In the investigation of the Diary and its validity as evidence, the origin and structure of the treaty System, and the functioning of the treaties, in both their original form and subsequent modification, has been examined, with special reference to Stretch and the Gaika tribes.

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. / Arts, Faculty of / Music, School of / 5 sound cassettes - Univeristy Archives - AW5 .B7 808160 Discussion of Liszt’s 4 Mephisto waltzes for solo piano. The 1st 2 are Liszt’s arrangements of his own orchestral works. The 1st is his arrangement of the 2nd episode, Tanz in der Dorfschenke, of his Episodes from Lenau’s Faust for orchestra, S. 110. The 3rd and 4th waltzes are piano works, the 4th left unfinished by Liszt. Includes programs of the author’s piano performance graduation recitals and lecture/recital. / Graduate

The lecture recital was given April 2, 1973. A discussion of Liszt's late piano works included information about specific compositional techniques and innovations which influenced twentieth-century composers. Five selections of the late works were performed by memory. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 9, 1972, consisted of works by Haydn, Beethoven, Ravel, and Chopin. The second solo recital, performed on August 4, 1974, included works by Beethoven, Debussy, and Brahms. The final solo recital, performed on April 5, 1976, consisted of works by Bach, Chopin, and Prokofieff. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation.

The same theme of one unorthodox man opposing a self-appointed authoritative religious institution is interpreted is interpreted in two different ways in two related works by Karl Friedrich Gutzkow: his Novelle, Der Sadduzaer von Amsterdam (1834), and in his drama, Uriel Acosta (1846). Both works fictionalize the life Uriel Acosta (1585-1640), an unorthodox Jew who fled the Spanish Inquisition in Portugal to the relatively tolerant country of Holland. Acosta’s problems were not with the government of Holland, however, but with his own orthodox Jewish temple authorities. He opposed the written interpretations of the Talmud and attempted to question the very idea of institutionalized religion as a mere human invention. For this skepticism he was excommunicated and persecuted. Eventually he took his own life, leaving behind his autobiography, A Specimen of Human Life, which Gutzkow read. This thesis attempts to define the likenesses as well as the contrasts in Gutzkow’s two interpretations. The twelve year span elapsing between the two works effects changes in the author’s use of characterization and in his resolution of the plot. The method of investigation used was to analyze each work for plot, form, and content; the latter included style and characterization. Materials used were simply the two works themselves as well as supplementary reading regarding developments in the author’s life during the years between the writing of the Novelle and the drama.

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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.

An understanding of the piano transcription is basic to any proper comprehension of nineteenth-century piano music and performance practice. In this study, the transcription for solo piano is examined in relation to several musical milestones in the mid-nineteenth century, including far-reaching technical developments in the piano, the beginning and growth of the public concert, the birth of the solo piano recital, and the influence of virtuosity as a Romantic ideal. In addition, as Liszt was undoubtedly the greatest transcriber of the nineteenth century, several representative transcriptions of Liszt are analyzed and compared to their original models, including Schubert's Gretchen am Spinnrade and Auf dem Wasser zu singen, Chopin's Moja pieszczotka ("My Joys"), Wagner's Liebestod from Tristan und Isolde, and the quartet from the final act of Verdi's Rigoletto.

Québec Université Laval, Bibliothèque 2012

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Cette thèse est une recherche comparative globale des techniques pianistiques utilisées dans les Douze études dans les tons mineurs op. 39 de Charles-Valentin Alkan et les Études d'exécution transcendante de Franz Liszt. À partir de ce concept, ce document explore l'évolution du piano en France à l'époque des deux compositeurs. De plus, il détermine leurs innovations pianistiques ainsi que les styles personnels qui les caractérisent dans ces deux recueils. On y trouve également une analyse du langage musical apparu dans chaque étude et l'influence des autres compositeurs. Cet écrit présente un parcours des différentes textures pianistiques du point de vue de l'interprète. Ce survol a pour but d'arriver à une pratique optimale ainsi qu'à une utilisation efficace des moyens corporels pour obtenir une meilleure qualité de son. En somme, cette recherche porte sur la résolution des problèmes techniques des œuvres de ces deux compositeurs qui se trouvent au sommet de la virtuosité au 19e siècle. / This thesis is a comprehensive comparative research of piano techniques used in Charles-Valentin Alkan's Twelve Etudes In the Minor Keys op. 39 and Franz Liszt's Transcendental Etude. From this starting point, this document explores the historical evolution of the piano in France during these two composer's time. It also determines their pianistic innovations as well as the personal styles that define them in these two collections. The reader will also find an analysis of the musical language that appeared in each etude as well as the influence from other composers' styles. This document presents an overview of different pianistic textures explained from the interpreter's standpoint. This overview targets an optimal way for practicing and an efficient use of the body in order to obtain a better sound quality. Thus, this research is about the resolution of technical problems that one can find in the works of these two composers who are at the top of the 19th Century's virtuosity