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"Liszt, Franz 1811-1886 Criticism and interpretation."
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Virtuosity and the Musical Work
This book is about three sets of etudes by Liszt: the Etude en douze exercices (1826), its reworking as Douzes grandes études (1837), and their reworking as Douzes études d'exécution transcendante (1851). At the same time it is a book about nineteenth-century instrumental music in general, in that the three works invite the exploration of features characteristic of the early Romantic era in music. These include: a composer-performer culture, the concept of virtuosity, the significance of recomposition, music and the poetic, and the consolidation of a musical work-concept. A central concern is to illuminate the relationship between the work-concept and a performance- and genre-orientated musical culture. At the same time the book reflects on how we might make judgements of the 'Transcendentals', of the Symphonic Poem Mazeppa (based on the fourth etude), and of Liszt's music in general.
eBook
Reading Franz Liszt : revealing the poetry behind the piano music
\"Paul Roberts immerses readers in the world of Franz Liszt, megastar of Romanticism, through a vivid exploration of his most beloved pieces and literature that inspired them-from Petrarch's love poetry to the sensibilities of Byron, Sénancour, and others. Roberts reveals the deeper essence of Liszt, recasting him as a composer of poetic feeling\"-- Provided by publisher.
Book
Franz Liszt and his World
No nineteenth-century composer had more diverse ties to his contemporary world than Franz Liszt (1811-1886). At various points in his life he made his home in Vienna, Paris, Weimar, Rome, and Budapest. In his roles as keyboard virtuoso, conductor, master teacher, and abbé, he reinvented the concert experience, advanced a progressive agenda for symphonic and dramatic music, rethought the possibilities of church music and the oratorio, and transmitted the foundations of modern pianism.
eBook
Recomposing National Identity
Liszt’s Mélodies hongroises d’après Schubert, a solo piano transcription of Schubert’s four-hand Divertissement à l’hongroise, provides an interesting example of the complex relationship between centers and peripheries, and between personal patriotism and public nationalism. The first transcription (S. 425, 1838–39) stands at the very beginning of Liszt’s career as a “national composer,” the most significant aspect of this rather overlooked fact being Liszt’s transformation of the second movement—a naive, dance-like march—into “republican” heroic music driven toward an apotheosis à la Beethoven. This heralded a new type of national genre, and Liszt deemed the march movement important enough to be published on its own in numerous versions between 1838 and 1883. Yet this Marche hongroise was not merely nationalist: it related to other, non-Hungarian identities, most notably French and Austrian. Later versions (from 1859 onward) allowed Liszt to express a progressive, liberal Hungarian identity in the face of a rising tide of chauvinism. Four transcultural readings of the work, both complementary and conflicting, follow Liszt’s revisions in roughly chronological order, interpreting the work as, in turn, a nationalist reclamation of Hungarian music, a republican response to the political status quo, the construction of an Austro-Hungarian identity, and a discontinuous text in which new, modernist ideas often merge or conflict with older ones, forcing a fresh renegotiation of national identity.
Journal Article
Two-Dimensional Sonata Form
Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin’s theory of formal functions, and Hepokoski and Darcy’s Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss’s tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky’s Second String Quartet.
eBook
Chromatic Transformations in Nineteenth-Century Music
David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. The book traces conceptions of harmonic system and of chromatic third relations from Rameau through nineteenth-century theorists such as Marx, Hauptmann and Riemann, to the seminal twentieth-century theorists Schenker and Schoenberg and on to the present day. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony, and integrates them as fully fledged entities into a chromatically based conception of harmonic system. The historical and theoretical argument is supplemented by plentiful analytic examples.
eBook
Beyond Sonata Deformation: Liszt's Symphonic Poem Tasso and the concept of two-dimensional Sonata Form
The concept of sonata deformation is, at least on first sight, especially promising for analyzing Franz Liszt's symphonic poems and large-scle instrumental form from the second half of the 19th century and early 20th century in general. A study is presented that shows how Liszt's symphonic poem \"Tasso\" invites the application of sonata-deformation categories but how at the same time those categories fail to account for salient aspects of the piece. The study develops an alternative and more specific background against which \"Tasso\" can be interpreted and demonstrates how the piece's formal organization can be charted without taking recourse to the concept of deformation.
Journal Article
The unknown Liszt: \missing notes\ are supplied
Nineteenth-century composer-pianist Franz Liszt's music has become popular in the 1990s after a long period of neglect by the public. There is now renewed interest in discovering many of his missing works and the holding of commemorative festivals such as one held in Canada in Oct. 1994.
Magazine Article