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Der Name Beethoven ist heilig in der Kunst : Studien zu Liszts Beethoven-Rezeption /Schröter, Axel. January 1999 (has links)
Diss.--Paderborn, 1996. / Bibliogr. (t.2) p. 127-164.
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The influences of French social romanticism of the 1830's on Franz Liszt's essay "De la situation des artistes et de leur condition dans la societe"Frenkel, Ann M. January 1989 (has links)
Thesis (M.A.)--Boston University / Franz Liszt's essay, "De la Situation des Artistes et de leur Condition dans la Societe," published in the Gazette musicole de Paris between 5 May and 11 October 1835, is one of the first comprehensive studies by a nineteenth-century French composer on the status of musicians in society. Liszt criticizes contemporary society for exploiting the talents of artists while disregarding their needs, and concerns himself with the creation of a new position for artists in society. The most frequently cited influence of the essay has been Liszt's contact with the Saint-Simonians movement. I wish to show that emphasis on the Saint-Simonians fails to show properly Liszt's debt to French Romantic ideas and philosophies during the 1830's. I define the social romantictsm that infused France and French artists and literary figues such as Victor Hugo, Alfred de Vigny and Alphonse de Lamartine, in the 1830's, and differentiate it from the utopian socialism of the period. I give an overview of the state of music journalism during the 1830's in Paris and discuss various relevant music-related journalists and their influences. specific aims and styles. Finally, I look at the compositional forms promoted and utilized by the Saint-Simonians and examine the compositions of Liszt during this period to see the extent of Liszt's experimentation with Saint-Simonian ideas within his musical compositions, and make conclusions as to the principal musical ideas which the Liszt pursued. Though this critique of the essay, and a discussion of the various influences which led up to it, I suggest an interpretation that clearly recognizes Liszt's place within the French social romantics during the 1830's.
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New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)Shin, Minna Re, 1969- January 2000 (has links)
No description available.
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Années de pèlerinage de Franz Liszt, cycle musical inspiré de la nature, de la littérature, de la peinture ou sculpture, de textes religieux et de thèmes folkloriques : qu'est-ce qui a influencé Liszt dans la création du cycle « Années de Pèlerinage » ?Châteauvert, Alain 25 March 2024 (has links)
Titre de l'écran-titre (visionné le 8 août 2023) / Pour de nombreux musiciens, la musique composée par Franz Liszt est absolument fascinante. Pour réaliser une bonne interprétation des œuvres de Liszt, il faut, une excellente technique et des connaissances sur sa vie. Il existe d'innombrables textes écrits sur ce compositeur qui a vécu tout près de 75 ans. D'ailleurs, Liszt a eu une grande influence auprès des musiciens du 19ᵉ siècle. Il y a très peu de thèses ou d'écrits qui vont se concentrer sur tout le cycle Années de Pèlerinage. La composition de ce répertoire de 23 pièces s'échelonne sur tout près de 40 ans de la vie de cet illustre musicien. Cette recherche s'attarde sur les éléments qui ont influencé le compositeur pour écrire chacune des pièces de ce répertoire. Après une brève biographie, le premier chapitre présente ce que Liszt a mis en musique lors de son périple en Suisse. Le second chapitre parle de l'influence des textes religieux. Le troisième chapitre rend compte des influences des tableaux et des sculptures vus surtout en Italie. Le quatrième chapitre, le plus volumineux, démontre l'importance des textes poétiques et philosophiques sur les compositions du pianiste. Le dernier chapitre parle des influences des thèmes folkloriques. En conclusion, cette thèse peut servir de guide pour les interprètes qui désirent jouer ce répertoire. / An enlightened performance of the music of Franz Liszt requires knowledge about his life and his works. There are countless texts written about this composer who lived almost 75 years. There are very few will talk about the entire Années de Pèlerinage cycle. This corpus of 23 pieces spans almost 40 years of the life of this illustrious pianist. This research focuses on the elements that influenced the composer to write each of the pieces in this collection. After a brief biography, the first chapter presents what Liszt set to music during his trip in Switzerland. He said he wanted to express his strongest feelings through music. The second chapter deals with the influence of religious texts. The third chapter gives an account of the influences of the paintings and sculptures seen especially in Italy. The fourth chapter, the most voluminous, displays the importance of the poetic and philosophical texts on the compositions of the pianist. The last chapter talks about the influences of folk themes. Finally, and as a conclusion, the reader will find a guide for the performers who wish to play this repertoire.
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Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive ApproachesVan Dine, Kara Lynn 05 1900 (has links)
Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.
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Gastfreundschaft gegen unedierte Werke: Liszt-Fund in der Leipziger UniversitätsbibliothekRosenmüller, Annegret 29 May 2008 (has links)
Schon im Oktober 2007 geschah, was im Mai 2008 endlich der Öffentlichkeit vorgestellt werden konnte: der Fund einer Handschrift von Franz Liszt in der Bibliotheca Albertina durch Annegret Rosenmüller, zum damaligen Zeitpunkt Mitarbeiterin in den Sondersammlungen der Universitätsbibliothek Leipzig.
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The Poetic Ideal in the Piano Music of Franz Liszt: A Lecture Recital, Together with Three Recitals of Music by Mozart, Beethoven, Schubert, Chopin, Brahms, and Contemporary European and North American ComposersLawhon, Gladys Louise, 1911- 12 1900 (has links)
The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The chamber music program included a trio with the violin and cello performing with the piano. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldomexplored area of Liszt's musical inspiration. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his creative genius. Both as a composer and as an author, Liszt reiterated his belief in the fundamental kinship of music and the other arts. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry.
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Extra-Musical Associations in Selected Pieces From Années de Pélerinage, Troisième Année, by Franz Liszt: A Lecture Recital, Together with Three Recitals of Selected Works of D. Scarlatti, F.J. Haydn, L.v. Beethoven, F. Schubert, F. Chopin, J. Brahms, R. Schumann, and OthersLively, Judy Sharon 08 1900 (has links)
Volumes one and two of Annees de Pelerinage contain travel impressions. The pieces in volume three serve as a means of expressing a religious pilgrimage. The religiousmeaning is implied by the titles and by letters Liszt wrote concerning specific pieces. For the pieces to have programmatic significance, the music must support the verbal clues. This dissertation maintains that selected pieces in Annees de Pelerinage III are programmatic and that Liszt provided musical clues that have not been discovered or, if noticed, have not been analyzed in detail. Also, the dissertation explores similarities between selected pieces of Annees de Pelerinage III and other programmatic or texted works by Liszt sharing the same subject. The findings reinforce the premise that Liszt deliberately intended to express certain extra-musical ideas within the music itself. The paper briefly analyzes the musical reasons for labeling Annees de Pelerinaae III a cycle. Different sources call these pieces cyclic, citing the shared common religious theme as the reason. This dissertation discusses musical reasons that reinforce the idea of a cycle. Chapter II discusses Liszt's views on program music. Chapter III identifies common themes in Liszt's programmatic works and discusses the symbolic significance of thematic transformation. Chapter IV suggests an approach to analyzing program music. Chapter V discusses Liszt's musical narrative and his use of common rhetorical devices. Chapter VI analyzes extra-musical associations in selected pieces from the Annees de Pelerinaae—Troisieme Annee. Five pieces have been selected for analysis—Anaelus1. Aux Cypres de la Villa d'Este I and II, Marche funebre. and Sursum corda.
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A Stylistic Analysis of Liszt's Settings of the Three Petrarchan SonnetsVan der Merwe, Johan 12 1900 (has links)
This is a stylistic study of the four versions of Liszt's Three Petrarchan Sonnets with special emphasis on the revision of poetic settings to the music. The various revisions over four versions from 1838 to 1861 reflect Liszt's artistic development as seen especially in his use of melody, harmony, tonality, color, tone painting, atmosphere, and form. His use of the voice and development of piano technique also play an important part in these sonnets. The sonnets were inexplicably linked with the fateful events in his life and were in a way an image of this most flamboyant and controversial personality. This study suggests Liszt's importance as an innovator, and his influence on later trends should not be underestimated.
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A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" WorksKim, Jung-Ah 12 1900 (has links)
The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study submits that it was Liszt who had first shown a way to free music from the shackles of prescribed idiomatic constraints, and to force us the listeners to approach and appreciate music for its own sound's sake. Additionally, this study submits that this effort of Liszt should be understood and appreciated in terms of programmatic association; that is, Liszt found in the persona of Mephisto the Diablo the ideal imagery for depicting the nature of the "music of the future" where tonality would be freed from any prescribed procedural requisites.
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