Liszt here moves beyond the idea of purely devotional music (intended to express or enhance religious feelings), but neither does he wholly subscribe to the total subservience of music to the proclamation of the kerygma that in the Cecilian movement led to the cultivation of an archaic musical style. Both works are based on Mass compositions for male choir and organ, but the substantial differences in relation to the original vocal works, while related to the different liturgical contexts of the respective compositions – the sung and the spoken Mass, respectively – are also the fruit of a new conception of the function of (organ) music in the liturgy. Liszt here eschews the outward drama and technical challenges of his previous organ music as well as much of the expressiveness of his vocal church music. Jonas Lundblad analyses two late cycles of organ music by Franz Liszt, Missa pro Organo and Requiem, both of which were intended exclusively for the Catholic liturgy, more specifically the spoken or Low Mass, and were composed in an introverted, austere and, at least at first glance, simple style.
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