The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.

ΑΝΑΛΥΣΙΣ ΠΕΡΙ ΤΑ ΣΧΗΜΑΤΑ. Restoring Aristotle’s Lost Diagrams of the Syllogistic Figures

The article examines the relevance of Aristotle’s analysis that concerns the syllogistic figures. On the assumption that Aristotle’s analytics was inspired by the method of geometric analysis, we show how Aristotle used the three terms (letters), when he formulated the three syllogistic figures. So far it has not been appropriately recognized that the three terms — the major, the middle and the minor one — were viewed by Aristotle syntactically and predicatively in the form of diagrams. Many scholars have misunderstood Aristotle in that in the second and third figure the middle term is outside and that in the second figure the major term is next to the middle one, whereas in the third figure it is further from it. By means of diagrams, we have elucidated how this perfectly accords with Aristotle's planar and graphic arrangement. In the light of these diagrams, one can appropriately capture the definition of syllogism as a predicative set of terms. Irrespective of the tricky question concerning the abbreviations that Aristotle himself used with reference to these types of predication, the reconstructed figures allow us better to comprehend the reductions of syllogism to the first figure. We assume that the figures of syllogism are analogous to the figures of categorical predication, i.e., they are specific syntactic and semantic models. Aristotle demanded certain logical and methodological competence within analytics, which reflects his great commitment and contribution to the field.