Lisztovské modely zvonovej sonority a ich transformácia v Debussyho klavírnej tvorbe
Lisztian Models of Bell Sonority and Their Transformation in Debussy’s Piano Music

Summary/Abstract: The study focuses on the transformation of bell sonority in piano music from Franz Liszt to Claude Debussy. It proceeds from the premise that Liszt does not treat the bell merely as an illustrative sound-painting device, but rather develops several stable compositional models of bell sonority. These may be traced through texture, register, intervallic design, harmonic language, repetition, resonance, and semantic function. On this basis, the study analyses Liszt’s pieces Sposalizio and Angelus! as representative types of bell-related sound organisation, and then sets them in relation to Debussy’s works Cloches à travers les feuilles and La cathédrale engloutie. Rather than seeking to establish a direct line of influence, the study approaches Debussy’s bell sonority as a possible transformation of compositional possibilities already developed in Liszt’s piano music. It therefore asks how bell-related writing may move from thematically and gesturally articulated imitation towards a subtler, more colouristic, and harmonically open organisation of musical space. In this perspective, the spiritual, poetic, or symbolic functions associated with bell sonority in Liszt’s works are considered in relation to Debussy’s concern with space, distance, resonance, and temporal stasis. The study thus aims to delineate a field of compositional continuities within which the Romantic imitation of bells can be examined as a potential precursor to a sonorous principle for shaping piano texture.

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