Thesis (D. Mus. Arts)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 119-122).

Thesis (D. Mus. Arts)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [52]-54).

This study examines and identifies the differences in compositional approach in the operatic fantasies based on Bellini’s La Sonnambula and Weber’s Der Freischütz by Franz Liszt and Julian Fontana. These four fantasies are placed in the context of musical conventions and audiences in the first half of the nineteenth century. The two operatic fantasies by Liszt that are included in this study are representative of reinterpretations that employ formal and textural features suitable for the concert repertoire of piano virtuosos. In contrast, the fantasies by Fontana are indicative of the potpourri style, and suitable both for amateur performance as well as for pedagogical use. The different functions and purposes of the operatic fantasies of Liszt and Fontana are compared and contrasted, with attention to each composer’s respective intended audiences as well as their distinct compositional intentions.

No description available.

Thesis (M.M.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 63-67).

Thesis (D.M.A.)--Ohio State University. / Includes bibliographical references (leaves 122-125). Available online via OhioLink's ETD Center.

Liszt was distinguished as the most important virtuoso in the Romantic period of music history, whose Weimar period between 1848 and 1861 was the time of Liszt¡¦s golden age of composition. The Mephisto Waltz No.1, finished in 1860, was based on the second episode The Dance in the Village Inn from Nikolaus Lenau¡¦s poem ¡§Faust.¡¨ Exercising the virtuosic elements and thematic transformation technique, Liszt combined both literature and musical ideas in the Mephisto Waltz No.1 successfully. This work remains one of the most popular works on today¡¦s piano recital repertoire ever since. This research consists of two parts. Part one discusses the characteristics of Liszt¡¦s compositions, with a focus on how Liszt¡¦s style was influenced by the nineteenth century virtuosity. Part two analyzes Mephisto Waltz No. 1 by exploring its historical background, formal structure, and the techniques of thematic transformation. The corresponding pianistic techniques are summarized from the various sources of scholarly suggestions as the conclusion of this analysis.

Thesis (Ph.D.)--University of Wisconsin--Madison, 2009. / Advisor: Jeanne Swack. Includes bibliographical references (p. 299-311). Also available on the Internet.

No description available.

Thesis (Ph.D.)--University of Wisconsin--Madison, 2009. / Advisor: Jeanne Swack. Includes bibliographical references (p. 299-311).