Francesca Da Rimini

In terms of music and theme, this piece shows a prominent influence of Liszt. Liszt’s compositions oftentimes illustrate a gothic and devilish air which is much like the aura of Francesca da Ramini by Tchaikovsky. Tchaikovsky’s depiction of the flames of hell with the usage of swirling chromaticism can also be traced back to Liszt. The perfect opening of the piece reflects the words “Abandon all hope, ye who enter here,” and as Dante enters the Second Circle of Hell, the fantasia opens Andante lugubre. As Dante steps into the circle, he swoops into the maelstrom of despair and suffering. However, the horrible storm slows and a lull of horns, cornets, and trombones announce the reunion of Francesca and Paolo. While the storm abates, a heartbreaking clarinet solo rises above with the tempo of Andante cantabile non troppo leading us into the second section of the fantasia. Now we are presented with a clear view of Francesca and Paolo. The gentle yet passionate caresses of the lovers also carry a sense of urgency. The English horn and harps play a tune that alludes to Francesca’s first meeting and sudden love of Paolo. But the caresses are interrupted; the despairing storm arises and breaks the lovers apart. Once again the movement regresses to Andante cantabile. The storm settles and we hear the poignant love song of Francesca which arises above the turmoil.