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This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany. Liszt’s interest in these movements, and in the style then in use in the Sistine Chapel, also receive comment. Chapter 7 analyzes Christus itself, and explains it as a synthesis of the styles then in use by Catholic composers of the era. Chapter 8 concludes with musings on the state of Catholic music, suggestions on how that field could be improved, and Christus’s future. / Music Composition / Accompanied by one .pdf score: Denarius: Two movements for Orchestra.

Though many philosophers and music theorists have admitted the signification of the sublime in music as a possibility, the nature and mechanism of that signification has not yet been treated at length with a methodology familiar to musicians or native to music theory. Within this dissertation I have conducted a survey of the philosophy of the sublime as understood by Edmund Burke (1729 – 1797), Immanuel Kant (1724 – 1804), Friedrich Schiller (1759 – 1805), and Arthur Schopenhauer (1788 – 1860), with references to other contemporary philosophers and writers. The broader influence of the sublime in regards to German-speaking regions and certain musical composers was also considered. I then gathered from the above philosophers’ categories and definitions of the sublime a constellation of objects, qualities, and emotional states associated with the sublime. These functioned as signs or signifiers of the sublime, whose paths of signification were considered or determined with use of semiotics and topic theory, with reference to the work of Danuta Mirka, Raymond Monelle, and Leonard Ratner. Making reference to score examples listed in the list of figures, I implemented these techniques in analyses of Ludwig van Beethoven’s Sonata No. 30 in E Major, Op. 109 and Sonata No. 32 in C, Op. 111 as well as Franz Liszt’s “Mazeppa,” from the Études d’exécution transcendante, “Funerailles” from Harmonies Poétiques et Religieuses III, S. 173, and “Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique” in from Années de pèlerinage III, S.163. / Music Performance

This dissertation pursues the following three objectives: (1) a comprehensive formal analysis of Franz Liszt’s sonata in B minor that combines adequate analytical models; (2) various hermeneutic approaches to the sonata that trace thematic and expressive transformations and deviational elements from sonata conventions; and (3) a comprehensive interpretation of the sonata analysis and the hermeneutic analyses based on historical, religious, and political contexts around Liszt and the sonata, which will differentiate this dissertation from preceding research on the sonata and other sonata genres in the nineteenth century. Chapter 1 begins with a literature review, focusing on (1) the sonata’s formal analyses and (2) programmatic approaches. Considering the formal boundaries of the sonata are still disputable in former research, I argue that the sonata strongly demands appropriate analytical methodologies in order to uncover its exceptional form. These methodologies include James Hepokoski’s and Waren Darcy’s sonata theory (2006), Leonard Meyer’s “secondary parameters” (1989), and Peter Smith’s “dimensional counterpoint” (2005), which will be discussed in Chapter 2. Hepokoski’s and Darcy’s sonata theory reveals the conventions of eighteenth- and nineteenth-century sonatas and suggests hermeneutic interpretations that result from deviations from these conventions. Secondary parameters and dimensional counterpoint are critical in shaping musical processes and form. I provide a three-step sonata analysis based on the analytical ground that combines these methodologies. My analysis offers a comprehensive view of the entire sonata as a one-movement sonata form, including structural, motivic, and narrative analyses. Chapter 1 also describes several programmatic approaches that Liszt scholars have developed. However, an obsession with the good/evil dichotomy in former research narrows narratives of the sonata. Considering that the sonata presents five motto themes, interpretations of the sonata may be more extensive and complex than previous research has found. I develop various and distinctive hermeneutic readings of the sonata in Chapter 3, which includes the following three sub-sections: 1) Topical approach; 2) Narrative approach; and 3) Lacanian approach. The topical approach investigates how different topical significations are manifested in Liszt’s sonata in nineteenth-century historical and cultural contexts. The narrative approach concentrates on five mottos presented in the sonata and their motivic and expressive transformations. The Lacanian approach concentrates on a lack of strong cadences in the sonata, relating to Lacan’s famous concept, objet petit a, an unattainable object of desire. Then, I continue to use the Lacanian viewpoint to interpret an unresolved fully-diminished seventh harmony as a Sinthome, a symptom that can never be healed. In Chapter 4, I relate Liszt’s religious convictions and various struggles to bring about another hermeneutic reading in the political, religious, and theological contexts around Liszt and the sonata, by revisiting my interpretations in Chapter 3. / Music Theory

[EN] In this thesis they are studied cadences in various formulas which are used by the composer Franz Liszt to finish his piano works. This particular aspect of his harmonic language, we call «cadential experimentation», is developed further in his last creative period extending between 1877 and 1885. The detailed analysis of the end of all works written in these years is accompanied by the exam of the terminal cadence writing of his main pieces for keyboard all their previous production. Also we incorporate the investigation of this harmonic process in the most important works of the most prominent pianists-composers contemporaries: Felix Mendelssohn, Robert Schumann y Frédéric Chopin. This comparative study allows us to show the relevance of the figure of Liszt acquired in the renovation of the links in the final cadences and in the process of eliminating the cadence as the punctuation final of the works. His contribution, in quantity and variety, is decisive in this area, becoming the most daring romantic musician, who creates original and revolutionary conclusions for the epoch and even he becomes prescient of an advanced harmonic language. We confirm as well as his constant curiosity and desire for innovation in the harmonic field, which will lead to develop along its production a script that makes it in one of the great innovators of the harmonic vocabulary of the nineteenth century, they are also reflected in the field investigated, and the final «cadential experimentation» becomes in a prominent aspect of the evolution of his harmonic language. After analysis, has made concrete a typology of the various cadences used by the Hungarian master, and we have evaluated the influence of his «cadential activity» in the musical speech of the later composers, delimiting to the composers Claude Debussy and Maurice Ravel. / [ES] En la presente tesis se estudian las diversas fórmulas cadenciales que utiliza el compositor Franz Liszt para concluir sus obras para piano. Este aspecto particular de su lenguaje armónico, que denominamos experimentación cadencial, se desarrolla de forma más manifiesta en su última etapa creativa que se extiende entre 1877 y 1885. El análisis pormenorizado de los finales de todas las obras escritas en estos años se acompaña con el examen de la escritura cadencial terminal de las principales piezas para teclado de toda su producción anterior. Incorporamos, asimismo, la investigación de este procedimiento armónico en las obras más importantes de los pianistas-compositores coetáneos más destacados: Felix Mendelssohn, Robert Schumann y Frédéric Chopin. Este estudio comparativo nos permite mostrar la relevancia que adquiere la figura de Liszt en la renovación de los enlaces cadencias finales y en el proceso de eliminación de la cadencia como puntuación final de las obras. Su aportación, en cantidad y variedad, es decisiva en este terreno, convirtiéndose en el músico romántico más atrevido, que crea conclusiones originales y revolucionarias para la época e incluso premonitorias de un lenguaje armónico más avanzado. Comprobamos así como su constante curiosidad y anhelo de innovación en el terreno armónico, que le conducen a desarrollar a lo largo de su producción una escritura que lo convierte en uno de los grandes renovadores del vocabulario armónico del siglo XIX, se ven reflejados también en el campo que investigamos, y la experimentación cadencial final pasa a convertirse en un aspecto destacado de la evolución armónica del lenguaje lisztiano. Tras el análisis, se ha concretado una tipología de las diversas cadencias utilizadas por el maestro húngaro, y se ha valorado la influencia de su actividad cadencial en el discurso musical de compositores posteriores, delimitándola a las figuras de Claude Debussy y Maurice Ravel. / [CA] En la present tesi s'estudien les diverses fórmules cadenciales que utilitza el compositor Franz Liszt per a concloure les seues obres per a piano. Este aspecte particular del seu llenguatge harmònic, que denominem experimentació cadencial, es desenrotlla de forma més manifesta en la seua última etapa creativa que s'estén entre 1877 i 1885. L'anàlisi detallat dels finals de totes les obres escrites en estos anys s'acompanya amb l'examen de l'escriptura cadencial terminal de les principals peces per a teclat de tota la seua producció anterior. Incorporem, així mateix, la investigació d'este procediment harmònic en les obres més importants dels pianistes-compositors coetanis més destacats: Felix Mendelssohn, Robert Schumann i Frédéric Chopin. Este estudi comparatiu ens permet mostrar la rellevància que adquirix la figura de Liszt en la renovació dels enllaços cadències finals i en el procés d'eliminació de la cadència com a puntuació final de les obres. La seua aportació, en quantitat i varietat, és decisiva en este terreny, convertint-se en el músic romàntic més atrevit, que crega conclusions originals i revolucionàries per a l'època i inclús premonitòries d'un llenguatge harmònic més avançat. Comprovem així com la seua constant curiositat i anhel d'innovació en el terreny harmònic, que li conduïxen a desenrotllar al llarg de la seua producció una escriptura que ho convertix en un dels grans renovadors del vocabulari harmònic del segle XIX, es veuen reflectits també en el camp que investiguem, i l'experimentació cadencial final passa a convertir-se en un aspecte destacat de l'evolució harmònica del llenguatge lisztiano. Després de l'anàlisi, s'ha concretat una tipologia de les diverses cadències utilitzades pel mestre hongarés, i s'ha valorat la influència de la seua activitat cadencial en el discurs musical de compositors posteriors, delimitant-la a les figures de Claude Debussy i Maurice Ravel. / Yuste Martínez, LJ. (2016). Franz Liszt: La experimentación cadencial en los finales de las últimas obras para piano (1877-1885) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/68493