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Vavrušová, Andrea. "Franz Liszt: Totentanz." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261365.
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Desagulier, Jean-Bernard. "Hermann Cohen, élève de Franz Liszt." Paris 4, 1998. http://www.theses.fr/1998PA040056.
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Franz Liszt eut de nombreux élèves tout particulièrement à l'Altenburg. Aloys Tausig vint s'y installer et y vécut deux ans. Mais auparavant les biographies, les correspondances diverses que Franz Liszt a échangées avec les personnalités musicales et littéraires de son temps, font mention à de nombreuses reprises de la présence à ses côtés d'un élève privilégié qui outre son enseignement partagea son intimité familiale. Hermann Cohen né en 1821, jeune pianiste prodige venu de Hambourg devint l'élève de Liszt en 1834 ; il rejoindra son maitre à Genève ou il se verra confier malgré son jeune âge une classe de piano au conservatoire nouvellement fondé. Ce séjour sera émaillé de nombreux concerts et se termina par une mémorable excursion racontée par George Sand dans les lettres d'un voyageur (vii et x). De retour à paris, il mène une carrière de concertiste et de professeur. Malheureusement sa vie dissolue et la passion du jeu le séparent de son maitre et il continue seul sa carrière. Touche par la grâce, il se convertit au catholicisme en 1847 et entre dans l'Ordre des Carmes Déchaussés. Il deviendra le père Augustin-Marie du Très-Saint-Sacrement, appelé le plus souvent père Hermann. Il se révèle un très brillant prédicateur, fonde plusieurs monastères, compose alors de la musique religieuse. Il mourut à Spandau le 20 janvier 1871 au service des prisonniers français. Dans le cadre de cette thèse, la gravure et l’édition de deux œuvres manuscrites de Hermann Cohen ont été réalisées : Les contretemps (1839), Les bords de l’Elbe (s. D) valse.
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Van, Dine Kara Lynn. "Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive Approaches." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28488/.
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Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.
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Lee, Yoon Ju. "Selected operatic paraphrases of Franz Liszt (1811-1886): Compositional style and performance perspectives." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284277.
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This study investigates Liszt's compositional style, and considers performance perspectives in his operatic paraphrases, Reminiscences de Don Juan and Valse de l'opera "Faust" de Charles Gounod. The great body of transcriptions by Liszt forms an important contribution to the development of piano music, combining technical challenges, innovative notation, dramatic projection, and pianistic effects. Reminiscences de Don Juan and Valse de l'opera "Faust" de Charles Gounod offer good examples of Liszt's genius in condensing an operatic score into a viable piano texture. Rather than offering simple medleys of popular arias, Liszt extracts the principal elements of the operas and creates a new art work from each. The relationship of his transcriptions to the original operas is carefully planned throughout. The artistic insight, creativity, and integrity Liszt devoted to these paraphrases extends to his use of the piano to evoke sonorities of both voices and orchestra, and in doing so, he expands the pianist's concept of the instrument. These transcriptions thus pose challenges beyond the purely technical, exploiting the performer's sense of drama, color and imagination in unique ways.
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Grobler, Pieter Johannes Christoffel. "Franz Liszt (1811-1886) the Two episodes from Lenau's Faust as a unified work /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3970.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Sept. 20, 2004, Oct. 24, 2005, Mar. 6, 2006, and Apr. 21, 2007. Includes bibliographical references (p. 41-42).
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Le, Diagon-Jacquin Laurence. "La Musique de Liszt et les arts visuels : essai d'analyse comparée d'après Panofsky, illustrée d'exemples, Sposalizio, Totentanz, Von der Wiege bis zum Grabe." Université Marc Bloch (Strasbourg) (1971-2008), 2003. http://www.theses.fr/2003STR20056.
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La passion de Liszt pour l'art en général révèle son imagination synesthésique : il ne peut regarder certaines œuvres sans les mettre spontanément en musique. Ses écrits, lettres et articles, révèlent sa culture et sa connaissance de l'art et du milieu artistique. Son texte sur la sainte Cécile de Raphae͏̈l dévoile ses réels talents de critique d'art, et son coup d'œil très sensible. La façon dont il parle du tableau nous a fait penser à la méthode de Panofsky, que nous avons donc choisi d'adapter à la musique de Liszt inspirée d'art visuel. Cette méthode procède en trois étapes, que Panofsky appelle niveaux de signification. Le premier niveau concerne tout l'aspect matériel immédiatement perceptible : formes, volumes, couleurs. Le pendant musical est les motifs et thèmes employés. Le deuxième niveau s'attache aux images, histoires et allégories contenues dans un tableau. Là encore, elles correspondent chez Liszt à une thématique signifiante : il évoque des personnages par des citations, telles que le Stella Matutina pour Sainte Elisabeth. Le troisième niveau considère le contenu d'une œuvre. Liszt l'exprime par la forme. Après avoir abordé l'ensemble de ses œuvres ainsi conçues, nous avons opté pour l'analyse exhaustive de celles qui donnent une idée de la variété de l'écriture de Liszt : Sposalizio, Totentanz, Von der Wieger bis zum Graber. Elles reflètent ses préoccupations principales, la religion et la mort. L'adaptation de la méthode de Panofsky pour l'analyse des œuvres de Liszt inspirées de l'art visuel met en évidence la similitude ou les divergences des principes de perception et de conception. Elle montre également que le contenu commun des œuvres réside dans l'idée qu'elles illustrentLiszt's passion for art in general testifies to his synaesthetic imagination -he could not look at certain works without spontaneously setting them to music. His writings, letters and articles convey his culture and knowledge of art and artistic circles. His work on Raphael's Sainte Cécile reveals his true talent as an art critic and his highly sensitive eye. The way he speaks about this painting is reminischent of Panofsky's approach, which is adapted here to Liszt's music as inspired by the visual arts. .
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Bongrain, Anne. "La thématique des poèmes symphoniques de Liszt : contribution à l'étude de l'expressivité musicale dans la musique à programme." Paris 4, 1985. http://www.theses.fr/1985PA040055.
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Goodchild, Neil John English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Liszt's technical studies: a methodology for the attainment of pianistic virtuosity." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/38153.
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In 1970, the Hungarian publishing firm Editio Musica Budapest began a long term project, ending in 2005, that endeavored to compile and publish all Liszt's works in a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm, Liszt's Technical Studies were published in the way that he had originally intended for the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the nature of its trajectory is generally unknown. Through an examination of the didactic instruction Liszt supplied in the Preface of the autograph manuscript to the Technical Studies and specific technical commentaries written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical Studies are built on six artistic and mechanical principles, exemplified by Liszt in the exercises, written to help the pianist acquire technical virtuosity. The methodical divisions of the work into sections that deal with specific mechanical objectives are illustrated with musical examples and their technical trajectory defined.
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Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs.Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.
Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
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Kim, Min. "A study of Franz Liszt's Totentanz: Piano and orchestra version, and piano solo version." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5409/.
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Undoubtedly, Totentanz has been one of the most famous works by Franz Liszt. Totentanz has been recorded by many pianists and addressed in much of the vast literature about Liszt and his works; however, little research has been focused on this work. Most studies of Totentanz address only the historical background of the piece in relation to the theme based on Dies irae. Currently, there are no specific studies about the solo piano or two piano versions and only one recording was located. Liszt's own piano solo transcription of this famous work is an excellent addition to the concert repertoire. Totentanz consists of six variations that include canonic and fugato sections. The main theme is based on the Gregorian chant Dies irae, a melody that has been used by many other composers, most notably Berlioz in Witches Sabbath of Symphonie fantastique, op. 14 and Rachmaninoff in Rhapsody on a Theme of Paganini. This study contains five chapters. Chapters I and II provide background information, historical background and influences of Totentanz. Chapter III presents an outline of Liszt's achievement as a transcriber. Liszt revised his own works numerous times from the 1840s and 1850s, including Transcendental Etudes, Paganini Etudes, and piano and orchestra works. Like in the case of Totentanz, transcribed form piano and orchestra into piano solo, Liszt transcribed and paraphrased hundreds of other composers' works as well. Chapter IV discusses and compares the two main versions for solo piano and piano and orchestra. Form and harmonic language in particular the use of tritone in Totentanz is discussed. The adjustment required in transcribing the work for piano solo is discussed in detail, followed by a conclusion.
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Gamrat, Malgorzata. "Muzyka fortepianowa Franza Liszta w kontekście idei correspondance des arts." Paris, EPHE, 2012. http://www.theses.fr/2012EPHE4021.
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Dans cette thèse nous étudions la musique pour piano de Franz Liszt de la période 1835–1855 en la présentant dans le contexte de l’idée de la correspondance des arts. Cela est présenté sur la base des analyses détaillées des œuvres pour piano de Liszt, telles que : Album d’un voyageur, Années de pèlerinage. Suisse et Italie, Harmonies poétiques et religieuses (1835, 1853), Mazeppa et Liebesträume. Cette thèse est composée de trois grandes parties divisées en nombreux chapitres et sous-chapitres complétés par une annexe. La première porte sur l’examen de l’idée de la correspondance des arts dans un contexte de la culture française de la première moitié du XIXe siècle. La suivante touche la pensée esthétique de Liszt vue dans sa correspondance et dans ses écrits. La dernière, la plus grande partie, comprend le matériel le plus abondant, tel que : les relations de Liszt et la culture française, les programmes extra-musicaux de sa musique et les analyses de ses œuvres pour piano. Nos recherches sont concentrées sur les aspects de sa musique où nous pouvons voir le plus de trouvailles du compositeur (la forme, le cycle, l’harmonie) et sur les éléments qui portent le contenu extra-musical. Cela nous permet de comprendre comment l’artiste a réalisé ses idées esthétiquesThis PhD dissertation deals with the piano pieces of Franz Liszt from the period of 1835-1855, shown in the context of the idea of correspondance des arts on the basis of detailed analysis of Liszt’s selected pieces: Album d’un voyageur, Années de pèlerinage. Suisse and Italie, Harmonies poétiques et religieuses (1835, 1853), Mazeppa, and Liebesträume. The dissertation is divided into three main parts. In the first one, the idea of the correspondance des arts has been presented in a wide cultural context of the first part of 19th century. The second part deals with the composer’s aesthetic opinions explicitly presented in his writings and letters. The last part contains an analysis of selected Liszt’s piano pieces together with a detailed comment on programme texts. The research focuses on those parameters of a musical piece, in which the composer’s inventiveness is displayed in full (harmony, form, cyclical structure). At the same time, it aims at indicating some constant elements of musical language which are carriers of extra-musical meanings
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Dessarts, Christine. "La "Deuxième année de pélerinage" depuis son avant-texte : paratexte et signification chez Liszt." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10037.
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Ce travail de recherche s'interroge sur la signification de la "Deuxième année - Italie" des "Années de Pelerinage" de Franz Liszt. Notre hypothèse est que ce recueil, composé de sept pièces pour piano, forme un cycle cohérent du point de vue compositionnel et du point de vue du propos. On privilégie une démarche musicologique qui, partant d'un document imprimé inédit largement annoté et corrigé de manière autographe par Liszt, donne de l'importance à tout le paratexte prévu par le compositeur et à la problématique interarts que ce paratexte révèle. Au bout du compte, l'ensemble de la "Deuxième année" apparaît comme un discours détaillé sur les aptitudes du musical à dire.
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Park, Chanwook. "Two Unfamiliar Works of Franz Liszt (1811-1886): A Comparison of Liszt's Grosses Konzertsolo (1849-1851) and Concerto Pathetique (1856)." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194277.
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This document provides a resource for Franz Liszt's unfamiliar piano work, the Grosses Konzertsolo and his subsequent rearrangement of the work for two pianos entitled Concerto pathetique. The Introduction places the work in its historical context as a precursor to the great Sonata in B minor and discusses possible reasons for its various revisions. Chapter One details Liszt's productive years from 1849-1853 in Weimar and selected keyboard works from this period which are closely related to the Grosses Konzertsolo. Chapter Two provides information on Liszt's first published piano works and his experiments with form, as well as a comparison of the Grosses Konzertsolo with the Sonata in B minor, in terms of motivic and thematic development. Technical issues and obstacles to performance are also addressed. Chapter Three compares the Concerto pathetique with the Grosses Konzertsolo showing how Liszt's rearrangement becomes more practical as well as effective. Chapter Four discusses Hans von Bulow's version of the Concerto pathetique and includes a brief biography.
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Reynaud, Cécile. "La notion de virtuosité dans les écrits critiques de Franz Liszt." Paris 3, 2001. http://www.theses.fr/2001PA030161.
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La virtuosité pianistique appartient au genre de la musique instrumentale, en plein essor dans la musique européenne de la première moitié du XIXe siècle. Pourtant, du fait de ses caractéristiques d'exécution et de démonstration, elle cumule les désavantages de la musique instrumentale (pas de mot, donc pas de sens), et ceux de la musique vocale dramatique (elle serait du côté de la gesticulation plus que de l'expression). Comment, sur les bases de la philosophie romantique allemande, en particulier d'E. T. A. Hoffmann - la musique instrumentale et la virtuosité pianistique acquièrent-elles en France un nouveau statut ? Les détracteurs de la virtuosité trouvent une tribune dans la Revue musicale de Fétis, qui constitue notre première source. .Pianistic virtuosity is a highly significant element in the evolution of the flourishing art of European instrumental music during the first half of the 19th century. And yet, by dint of the very demands of execution and exhibition that it imposes, such virtuosity manifests some of the disadvantages of instrumental music (which, lacking words, may be said to lack "meaning") and some of the disadvantages of dramatic vocal music (which can suggest mere gesticualtion rather than true emotional expression). How then, in the historical context of late 18th-and early 19th century German romantic philosophy, and in particular that of E. T. A. Hoffman, did instrumental music in general and pianistic virtuosity in particular acquire in France a newly meaningful status ? Detractors of mere virtuosity found a platform for their ideas in the Revue musicale of F. -J. Fétis, who offers us our first primary source material. .
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Carenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.
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L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le piano moderne, cet exercice lui permet d’acquérir une certaine connaissance de l’écriture orchestrale de son temps. Ce postulat prend tout son sens lorsqu’on observe que parmi les auteurs que Liszt transcrit le plus et en premier se trouve Berlioz, habituellement considéré comme l’inventeur de l’orchestre moderne.L’approche adoptée s’inscrit dans deux champs de la musicologie traditionnelle, l’analyse et l’histoire, et dans une branche plus récente de la discipline, les études génétiques. Il est effectivement nécessaire de replacer tout d’abord chaque transcription dans son contexte, pour évaluer l’influence des réécritures lisztiennes d’œuvres de Berlioz sur l’élaboration de sa propre écriture orchestrale. Par ailleurs, le point de vue se place du côté de la création : l’analyse d’une grande quantité d’esquisses et de brouillons donne des informations sur la manière dont Liszt aboutit à l’écriture orchestrale qui est la sienne dans la décennie 1850, au cours de laquelle il produit la majeure partie de ses œuvres symphoniquesThe object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)
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Kim, Jung-Ah. "A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2246/.
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The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study submits that it was Liszt who had first shown a way to free music from the shackles of prescribed idiomatic constraints, and to force us the listeners to approach and appreciate music for its own sound's sake. Additionally, this study submits that this effort of Liszt should be understood and appreciated in terms of programmatic association; that is, Liszt found in the persona of Mephisto the Diablo the ideal imagery for depicting the nature of the "music of the future" where tonality would be freed from any prescribed procedural requisites.
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Kim, Ah Young. "A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.
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Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.
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Alexander, Mark Willard. "An historical exploration of Franz Liszt's role preparing, performing, and promoting Richard Wagner's Lohengrin." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008239.
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Giraud, Pierre. "Liszt et la rencontre de Senancour : entre crise existentielle et formation intellectuelle : la musique à programme d'un point de vue herméneutique - Vallée d'Obermann (1835-1855)." Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX1A097.
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Ces travaux se proposent de relire d'une manière fort originale le principe de musique à programme développé au XIXe siècle par Franz Liszt. Nos chemins suivront ceux de l'herméneutique musicale, plus précisément ceux d'une herméneutique de la création. Notre terrain sera concis mais relativement précis : la "Vallée d'Obermann" composée depuis la lecture du roman de Senancour, "Obermann", seconde édition (1833). Cette oeuvre semble sourdre d'une double crise identitaire à la fois intellectuelle et existentielle. Elle se révèle être aussi l'archétype de la musique à programme. Le processus compositionnel qui la caractérise reflète à ce titre le parcours initiatique que Liszt a suivi au sein des plus grands salons littéraires de son temps. Une tâche l'obstine, celle de pouvoir "sensiblement" résorber les angoisses métaphysiques qui l'assaillent : "Que veux-je ? Que suis-je ?", premières interrogations introduites par le programme littéraire. En examinant la manière dont le compositeur s'est musicalement compris face à l'oeuvre épistolaire de Senancour de même qu'en révèlant les rencontres et les discussions qu'il a entreprises avec le romancier lors de ses "années de formation", notre tâche se fait double : cerner d'une part la raison d'être d'une telle mutation des traditions compositionnelles, ce qui l'a motivé à associer sa musique aux plus grandes épopées de la littérature occidentale ; ériger d'autre part une approche méthodologique qui puisse rendre compte de la spécificité de cette raison d'être ainsi que son originalité tant herméneutique que sémiotique.
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Lively, Judy Sharon. "Extra-Musical Associations in Selected Pieces From Années de Pélerinage, Troisième Année, by Franz Liszt: A Lecture Recital, Together with Three Recitals of Selected Works of D. Scarlatti, F.J. Haydn, L.v. Beethoven, F. Schubert, F. Chopin, J. Brahms, R. Schumann, and Others." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332359/.
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Volumes one and two of Annees de Pelerinage contain travel impressions. The pieces in volume three serve as a means of expressing a religious pilgrimage. The religiousmeaning is implied by the titles and by letters Liszt wrote concerning specific pieces. For the pieces to have programmatic significance, the music must support the verbal clues. This dissertation maintains that selected pieces in Annees de Pelerinage III are programmatic and that Liszt provided musical clues that have not been discovered or, if noticed, have not been analyzed in detail. Also, the dissertation explores similarities between selected pieces of Annees de Pelerinage III and other programmatic or texted works by Liszt sharing the same subject. The findings reinforce the premise that Liszt deliberately intended to express certain extra-musical ideas within the music itself. The paper briefly analyzes the musical reasons for labeling Annees de Pelerinaae III a cycle. Different sources call these pieces cyclic, citing the shared common religious theme as the reason. This dissertation discusses musical reasons that reinforce the idea of a cycle. Chapter II discusses Liszt's views on program music. Chapter III identifies common themes in Liszt's programmatic works and discusses the symbolic significance of thematic transformation. Chapter IV suggests an approach to analyzing program music. Chapter V discusses Liszt's musical narrative and his use of common rhetorical devices. Chapter VI analyzes extra-musical associations in selected pieces from the Annees de Pelerinaae—Troisieme Annee. Five pieces have been selected for analysis—Anaelus1. Aux Cypres de la Villa d'Este I and II, Marche funebre. and Sursum corda.
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Oliveira, Priscila Ott Falcão. "Os Sonetos de Petrarca 47, 104 e 123 = um estudo interpretativo da segunda versão para piano." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283926.
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Orientador: Carlos Fernando FioriniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho tem como objetivo principal propor sugestões interpretativas para a segunda versão para piano dos Sonetos de Petrarca 47, 104 e 123 de Franz Liszt (1811-1886). Para isso, foi feito um levantamento bibliográfico e histórico da vida do compositor, juntamente com a pesquisa sobre Francesco Petrarca (1304-1374), autor dos poemas utilizados como base da composição musical. Considerando a importância das demais versões escritas pelo compositor - para tenor e piano, duas para piano e para barítono e piano - foi realizada uma análise comparativa entre estas quatro versões existentes, abordando sua estrutura, forma e harmonia. Com base nestes elementos e no estudo ao piano, foram elaboradas e apresentadas as sugestões interpretativas. A pesquisa é voltada mais a pianistas que buscam subsídios para interpretação, a cantores e a interessados pela composição musical de Liszt, uma vez que as quatro versões englobam 44 anos da vida do compositor
Abstract: This work's main objective is to propose interpretative suggestions to the second piano version of Franz Liszt's (1811-1886) Petrarch's Sonnets 47, 104 and 123. To accomplish this goal a bibliographical and historical survey has been made on the composer's life, and also a research on Francesco Petrarch (1304- 1374), the author of the poems used as the basis of the musical composition. Considering the importance of the other versions written by the composer -for tenor and piano, two for piano and for baritone and piano - a comparative analysis has been made between these four existent versions, approaching their structure, form and harmony. With the support of these elements and the piano study, the interpretative suggestions have been prepared. The research is mainly addressed to pianists that look for interpretative information, to singers and to people concerned with the musical composition of Liszt, since the four versions cover 44 years of the composer's life
Mestrado
Praticas Interpretativas
Mestre em Música
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Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.
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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par LisztLiszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt
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Tan, Sok-Hoon. "The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6046/.
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This study examines Liszt's use of the style hongrois in his Swiss book of Années de pèlerinage to reference certain sentiments he had experienced. The event that brought Liszt to Switzerland is discussed in Chapter 1 in order to establish an understanding of the personal difficulties facing Liszt during the period when the Swiss book took shape. Based on Jonathan Bellman's research of the style hongrois, Chapter 2 examines the Swiss pieces that exhibit musical gestures characteristic of this style. Bellman also introduced a second, metaphoric meaning of the style hongrois, which is discussed in Chapter 3 along with Liszt's accounts from his book Des Bohémien as well as the literary quotations that are included in the Swiss book. Together, the biographical facts, the accounts from Des Bohémien, and the literary quotations show that Liszt was using the style hongrois to substantiate the autobiographical significance of the Swiss book.
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Cloutier, David 1948. "A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331767/.
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This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.
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Tsekova-Zapponi, Daniela. "Les interprètes face à la Sonate en si mineur de Liszt." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC014/document.
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Notre recherche porte sur une analyse comparative des interprétations de la Sonate en si mineur de Liszt. Nous avons analysé vingt-cinq enregistrements de pianistes regroupés en cinq écoles :hongroise, française, russe, américaine et allemande. Nous avons comparé les déviations des interprètes par rapport à la partition et les divergences entre les différentes interprétations, en sélectionnant sept paramètres qui nous ont permis de caractériser chaque interprétation. Une double analyse a été effectuée : « à l'oreille » et à l'aide d'un logiciel informatique. Notre recherche a démontré l'importance de plusieurs facteurs d'influence complémentaires : l'enseignement reçu, l'époque où l'on vit et l'on crée, le tempérament et l'individualité artistique. Au terme de notre recherche, nous avons démontré l'existence de spécificités qui se manifestent au sein de chacune des écoles pianistiques nationales, et également de particularités caractérisant le mode de jeu des différentes générationsOur research focuses a comparative analysis of the performances of Liszt's Sonata in b minor. We analysed twenty-five recordings by pianists grouped into five piano schools : Hungarian, French, Russian, American and German. We compared the deviations of the performers from the score and the differences between the individual performances, based on a selection of seven parameters that allowed us to characterise each of them. A double analysis was made: "by ear" and with the aid of acomputer. Our research has shown the importance of several complementary factors of influence : education, the period during which the pianists lived and created, the artists' temperaments and their artistic individualities. At the end of our research, we demonstrated the existence of specific features within each of the national piano schools, and also of some features that characterise the performing style of each generation
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Caux, Grégoire. "Les dernières pièces pour piano de Franz Liszt. Pour une étude de la notion de fin d’œuvre." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040127.
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Dans ses dernières pièces pour piano, Franz Liszt tend à déstabiliser les codes normatifs des procédures cadentielles, en cherchant à éviter la configuration générale de la consonance, de la détente et de l’apaisement. Plusieurs catégories sémantiques peuvent être déterminées, ayant chacune ses propres caractéristiques stylistiques : la figure féminine, le passé, le sinistre, le macabre, même si la mort semble constituer le principe esthétique essentiel. À partir de ces catégories, il s’agit alors de proposer une réflexion sur les significations de ces fins d’œuvres, en convoquant les stratégies poïétiques du compositeur, les attentes esthésiques et la collaboration de l’auditeur. La première partie se consacre pleinement au processus de dépouillement et à la notion de seuil, tandis que la deuxième interroge le principe d’accroissement sonore en lien avec les topoï méphistophéliques, sinistres et tzigano-hongrois. Enfin, la troisième partie s’articule autour de plusieurs axes : la fin ouverte, la forme expérimentale, l’attente, l’inattendu, l’improvisation, la notion de fragment romantique. Ces pistes de réflexions visent à cerner un paradoxe de la fin d’œuvre chez le dernier Liszt, entre structure fermée et principe de seuilIn his late piano pieces, Franz Liszt tends to destabilize the traditional codes of the cadential procedures. He aims to avoid the general configuration of consonance, relaxation and quiescence. Several semantic categories can be defined, each of them having its own stylistic characteristics: female, past, sinister, macabre, even if death seems to be the most efficient principle, from a point of view of aesthetics. It is to propose a reflection into the meanings of these endings. To do this, we resort to poïtic intentions of the composer with the esthesic expectations and interpretive collaboration of the listener. The first part of this thesis is devoted to process of denudation and threshold notion, whereas the second part raises questions about the principle of increase, related to mephistophelian, sinister and gypsy-Hungarian topoï. At last, the third part focuses on several topics: open ending, experimental form, expectation, the unexpected and romantic fragment. These avenues of reflection attempt to identify a paradox of the ending in Liszt’s late piano pieces, between closed structure and threshold principle
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Filipec, Goran. "Paganini au piano : Franz Liszt, Ferruccio Busoni, Michael Zadora, Mark Hambourg, Ignaz Friedman et la « grande manière »." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL137.
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Dans l’art de la musique instrumentale, il y a certainement eu des moments de développement extraordinaires. La plus grande révolution dans le domaine du violon aura probablement été Paganini, avec ses innovations dans le cadre de la technique, de la texture et des effets timbriques du violon. Dans le domaine du piano, Liszt, suite à sa rencontre avec le violon assimilateur et imitateur du Génois, reforma son jeu et reconçut le pianisme de l’époque. Dans cette mission, il fut accompagné par des améliorations techniques à l’instrument. L’art du jeu du piano, qui hérita de Paganini le côté assimilateur et imitateur, qui abandonna le salon et s’installa dans les grandes salles, fut reconnu comme la « grande manière » ou le « grand style ». Ces termes, provenant principalement de l’art de Liszt, qui fut apparemment son premier représentant, se réfèrent à un style pianistique particulier, basé sur de grands effets acoustiques et de nouvelles techniques d’exécution. Le corpus de l’étude est constitué des œuvres de Liszt d’après Paganini, telles que les Études d’exécution transcendante d’après Paganini, les Grandes Études de Paganini, La Grande Fantaisie de bravoure sur La Clochette et les œuvres en relation avec Paganini des générations suivantes de pianistes de la « grande manière ». Celles-ci incluent les versions des études de Liszt réalisées par Ferruccio Busoni, son Introduzione e Capriccio (Paganinesco), les arrangements des Caprices de Paganini par Michael Zadora, les Variations sur un thème de Paganini de Mark Hambourg et les Études d’après un thème de Paganini op. 47b d’Ignaz Friedman. L’étude tente de tracer la « grande manière » dans les formes pianistiques appliquées dans les œuvres citées ainsi que d’identifier les particularités du « pianisme » des auteurs concernésIn the art of instrumental music there were moments of extraordinary evolution. The greatest revolution in the domain of the violin was probably the appearance of Paganini and his innovations in the technique, the texture of violin writings and the exploitation of the timbrical effects of the instrument. In the domain of the piano, Liszt, after having heard the assimilating and imitating violin of the Genovese, reformed his playing and transformed the pianism of his époque. In that mission, he was accompanied by technical improvements of the instrument. The art of piano playing, which inherited from Paganini the assimilating and imitating tendencies and left the salon in favor of big halls, was recognized as the “grand manner” or the “grand style” grand style’, first represented by Liszt. These terms, mainly originating from the conceptual grandeur of his art, refer to a particular pianistic style, based on big acoustic effects and new techniques of execution. The corpus of the present study is constituted by the works after Paganini by Liszt, including the Études d’exécution transcendante d’après Paganini, the Grandes études de Paganini, La Grande fantaisie de bravoure sur La Clochette, and the works related to Paganini of the following generations of pianists of the « grand manner”. These include the arrangements of Liszt’s studies of Busoni, the Introduzione e Capriccio paganinesco, the Variations sur un thème de Paganini of Mark Hambourg and the Paganini-Studies op. 47b of Ignaz Friedman. The study tempts to trace the “grand manner” in the pianistic forms applied in the cited works, and to identify the specificities of the pianism of the concerned authors
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Lambiet, Maud. "Le critique et l’analyste : réceptions de la forme sonate chez Beethoven, Liszt, Ives et Boulez." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0160.
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La critique et l’analyse musicales sont les premières intervenantes à débattre de l’œuvre, de son expression et de sa signification. Liées à des pratiques précises, elles décrivent et interprètent la musique en mobilisant des catégories différentes d’analyse et de compréhension. En participant à transformer les valeurs et les normes auxquelles se conforme la musique et à définir de nouveaux rapports, elles enrichissent chacune à leur façon l’expérience musicale. Partir de quatre sonates pour piano, l’Appassionata de Beethoven, la Sonate en si mineur de Liszt, la Concord Sonata d’Ives et la Deuxième sonate de Boulez, balise un espace temporel de 150 ans et circonscrit un espace herméneutique. Il s’agit de quatre points d’ancrage à partir desquels il est possible d’observer et d’analyser les rapports que les acteurs entretiennent avec les œuvres, les représentations qu’ils projettent et la façon dont ils donnent sens à leurs représentations et à leurs actions. Circuler entre la critique et l’analyse met en évidence qu’un dialogue s’instaure entre les deux et ébranle ce que le sens commun retient, à savoir que l’analyse en tant que pratique savante modère les évaluations subjectives énoncées spontanément et arbitrairement par les critiquesMusic criticism and musical analysis are first to present and discuss the musical meaning and significance of the artworks. They are bound to methods of reasoning and they describe and interpret music by mobilizing different categories of analysis and understanding. In their own ways they improve the musical experience by transforming values and norms and defining new relationships. Four piano sonatas demarcate a period of 150 years and delimit a hermeneutical space : Beethoven’s Appassionata, op. 57, Liszt’s B minor Sonata, Ives’ Concord Sonata and Boulez’s Deuxième Sonate. They are the four beacons from which the relationships between the players and the artworks could be observed and analysed. Critics’ statements and analyses of these sonatas highlight the representations reflected by the players on the artworks and how they give sense to their representations and actions. The flow of ideas between music criticism and musical analysis emphasises that a dialogue is established between them. That undermines what the popular mind retains, i. E. That musical analysis holds the epistemological authority in musical thought
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Toffoletto, Edoardo. "L’image sonore de l’utopie politique XIXe-XXe : le mythe faustien à travers Schumann, Liszt et Mahler." Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0158.
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La première partie de ce projet de recherche se concentre sur la réception des idées théoriques du libéralisme au sein de l’espace germanophone entre le XVIIIe et le XIXe siècle, et en particulier dans les territoires composant l’Allemagne d’aujourd’hui. Cela fournit le cadre historique et conceptuel pour le développement de la deuxième partie consacrée à l’analyse des mises en musique du Faust de Goethe proposées par Robert Schumann (1810-1856) et Franz Liszt (1811-1886), respectivement dans les Szenen aus Goethes Faust (1844-1853) et la Faust-Symphonie (1854), et en guise de conclusion une allusion à la Huitième Symphonie (1906-1907, 1910) de Gustav Mahler (1860-1911). En effet, la thèse ne prend pas en considération toutes les mises en musique du mythe faustien, mais rigoureusement seulement les œuvres musicaux inspirés par le Faust de Goethe et en particulier ceux qui reprennent la deuxième partie et la conclusion de la tragédie constituée par les vers énoncés par le chœur mystique. Dans le chef-d’œuvre goethéen, l’on a depuis György Lukács identifié une récapitulation de l’histoire économique de l’humanité, ou bien encore une synthèse de la pensée libérale du XVIIIe et XIXe siècle. C’est pourquoi, l’hypothèse de ce travail consiste dans la possibilité de repérer les images sonores de l’utopie politique exprimées par les mises en musique du chœur mystique qui achève l’œuvre goethéenne. La première partie a démontré le lien intime entre la notion de chœur mystique avec celle de corps mystique, qui a son tour est la racine théologique de la notion de corps politique. Pour cette raison, les mises en musique du chœur mystique doivent être interprétés comme des différentes tentatives de donner voix, c’est-à-dire, spatialiser à travers les timbres, les registres, les hauteurs et autres composantes musicales l’image de l’utopie politique qui structure l’idéologie du compositeur. Bien qu’à l’état encore expérimental, ce travail propose une méthode inspirée par le concept d’inconscient politique de Fredric Jameson pour organiser l’analyse des œuvres musicales. Cela implique d’une part la possibilité d’une application rigoureuse de la psychanalyse sur un objet musicaux en tant qu’expression de l’inconscient du compositeur ; et de l’autre de prendre sérieusement les écrits théoriques des compositeurs. Le concept d’inconscient politique présuppose de clarifier la relation entre l’individuel et le collectif : l’inconscient se manifeste toujours à travers un individu, mais les contenus exprimés relèvent parfois d’une dimension collective, voire politique, qui transparait à travers les éléments biographiques. En tant qu’expression de l’inconscient politique, l’œuvre musicale sera constituée – en reprenant les catégories de l’esthétique de Bernard Stiegler – par des composantes stéréotypiques et traumatypiques. Par ce biais, l’expression musicale d’un compositeur sera traversée par des éléments symptomatiques qui font émerger les traits de son inconscient politique. On a donc identifié grâce à cette méthode les trois structures de l’utopie politique aux racines de l’expression musicale des trois compositeurs : le Volk chez Schumann, la Nation chez Liszt et la Masse chez Mahler. Ces trois figures condensent à la fois des moments de l’évolution de la pensée libérale et la position idéologique du compositeur par rapport au développement du capitalismeThe first part of this research project is dedicated to the reception of Liberal theory within Germanophone space between the 18th and 19th centuries and in particular within those territories that compose Germany as we know it today. This provides the historical and conceptual framework for the development of the second part of the dissertation, which consists in the analysis of the musical transpositions of Goethe’s Faust by Robert Schumann (1810-1856) and Franz Liszt (1811-1886), respectively in Szenen aus Goethes Faust (1844-1853) and Faust-Symphonie (1854), and as a conclusion a hint to the Eigth Symphony (1906-1907, 1910) by Gustav Mahler (1860-1911) will be made.Indeed, the dissertation does not consider all the musical works inspires by the Faustian myth, but rather only the works inspired by Goethe’s Faust and in particular those which focus on the second part and the conclusion of the tragedy constituted by the verses sung by the mystical chorus. Goethe’s masterpiece has been – at least since György Lukács – long identified with a recapitulation of humanity’s economic history as well as with a synthesis of Liberal thought between the 18th and 19th centuries.Hence, the working hypothesis resides in the possibility to find the sonic images of political utopia expressed by such musical transpositions of the mystical chorus that concludes Goethe’s work. The first part has demonstrated the intimate relation between the notion of mystical chorus and that of mystical body, that at its turn is the theological background of the notion of political body. For this reason, the musical transpositions of the mystical chorus have to be interpreted as different attempts to give voice, that is, to spatialize – through the timbres, voice-registers, pitches and other musical components and parameters – the image of political utopia that structures the composer’s ideology.Although still at an experimental phase, this work proposes a hermeneutical method inspired by Fredric Jameson’s concept of political unconscious in order to organize the analysis of the musical works. This implies on one hand the possibility to rigorously apply psychoanalysis on a musical object as expression of the composer’s unconscious; and on the other hand, to seriously take into consideration the theoretical writings of the composers. The concept of political unconscious requires to clarify the relation between the individual and the collective: the unconscious manifests itself always through an individual, but the contents thus expressed sometimes pertain and hint to a collective dimension, i.e. political sense, that shows itself via biographical elements. As expression of the political unconscious, the musical work is thus constituted – recalling Bernard Stiegler’s aesthetic categories – by stereotypical and traumatypical components. In this way, the musical expression of a composer is thereby haunted by symptomatic elements which make the traits of the political unconscious emerge to consciousness. We have hence identified thanks to this method three structures of the political utopia at the root of the musical expression of the three composers: Volk in Schumann, Nation in Liszt and the Mass in Mahler. These three figures condensate at the same time moments of the evolution of Liberal thought and the ideological position of the composer in relation to the development of capitalism
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Barrington, Barrie M. "The four Mephisto waltzes of Franz Liszt." Thesis, 1993. http://hdl.handle.net/2429/1755.
Full textAbstract:
The four Mephisto Waltzes of Franz Liszt constitute the focus of the present paper. Aside from the fascination they hold as individual works, they form an intriguing group related by title and heritage yet made distinct by important structural differences. Also, the separation of more than 20 years between the completion of the first and the last means that as a group they illustrate well the changes of style and concerns in Liszt’s composing. In this paper, the four works are discussed in a manner that reflects a shift in their dramatic source. The first two waltzes are closely tied to the poem Faust by Nikolaus Lenau and derive most of their drama from that extra musical link. The latter two pieces, however, exhibit fewer connections to the poem but contain compelling tonal and structural features. The first two chapters discuss the First and Second Mephisto Waltzes respectively with an emphasis on those aspects that are most closely associated with Lenau's Faust. In addition, certain passages that are not necessarily tied to the poem but are interesting in themselves are discussed. An example of this is the coda of the Second Mephisto Waltz and its effect on the piece's overall tonality. The third chapter discusses those few elements of the Third and Fourth Mephisto Waltzes that can be seen as stemming from Lenau's poem, while the final two chapters are made up of tonal and structural analyses of these latter two waltzes. The Third Mephisto Waltz, in particular, is treated to a more intense analysis since it is the most problematic of the group. In this piece, the overall tonic is unclear as two different, yet related, keys struggle to dominate, with neither coming to a clear and decisive victory. F-sharp major and D-sharp minor are supported in turn throughout the work and can be seen to coexist at times when the piece is viewed in its background. The Fourth Mephisto Waltz, although tonally more clear, contains a dramatic game of frustrated expectations and then unexpected fulfillment as the tonic, F-sharp, is strongly implied twice and only later is attained with little preparation. In order to come to terms with some of the problems posed by these works, I have used a modified form of Schenkerian analysis. Departures from, or additions to standard techniques are mentioned within the appropriate chapters. Since the four Mephisto Waltzes (especially the latter two) have not been exhaustively analysed, it is hoped that this study makes some contribution to the field of Liszt research.
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Wu, Wan-Hsuan 1977. "Beethoven through Liszt: myth, performance, edition." Thesis, 2007. http://hdl.handle.net/2152/3653.
Full textAbstract:
The relationship between Franz Liszt and Ludwig van Beethoven has always held a special position in the biographical tradition of Liszt. Liszt claimed that he received a consecration kiss (the Weihekuss) from Beethoven when he was eleven. However, the story probably was fabricated: in other words, the personal relationship between Liszt and Beethoven was never realized and never existed. Even though Beethoven and Liszt probably have never met, the Weihekuss still served as, in Liszt's words, "the palladium of my whole career as an artist." Liszt constructed a rather complicated relationship with Beethoven around this myth. In this study, I shall examine how the Weihekuss influenced both Liszt's life and his professional development as a performer and editor. In chapter one, I will analyze Liszt's psychological state through the anecdote and further examine the impact that Beethoven had inserted on both Liszt's life and career. On becoming a concert pianist, Liszt was the first person who performed Beethoven's piano sonatas in public and eventually elevated the genre of the sonata into the concert repertory. In chapter two, through eyewitness testimonies, Liszt will be viewed in a broader cultural and historical perspective. Meanwhile, Liszt's relationship with his audiences and his marketing strategies will also be included in this discussion. Liszt's "authority" on Beethoven led him to complete an edition of Beethoven's thirty-two piano sonatas in 1857. By examining Liszt's edition, particularly those sonatas that he performed, one can get a sense of how Liszt himself may have interpreted the music. According to Liszt himself, he performed ten Beethoven piano sonatas in public. These ten sonatas will be the primary focus in chapter three. Liszt both added and omitted articulation and pedal markings, creating different emphases and lines from those present in Beethoven's original manuscripts. The edition, in a sense, is Liszt's final tribute to Beethoven, but also reveals his constant disappointment in never having met the composer. To edit the sonatas was, for Liszt, a way to communicate with Beethoven spiritually, if not personally.
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"Franz Liszt's Via Crucis: in search of a new style." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5888612.
Full textAbstract:
Jenny Liu Ng Mui.Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 123-128).
INTRODUCTION --- p.1
PART I LISZT'S RELIGIOUS DEVELOPMENT AND HIS POSITION IN 19TH-CENTURY CHURCH MUSIC REFORM
Chapter Chapter 1 --- Liszt's religious development --- p.5
The influence of Adam Liszt
The first religious outburst
The influence of the Saint-Simonians
The influence of the Abbe de Lammenais
The influence of Princess Wittgenstein
The Abbe Liszt
Chapter Chapter 2 --- Liszt's position in 19th-century church music reform --- p.13
The Cecilian Movement
Liszt's ideal of church music
Liszt's sacred choral works
The evolution of Liszt's church music reform
The reception of Liszt's sacred choral works
"PART II LISZT'S VIA CRUCIS: COMPOSITIONAL BACKGROUND, RECEPTION AND TEXT"
Chapter Chapter 3 --- The compositional background and reception of Via Crucis --- p.26
Liszt's late years
Date and place of composition
The influence of artworks on the composition
The reception of Via Crucis
Chapter Chapter 4 --- The text of Via Crucis --- p.32
Biblical excerpts
Verses from Latin hymns
The German chorales
The text of Via Crucis as compared with traditional Passions
PART III UNITY AND CONTRAST IN VIA CRUCIS
Chapter Chapter 5 --- Thematic design in Via Crucis --- p.42
Thematic cross-reference
The Cross motif
Jesus' theme
Veronica's theme
Large-scale repetition
The Prelude and Station XIV
The theme of the procession
Stations III， VII and IX
Stations IV and XIII
Chapter Chapter 6 --- Harmonic design in Via Crucis --- p.54
The structural importance of the tritone
Station V
Station XI
The six monologues
The broad layout
The emphasis on the use of symmetric structures
Station II
Station IV
Station VIII
Station X
Station XII
Chapter Chapter 7 --- Stylistic contrast in Via Crucis --- p.67
The adoption of Palestrina style
Texture
Rhythmic design
Melodic design
Harmonic design
Text setting
The adopt ion of Bach chorale style
O Haupt voll Blut und Wunden
O Traurigkeit
The coexistence of German chorales and Latin hymns
CONCLUSION --- p.78
EXAMPLES --- p.80
BIBLIOGRAPHY --- p.123
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Lin, Wan-yu, and 林菀榆. "The Analysis and Interpretation of “Ballade in b Minor, No. 2” by Franz Liszt (1811-1886)." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80177884569003242026.
Full textAbstract:
碩士東吳大學
音樂學系
99
Abstract The purpose of this thesis is to analyze and discuss the interpretation of Ballade in b Minor by Franz Liszt. Liszt is one of the most important musicians in the Romantic Period. He composed two ballades. His first ballade, Ballade No. 1 in D-flat major, started in 1848 and completed in 1849. His second ballade was finished in 1953. At the same year, he also composed Piano Sonata in b minor. This thesis is going to situate the context of Liszt’s music and explore the composition background of this piece. Furthermore, this thesis is to discuss the prevailing romanticism, virtuosity at his time, and the influence of Chopin’s ballade on Liszt’s works. This thesis also analyzes the creation through different perspectives, including skills, interpretation, related background, and performance interpretation. The b Minor Ballade(1853), based on the ancient Greek love story of Hero and Leander composed by three themes. He developed the method of "transformation of themes" as part of his revolution in form which shows his unique music texture and style. In tonality and harmony, this piece has abundant sonority. Concerning transformation of major and minor, the composer uses common-tone modulation, enharmonic modulation, and some featured chords, including Neapolitan Sixth, and Diminished 7th chords. Liszt’s music shows incredibly difficult piano skill by dazzling notes and exaggerating contrast. Nevertheless, this piece is still visually vivid and poetic: not only does the listener see the stories depicted in the music, but also the emotional worlds are palpable. Keyword: Liszt, Romanticism, Virtuosity, Ballade, Ballade in b Minor
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Alexander, Mark Willard 1963. "An historical exploration of Franz Liszt's role preparing, performing, and promoting Richard Wagner's Lohengrin." 2001. http://hdl.handle.net/2152/12833.
Full text
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Haringer, Andrew Lawrence. "Liszt as Prophet: Religion, Politics, and Artists in 1830s Paris." Thesis, 2012. https://doi.org/10.7916/D8D224MX.
Full textAbstract:
This dissertation is a study of Liszt's formative years in Paris, with a particular focus on three of his mentors: the priest Félicité Lamennais, the poet-statesman Alphonse de Lamartine, and the musician and mystic Chrétien Urhan. Of all the important figures Liszt encountered during this period, Lamennais, Lamartine and Urhan stand apart in their pursuit of a prophetic mission, whether in religion, politics, art, or a combination thereof. I contend that their influence--more than any other--shaped Liszt's fundamental identity as a liberal Catholic artist, dedicated to social and artistic progress driven by faith. I begin with an introductory chapter on important developments in Paris before and during Liszt's time in the city. The instability of the French Revolution resulted in a dynamic society in which new political, religious, and artistic movements could form and interact. Republican values continued to seek a foothold in the oppressive climates of the Restoration and July monarchies. Similarly, the Church--reinstated by Napoleon but still greatly diminished in power--struggled for relevance in an increasingly indifferent society, leading many Catholics to embrace liberal causes. Finally, the emergence of a new generation of Romantic artists dedicated to leading society forward emerged as an unexpected legacy of the Enlightenment. Each of the three central chapters of this dissertation focuses on one of the figures listed above, and on their impact on Liszt's life and music. Lamennais' radical political and religious message encouraged Liszt to express similar views in word and in music. Lamartine's innovative religious poetry prompted Liszt to seek an equivalent in music. Finally, Urhan's seamless merging of sacred and secular music inspired Liszt to adopt a similar approach in his own compositions. In the final chapter, I trace the continued impact of these figures in Liszt's life and work. Ultimately, I argue that the groundwork for Liszt's most celebrated artistic innovations had already been laid in the early 1830s, and that many of his later works are only comprehensible within the framework of the political, religious, and artistic education he received in his youth.
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Moodie, Noreen Charlotte. "Liszt's songs : a reflection of the man and a microcosm of his musical style." Diss., 1996. http://hdl.handle.net/10500/17503.
Full textAbstract:
"Liszt's music, unlike that of Mozart, projects the man.
With rare immediacy, it gives away the character
of the composer. ... "
(Brendel 1986, 3)
The purpose of this study is to examine Liszt's song genre from an historical and
stylistic standpoint as a reflection of Liszt's ongoing personality and style development.
this end the following will be presented:
- an overview of Liszt's life circumstances which reflect his personality development
- a chronological classification ofLiszt's song genre
- the songs viewed historically as a reflection of the man
- characteristics in the revisions of the songs which reveal Liszt's ongoing developing
style
- a study of the development ofLiszt's harmonic and tonal language as agents of
colour and textual imagery.
Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his
motives, his values, the experiences that moved him, and the ways in which he
reproduced them in music.Department of Musicology
M.Mus.