<p> Franz Liszt was a famed composer who broadened the boundaries of piano technique in the nineteenth century. One of his more popular compositions, the <i>Tarantella</i>, found in his <i>Années de pèlerinage </i>, was published in 1861 within the collection <i>Venezia e Napoli </i>.1 Liszt admired melodies he heard during his travels in Switzerland and Italy and often arranged and composed from his ideas and experiences. Tarantellas were thought to be dances that were played by various musicians to influence dance and cure diseases. They are played at a quick tempo and contain a simple single melody with short repetitive patterns. The Italian-inspired <i> Tarantella</i> was similar to his other works in borrowing of melodies from other composers’ works. However, this piece is unusual. Although it is called a tarantella, it does not fully reflect the standard characteristics of a tarantella. Liszt’s <i>Tarantella</i> is a folk-like dance with a fast-upbeat tempo in a traditional Italian style, but contains a lyrical section in the second half which he called Canzona Napolitana. This is a departure from the traditional form of a tarantella. This paper discusses Franz Liszt’s compositional choices of style and organization in his <i> Tarantella</i> and how he altered the traditional tarantella folk-dance by including a Canzona Napolitana. Other tarantellas will be discussed to compare the similarities and differences between Liszt and other composers. </p><p>
| Identifer | oai:union.ndltd.org:PROQUEST/oai:pqdtoai.proquest.com:10977400 |
| Date | 06 March 2019 |
| Creators | Solesbee, Travis Michael |
| Publisher | California State University, Long Beach |
| Source Sets | ProQuest.com |
| Language | English |
| Detected Language | English |
| Type | thesis |
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