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

I den här examensuppsatsen undersöks Franz Liszt och hans Ballad nr 2 i b moll. Genom detta ämnar jag ta reda på vad skräckromantiken egentligen var, vad som skapade den och om detta stycke är ett uttryck för tiden. Syftet är att undersöka stycket och försöka anknyta det till nutiden. Först gick jag noga igenom noterna och analyserade hur det musikaliska, dramaturgiska uttrycket hängde samman med orden, poemet. Efter att ha övat in själva melodin började ett sökande efter poemets berättelse i musiken, och en ny lång inövningsperiod där jag uttryckte historien i musiken, den som eventuellt fanns där men framför allt den egna tolkningen. Jag kom fram till att stycket var ett klart uttryck för det som kallas för skräckromantiken som många av verken Liszt och hans generationskollegor skapade.

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.

As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original form. With this in mind, it can be argued that piano transcriptions of music originally written for instrumental ensemble is still a viable form of musical expression, because the piano is still the most widely used medium for the performance of art music in the Western world. Transcriptions of instrumental and vocal music expand the listening audience for a composer's music while they also increase the repertoire of music for the piano for both amateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts: 1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis. 2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's The Sleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overview of piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.

Many of Liszt’s early virtuosic works for piano are limited by a rigidified conception of thematic substance: the sonorous and harmonic impressionism in introductions and bridge passages does not disguise the finite and static treatment of themes. This problem found effective solution during the 1850s. With reference in particular to the first book of the Années de Pélérinage, it is shown how Liszt, even before Wagner, succeeded in making »his whole art [...] an art of transition« by systematic exploration of symmetrical, cyclic (octatonic, hexatonic) tonal spaces. The opening up of space within the thematic substance makes the forms of musical time themselves fluid and infinitely makes the forms of musical time themselves fluid and infinitely expandable, a potentiality exploited to the full by Wagner in Tristan und Isolde and Parsifal, and hinted at in the famously enigmatic line from the latter »Zum Raum wird hier die Zeit«. The introduction of »tonal space« as a compositional means can be logically related to an increase in the use of octatonic and hexatonic pitch collections as substitutes for diatonic tonality, a process that occurred around the turn from the 19th to the 20th century and that can be set against modernist historiographical narratives of the »dissolution of tonality« as apologia for the dodecaphonic method. Tonal space is further interpreted here as an expressive and not merely technical resource, carrying particular cultural connotations such as landscape, poetic transcendence, and magic. The importance of such meanings suggests the need to take a more interpretative and less »material« view of music history itself.

Nach Helmut Lachenmanns viel beachteter Unterscheidung von fünf Klangtypen stellt sich das Verhältnis von Klang und Struktur im Sinne eines dialektischen Prozesses dar. Als ein die Hörenden aktivierendes Phänomen repräsentiert der Strukturklang den am meisten vergeistigten Typus. Die auf das eigentlich Klangliche beschränkten Farb-, Fluktuations- und Texturklänge sieht Lachenmann hingegen als primitivere Formen an, die passive und saturierte Rezeptionshaltungen unterstützen würden. Eine Darstellung dieser Theorie des musikalischen Klangs und ihrer Verwurzelung in spezifisch deutschen musikästhetischen Traditionen des 19. und 20. Jahrhunderts bildet im vorliegenden Text den Ausgangspunkt einer Beschäftigung mit den Fragen, ob Aktivität und Passivität sinnvolle Kategorien der Klangwahrnehmung darstellen und inwieweit nicht auch Fluktuationsklänge engagierte und detailbezogene analytische Hörweisen anzuregen vermögen. Als Beispiele dieses Klangtyps dienen langsame Doppeltremoli und -triller, die Akkorde in triolischem Rhythmus innerlich bewegt und durch die Verschleierung metrischer Schwerpunkte gleichsam schwebend darstellen. Das von Franz Liszt vom Klavier aufdas Orchester übertragene Modell spielt besonders im Streichersatz von um 1900 entstandenen Orchesterwerken eine bedeutende Rolle. In kurzen vergleichenden Analysen zur Behandlung dieser Technik bei Dvořák, Debussy, Balakirew, Skrjabin, Strawinsky, Bartók und Ligeti wird versucht, Kriterien für die Komplexität solcher Klänge und für das Gelingen ihrer strukturellen oder dramaturgischen Einbindung in syntaktische Kontexte zu erarbeiten. / According to Helmut Lachenmann’s much noted distinction of five sound types, the relationship between sound and structure represents a dialectic process. The most spiritual type is the so called »structure sound« because it activates the listeners in a particular way. Lachenmann regards the color, fluctuation and texture sounds, which remain limited to the sound aspect itself, as rather primitive forms, reflecting passive and saturated reception attitudes. In the present article, a presentation of this musical sound’s theory and its roots in the nineteenth and twentieth-century traditions of German music aesthetics leads to a discussion on whether »activity« and »passivity« are reasonable categories of sound perception and to what extent fluctuation sounds can stimulate engaged and detailed analytic modes of listening. Examples for this sound type are slow double tremolos and double trills, representing harmonies quasi pending and inwardly moved, due to triplets and disguises of metric emphases. Franz Liszt transferred the model from the piano to the orchestra, and it plays a prominent role especially in string parts of orchestral pieces composed around the year 1900. In small studies on the treatment of this technique by Dvořák, Debussy, Balakirew, Skrjabin, Strawinsky, Bartók and Ligeti, we attempt to develop criteria for the successful integration of such sound types in structural and dramaturgical contexts of compositions.

Franz Liszt's Faust Symphony has suffered neglect since its premiere in 1857. The analysis in this study aims to clarify some of the misunderstandings which have led to this neglect, particularly concerning Liszt's formal structure and character portrayal. In the Faust movement, the flat 6th scale degree (♭6) plays a prominent role in harmonic organization. Nineteenth-century composers sometimes used the distinct sonic color of chromatic-third progressions, as Liszt does here between C and E rather than diatonic movement by fifth to evoke a distant dream-world state. Liszt's conspicuous and form-defining use of ♭6 in the Faust movement suggests fantasy and mysterious elements ripe for programmatic interpretation. In this dissertation, I will attempt to clarify how Liszt portrayed the character of Faust by using the flat 6th scale degree as a crucial harmonic organizing principle in the Faust movement.

La thèse présente un historique complet sur la responsabilité pénale des personnes morales depuis les récits de la Genèse jusqu’aux sentences de la Cour Suprême espagnole prononcées en 2016. Cette histoire n’est pas simplement une description des différents auteurs ou des différents moments historiques, mais c’est plutôt une reconstruction critique construite principalement pour identifier et pour démêler la doctrine qui trouve dans l’expression latine societas delinquere non potest l’argument le plus important pour nier la possibilité d’attribuer la responsabilité pénale aux groupements. Une fois établis les concepts et les idées selon le système philosophique appelé « matérialisme philosophique », dont l’auteur est l’espagnol Gustavo Bueno, une étude de la sentence latine, d’origine inconnue jusqu'à présent, est présentée ; c’est donc pour la première fois que nous identifions et expliquons cette origine: elle a été inventée par Franz von Liszt en 1881. Après cela une reconstruction complète de l’histoire de l’idée est réalisée et l’on découvre deux nouveautés fondamentales : que la Révolution française n’a jamais prétendu refuser la responsabilité pénale des groupements et que la Cour Suprême espagnole avait prononcé des sentences condamnatoires aux groupements au XIXe siècle. Sur la base de ces faits, on situe à la fin de la Seconde Guerre Mondiale le moment dans lequel la sentence latine prend le sens d’impossibilité ontologique des groupements quant à commettre un crime et qui se base sur une idée politique et non juridique : la décision des puissances victorieuses du fait que l’Allemagne n’avait pas été coupable, mais seulement certains hiérarques et groupements Nazis. / This thesis provides a comprehensive history of corporate criminal liability, from the Book of Genesis up to the rulings handed down by the Spanish Supreme Court in 2016. However, this history is not limited to a mere descriptive survey of authors or historical periods: instead, it constitutes a powerful critique of a doctrinal tradition which purports to find in the Latin maxim societas delinquere non potest the best argument to deny that corporations can be held criminally liable. Once that the concepts and ideas which lie at the basis of this thesis are established following the philosophical system known as “philosophical materialism”, founded by Spanish philosopher Gustavo Bueno, I present an inquiry on the heretofore unknown origins of the Latin maxim which I have been able to trace back to 1881, when its originator, Franz von Liszt coined it. After it I undertake a comprehensive reconstruction of the history of this idea, from which two major findings emerge: firstly, that the French revolutionaries never intended to reject corporate criminal responsibility and secondly, that the Spanish Supreme Court issued convictions against societies in the 19th century. On the basis of these facts, the end of World War II emerges as the key turning point in History when the Latin maxim acquired the status of a philosophical principle denying the ontological possibility of a society to be criminally responsible. A principle whose roots are not to be found in legal doctrine but in a political idea: the decision by the Allied powers that it was not Germany that was to be held responsible for war crimes, but rather only those Nazi Party organizations and hierarchy directly involved. / La tesis presenta un estudio histórico completo sobre la responsabilidad penal de las personas jurídicas, desde el libro del Génesis hasta las sentencias del Tribunal Supremo de 2016. Este estudio no se plantea únicamente como una mera descripción de diferentes autores o momentos históricos, sino como una reconstrucción crítica construida principalmente para identificar y destruir la doctrina que encuentra en la expresión latina societas delinquere non potest el argumento más importante para negar la responsabilidad penal corporativa. Una vez establecidos los conceptos y las ideas según el sistema filosófico llamado "materialismo filosófico", cuyo autor es el filósofo español Gustavo Bueno, se presenta un estudio de la frase latina, de origen desconocido hasta ahora. Por primera vez se identifica y se explica este origen: fue inventada por Franz von Liszt en 1881. Tras ello se presenta una reconstrucción completa de la historia de la idea en la que se descubren diversas novedades historiográficas, entre las que destacan el hecho de que la Revolución Francesa nunca pretendiera rechazar la responsabilidad penal corporativa y que el Tribunal Supremo español hubiera pronunciado sentencias condenatorias a empresas en el siglo XIX. Sobre la base de estos hechos, situamos al final de la Segunda Guerra Mundial el momento en el que la sentencia latina toma el sentido de imposibilidad ontológica de las corporaciones de cometer delitos y que según entendemos se basa en una idea política y no jurídica: la decisión de las potencias vencedoras de que Alemania no había sido culpable, sino solamente algunos jerarcas y corporaciones nazis.

The transcriptions of Franz Liszt (1811-1886) and Anton Rubinstein (1829-1894) on Beethoven's "Marcia alla turca" serve as unique examples within the area of transcription since each of these important virtuosos transcribed the movement with drastically different results. Liszt's Capriccio alla turca (1846) is built on Beethoven's thematic materials although it is presented with a greatly embellished accompaniment providing countermelodies, expanded passages, and vigorous rhythmic features. In contrast, Rubinstein's Turkish March (1848) attempts to capture Beethoven's original (1811) as closely as possible adhering to the form and harmonies. Each composer's approach served to showcase new pianistic innovations capturing orchestral sonorities at the piano previously unimagined. This dissertation offers musical insight for two less well-known works from significant pianist-composers which should receive further attention. Additionally, this research provides greater documentation for the compositions of Rubinstein, supplementing the historical accounts of his abilities as a performer. Examination and comparative analysis of each transcription not only illuminates the creative approaches each composer employed in creating his transcription, but also serves pianists wishing to perform these neglected works.

This dissertation is divided into six chapters. The first chapter explains the purpose and significance of the study. The second chapter presents an analysis about Wanderer Fantasy, D.760 composed by Schubert, employing Schenker analysis to elucidate important motives. Chapter 3 provides an analysis of Schubert-Liszt, Wanderer Fantasy for Piano and Orchestra, S. 366 and shows how Liszt transcribed the original to emphasize certain motives, and further, describes the development of the piano history. Chapter 4 delves into an analysis of Schubert-Liszt, Wanderer Fantasy for Two Pianos, S. 653a transcribed by Franz Liszt and further explains the historic development of piano, in particular Érard's grand piano. Chapter 5 explains the analysis of Schubert-Liszt, Wanderer Fantasy for Piano Solo, S.565a and expands upon Érard's grand piano. Finally, Chapter 6 leads to this paper's summary and conclusion.