composer's plot, the intent of the music becomes clear, to the dot almost of the note. The whole poem is an exposition of the one sovereign melody, where we may feel a kindred trait of Hungarian song, above all in the cadences, that must have stirred Liszt's patriot heart. Nay,—beginning as it does with melancholy stress of the phrase of cadence and the straying into full rhythmitic exultation, it seems (in strange guise) another
of Liszt's Hungarian rhapsodies,—that were, perhaps, the greatest of all he achieved, where his unpremeditated frenzy revelled in purest folk-rhythm and tune. The natural division of the Hungarian dance, with the sad Lassu and the glad Friss, is here clear in order and recurrence. The Magyar seems to the manner born in both parts of the melody.[10]
In the accents of the motive of cadence (Lento) we feel the secret grief of the hero, that turns Allegro strepitoso, in quicker pace to fierce revolt.