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Zeitschriftenartikel zum Thema "Liszt's transcriptions"
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KREGOR, JONATHAN. „Collaboration and Content in the Symphonie fantastique Transcription“. Journal of Musicology 24, Nr. 2 (2007): 195–236. http://dx.doi.org/10.1525/jm.2007.24.2.195.
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Franz Liszt's transcription of Hector Berlioz's Symphonie fantastique has long been recognized for its innovative approach to musical reproduction——that is, its remarkable ability to recreate the sonic nuances of its model. However, the 1830s were a period of intense artistic and professional collaboration with Berlioz, and the genesis of the Symphonie fantastique transcription can thus also be interpreted as emblematic of this developing relationship. In particular, a gestural analysis of the work's content, as it can be recreated in part through Liszt's meticulous performance notation, indicates that the transcription served to reinforce a public perception of Berlioz as composer and Liszt as performer, whereby Liszt guides his audiences through Berlioz's enigmatic compositions by means of kinesic visual cues. Investigation of heretofore unknown manuscript materials suggests that this dynamic was further emphasized in Liszt's other renderings of Berlioz's orchestral works from the period. For various reasons, the transcription's inherently collaborative nature failed to impress audiences outside of Paris. As Liszt embarked in earnest upon a solo career toward the end of the decade and his concert appearances with Berlioz became less frequent, interest in the work waned on the part of both arranger and audience. Moreover, it was in the late 1830s that Liszt began adding several new works to his public repertory, especially opera fantasies, Schubert song arrangements, and weighty compositions by German composers. This decision effectively removed his earlier material——including the all-too-French Symphonie fantastique——from on-stage circulation. Indeed, when Liszt revised the transcription in the 1870s, he eliminated many of extraordinary collaborative elements found in the 1834 version, thereby disassociating it from the arena for which it was created.
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Knyt, Erinn E. „"How I Compose": Ferruccio Busoni's Views about Invention, Quotation, and the Compositional Process“. Journal of Musicology 27, Nr. 2 (2010): 224–64. http://dx.doi.org/10.1525/jm.2010.27.2.224.
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An anecdote circulating among pupils of Egon Petri (1881––1962), a protégé of Ferruccio Busoni (1866––1924), was the story Petri told of how on more than one occasion Busoni's wife was mistakenly introduced as "Mrs. Bach-Busoni." Whether fact or fiction, this social faux pas illustrates how closely Busoni's name has been associated with the names of composers whose works he arranged. Despite his prolific compositional career, he is remembered more as a transcriber and arranger than as a composer of original works. His practice of arranging others' works also affected his own compositions, which frequently contained borrowed material. Busoni's creative art thus blurred conventional boundaries between what is traditionally considered to be primary "original" works and subsidiary transcriptions or arrangements. While Busoni's tendency to blur boundaries between new pieces and arrangements has been already noted, his compositional aesthetics has only been cursorily studied. Relying on the essay "How I Compose," the section on notation from The Sketch of a New Aesthetic of Music (1907), and unpublished sketches from the Staatsbibliothek Berlin, I examine Busoni's idiosyncratic compositional ideology, explain the meaning of his terms Idee, Einfall, Transkription and Bearbeitung in his compositional process, and show that Busoni valued the creativity involved in transforming already existing musical material no less than invention of the new. I illustrate Busoni's compositional aesthetics through analyses of his arrangements of Liszt's sixth Paganini Etude, Mozart's Piano Concerto, K. 453, and his Fantasia nach J. S. Bach.
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Loya, Shay. „Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert“. Journal of the American Musicological Society 69, Nr. 2 (2016): 409–76. http://dx.doi.org/10.1525/jams.2016.69.2.409.
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Liszt's Mélodies hongroises d'après Schubert, a solo piano transcription of Schubert's four-hand Divertissement à l'hongroise, provides an interesting example of the complex relationship between centers and peripheries, and between personal patriotism and public nationalism. The first transcription (S. 425, 1838–39) stands at the very beginning of Liszt's career as a “national composer,” the most significant aspect of this rather overlooked fact being Liszt's transformation of the second movement—a naive, dance-like march—into “republican” heroic music driven toward an apotheosis à la Beethoven. This heralded a new type of national genre, and Liszt deemed the march movement important enough to be published on its own in numerous versions between 1838 and 1883. Yet this Marche hongroise was not merely nationalist: it related to other, non-Hungarian identities, most notably French and Austrian. Later versions (from 1859 onward) allowed Liszt to express a progressive, liberal Hungarian identity in the face of a rising tide of chauvinism. Four transcultural readings of the work, both complementary and conflicting, follow Liszt's revisions in roughly chronological order, interpreting the work as, in turn, a nationalist reclamation of Hungarian music, a republican response to the political status quo, the construction of an Austro-Hungarian identity, and a discontinuous text in which new, modernist ideas often merge or conflict with older ones, forcing a fresh renegotiation of national identity.
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Oláh, Boglárka Eszter. „Transcription, Paraphrase, Creed in Franz Liszt’s Variations on „Weinen, Klagen, Sorgen, Zagen”“. Studia Universitatis Babeş-Bolyai Musica 68, Nr. 2 (30.12.2023): 341–52. http://dx.doi.org/10.24193/subbmusica.2023.2.25.
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"Franz Liszt created a new tradition by playing transcriptions and paraphrasing the most well-known operas and works of his time on his fabulous concerts. This habit created new genres like Transcriptions (Reminiscences de Norma S. 394, Grandes études de Paganini S. 141) and Paraphrases (The Rigoletto Paraphrase S.434, The Ernani Paraphrase S. 432). The Variations on „Weinen Klagen Sorgen Zagen” fits into both categories: On the one hand Liszt paraphrases J.S.Bach’s Crucifixus and the 12th Cantata. On the other hand, he transcribes with a great craftsmanship his piano work for organ. The historical and private background of this work testifies to an extraordinary faith. Keywords: Liszt, Bach, Transcription, Paraphrase, Creed. "
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Miller, Malcolm. „From Liszt to Adams (II): ‘The Black Gondola’“. Tempo, Nr. 179 (Dezember 1991): 17–20. http://dx.doi.org/10.1017/s0040298200061349.
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The Black Gondola, John Adams's transcription for chamber orchestra of Liszt's La Lugubre Gondola II, composed in 1989 for the St. Paul Chamber Orchestra, Minnesota, shows how – as in the case of Wiegenlied (discussed in an earlier article, Tempo 175) – the composer has been attracted to those aspects of Liszt's late style which inter–connect with minimalism: regular, and fluid, rhythmic textures; economy of thematic material which undergoes ‘minimal’ transformation; extensive phrase repetition in a ‘sequencing’ structure; harmonic ambiguity and elusiveness. In addition, in this case, a strong programmatic element is evident in the symbolism of the original piece which is heightened considerably within Adams's transcription: an expression of the dramatic style which has influenced his recent stage works, Nixon in China and The Death of Klinghoffer.
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Davis, Richard. „Liszt Transcriptions“. Musical Times 126, Nr. 1714 (Dezember 1985): 712. http://dx.doi.org/10.2307/965188.
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Walker, Alan. „Liszt and the Schubert Song Transcriptions“. Musical Quarterly 75, Nr. 4 (1991): 248–62. http://dx.doi.org/10.1093/mq/75.4.248.
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Хмель, Н. В., und А. С. Мʼяка. „TO THE QUESTION ABOUT THE DEVELOPMENT OF THE PIANO TRANSCRIPTION GENRE IN LISZT’S WORKS (for the example of „Dance of Death” by Saint-Saens – Liszt)“. Музикознавча думка Дніпропетровщини, Nr. 15 (04.11.2019): 186–96. http://dx.doi.org/10.33287/221915.
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Целью статьи является исследование такого музыкального феномена как фортепианная транскрипция; выявление терминологии, которая используется при описании данного явления; изучение особенностей развития жанра транскрипции в творчестве Листа. Методы исследования заключаются в активизации исторического и теоретического подходов, которые требуют выявления условий формирования и развития транскрипции, с объяснением терминологического толкования со схожими понятиями. Методологический фундамент работы составляет анализ музыковедческой литературы и терминологии, касательно этого жанра. Использование положений, выдвинутых в монографии Я.И. Мильштейна „Ференц Листˮ и в работах Г.М. Когана, является методологической основой, которая позволяет систематизировать понятия и обобщить развитие транскрипции в творчестве Листа. Научная новизна заключается в концентрировании внимания на малоизученном жанре в музыкальной литературе, а именно фортепианной транскрипции. В статье происходит размежевание жанра с близкими по содержанию музыкальными терминами. Выводы. Исследование жанра фортепианной транскрипции, который возник еще в XVIII веке в виде переложений для клавишных инструментов, имеет важную роль в формировании репертуара исполнителей-пианистов. Начиная с XIX века большое распространение получили переложения для фортепиано. Создаются и исполняются новые фортепианные транскрипции как классико-романтического, так и современного репертуара. Именно этот жанр предусматривает расширение и обогащение средств музыкального языка. Транскрипторы стали обращаться к оперным шедеврам, которые становились основой для произведений в новом преображении музыкального материала. В целях популяризации вокальных шедевров создавались облегченные инструментальные композиции или, напротив, технически сложные пьесы. Создателем фортепианной транскрипции, как особого и самостоятельного жанра с более сложными исполнительскими задачами, был Ференц Лист. Жанр фортепианной транскрипции тесно взаимодействует с жанрами парафраз и фантазия. Относительно четкую границу между этими жанрами можно установить только в отношении к исходному материалу.
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Miller, Malcolm. „From Liszt to Adams: the ‘Wiegenlied’ transcription“. Tempo, Nr. 175 (Dezember 1990): 23–26. http://dx.doi.org/10.1017/s0040298200012584.
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Modernism and postmodernism are characterized by their heightened consciousness of the influence of the past on the present. Modernist arrangements of older music, such as those by Schoenberg, Webern, Berg and Stravinsky, frequently display an unconscious tension between composer and arranger in the often veiled interpretation of the past in the light of the present. Postmodern arrangements, on the other hand, are often more overt in their allusiveness to the original: hence it is possible clearly to discern, within arrangements by such composers as Henze and Berio, Maxwell Davies and Birtwistle, an explicitly individual balance of past and present, an attitude which preserves the spirit of the original by means of a consciously creative interpretation.
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Hamburger, Klára. „Unbekannte Liszt-Dokumente aus deutschen Bibliotheken“. Studia Musicologica 53, Nr. 4 (01.09.2012): 383–457. http://dx.doi.org/10.1556/smus.53.2012.4.1.
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The first part of the present documentary publishes fifty-one autograph letters and five short notes of Ferenc Liszt from the collection of the Berlin State Library, written in French and German between 1836 and 1886. Some of those written to music publisher Hermann Härtel concern the edition of compositions such as Consolations and Études ďexécution transcendante, while others touch on his transcriptions. Other letters are addressed to various musicians, friends, lady-friends, etc., among them Richard Wagner and C. F. Weitzmann. In the second part there follow sixteen documents from the Library of the Frankfurt University, among them a receipt of 200 francs from the Duchess of Berry to the young artist in 1824.
Dissertationen zum Thema "Liszt's transcriptions"
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Kim, Ah Young. „A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.
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Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.
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Liu, Hongye. „Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt“. Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.
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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par LisztLiszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt
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PARK, YU JUNG. „FRANZ LISZT'S TRANSCRIPTION OF BEETHOVEN'S AN DIE FERNE GELIEBTE: A GUIDE TO PERFORMANCE“. Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/291605.
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Music PerformanceD.M.A.
Liszt's transcription of An die ferne Geliebte is not part of the standard repertoire for pianists even though it is based on Beethoven's most important song cycle. Pianists might only know of the cycle from the quotation of the final song in the first movement of Robert Schumann's Fantasie, op 17. My monograph aims to identify those things that make this transcription effective and worthy of performance and to place it in a clear, historical context. This monograph is organized into 4 chapters and a conclusion. The first chapter contains background information and explores the general characteristics of Liszt's transcription. This chapter illustrates how Beethoven inspired Liszt to transcribe the work, including the story of Weihekuss, Liszt's family romance regarding Beethoven, and Liszt's contributions towards the Beethoven monument. In the second chapter, I investigate the historical context of Liszt's transcription of An die ferne Geliebte. This chapter presents research on Beethoven's An die ferne Geliebte and background information on Liszt's transcription. I trace Liszt's musical life in Weimar where he produced most of his best transcriptions, including An die ferne Geliebte. An examination of some of Liszt's letters from 1848 to 1850 serves to uncover the reasons behind Liszt's decision to transcribe this song and is also included in the second chapter. In addition, the general characteristics of Liszt's vocal music are examined along with how An die ferne Geliebte is different from Liszt's other transcriptions. I compare some of Liszt's transcriptions of Schubert's songs with the An die ferne Geliebe transcription. In chapter three, I compare and analyze three editions--the Peters Edition, the New Liszt Edition, and the Breitkopf & Härtel Edition--with Beethoven's manuscript of An die ferne Geliebte. The goal of this chapter is to discover the best possible interpretation for a pianist. As I examine these editions, I provide guidance to the pianist for how to select a edition when preparing to study and perform this piece. In the last chapter, I provide advice on practical performance matters with specific interpretive and technical recommendations for pianists. In particular, German diction, the interaction of the vocal line and piano accompaniment, and how the text affects the music are examined. In chapter four, I discuss how Liszt brings out the complex textures of the vocal line in his transcription.
Temple University--Theses
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Cloutier, David 1948. „A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331767/.
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This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.
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Madsen, Charles Arthur. „The Schubert-Liszt transcriptions : text, interpretation, and Lieder transformation /“. view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080592.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 477-487). Also available for download via the World Wide Web; free to University of Oregon users.
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Kim, Min. „A study of Franz Liszt's Totentanz: Piano and orchestra version, and piano solo version“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5409/.
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Undoubtedly, Totentanz has been one of the most famous works by Franz Liszt. Totentanz has been recorded by many pianists and addressed in much of the vast literature about Liszt and his works; however, little research has been focused on this work. Most studies of Totentanz address only the historical background of the piece in relation to the theme based on Dies irae. Currently, there are no specific studies about the solo piano or two piano versions and only one recording was located. Liszt's own piano solo transcription of this famous work is an excellent addition to the concert repertoire. Totentanz consists of six variations that include canonic and fugato sections. The main theme is based on the Gregorian chant Dies irae, a melody that has been used by many other composers, most notably Berlioz in Witches Sabbath of Symphonie fantastique, op. 14 and Rachmaninoff in Rhapsody on a Theme of Paganini. This study contains five chapters. Chapters I and II provide background information, historical background and influences of Totentanz. Chapter III presents an outline of Liszt's achievement as a transcriber. Liszt revised his own works numerous times from the 1840s and 1850s, including Transcendental Etudes, Paganini Etudes, and piano and orchestra works. Like in the case of Totentanz, transcribed form piano and orchestra into piano solo, Liszt transcribed and paraphrased hundreds of other composers' works as well. Chapter IV discusses and compares the two main versions for solo piano and piano and orchestra. Form and harmonic language in particular the use of tritone in Totentanz is discussed. The adjustment required in transcribing the work for piano solo is discussed in detail, followed by a conclusion.
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Hamilton, Kenneth. „The opera fantasias and transcriptions of Franz Liszt : a critical study“. Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:021d129f-3b6d-4a55-893c-ba92ea853653.
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The traditional division between "original" and "arrangement" is impossible to sustain for most of Liszt's oeuvre. By virtue of the amount of original creative thinking displayed in his finest operatic fantasies and transcriptions they deserve as detailed a study as any other group of works. Our knowledge is deficient even with regard to identification and dating; the Fantasia on Le Nozze di Figaro and Don Juan is unknown in its original form, while the Fantasia on Il Giuramento has remained unidentified. All of Liszt's works share the same improvisatory approach to composition. Both original and operatic themes are found in his sketchbooks, although sketches of larger sections of the fantasias are rare. Many operatic pieces originated hi concert-improvisations before being committed to paper. Thereafter they were subjected to a process of revision that frequently continued after publication. The operatic fantasias of the 1830's and 40's illustrate Liszt's episodic treatment of musical form, with an indulgence in short-range harmonic effects and little concern for overall tonal planning. Some techniques of thematic metamorphosis and transition anticipate features of Liszt's Weimar compositions, and the roots of his fondness for concluding apotheoses can be clearly seen, particularly in the Fantasia on Der Freischütz. The fantasias and transcriptions vividly illustrate the course of Liszt's compositional and pianistic development, from early precocity through mature mastery to late austerity. The influence of Thalberg can be detected as the motivation for Liszt's return to the operatic fantasia after a hiatus of several years, although he did not adopt aspects of Thalberg's piano style until 1839. His finest fantasias from the years 1839-43 are characterised by bold virtuosity, compositional ingenuity and a striking attempt to encapsulate the dramatic course of an opera within the confines of a fantasia. As operatic pieces formed a large part of Liszt's concert repertoire until 1848 they were almost invariably based on operas of proven popularity. A more innovative and altruistic choice of material is evident only from the beginning of the Weimar period.
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Carenco, Céline. „L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt“. Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.
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L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le piano moderne, cet exercice lui permet d’acquérir une certaine connaissance de l’écriture orchestrale de son temps. Ce postulat prend tout son sens lorsqu’on observe que parmi les auteurs que Liszt transcrit le plus et en premier se trouve Berlioz, habituellement considéré comme l’inventeur de l’orchestre moderne.L’approche adoptée s’inscrit dans deux champs de la musicologie traditionnelle, l’analyse et l’histoire, et dans une branche plus récente de la discipline, les études génétiques. Il est effectivement nécessaire de replacer tout d’abord chaque transcription dans son contexte, pour évaluer l’influence des réécritures lisztiennes d’œuvres de Berlioz sur l’élaboration de sa propre écriture orchestrale. Par ailleurs, le point de vue se place du côté de la création : l’analyse d’une grande quantité d’esquisses et de brouillons donne des informations sur la manière dont Liszt aboutit à l’écriture orchestrale qui est la sienne dans la décennie 1850, au cours de laquelle il produit la majeure partie de ses œuvres symphoniquesThe object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)
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Knoll, Moises S., und Moises S. Knoll. „A study of selected Liszt transcriptions of Schubert Lieder: aesthetic and technical aspects“. Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624863.
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Franz Peter Schubert (1797-1828) created the accompanied art song as we know it. His achievement as a composer of Lieder stands at the very core of his labors as a creator. Franz Liszt (1811-1886) in addition to being a
composer of genius, was also the greatest virtuoso pianist of the nineteenth century. He had a particular affinity for Schubert's music, which led him to transcribe as many as 54 of the Lieder for piano solo. These transcriptions are faithful recreations of Schubert's musical thought, yet the pianistic layout is completely Lisztian.
Franz Schubert was hardly a public figure during his lifetime, and he gave just one public concert of
his works, on March 26, 1828 in Vienna. According to Hans Gal:
"In 1828 there were the beginnings of an improvement in his circumstances. His songs were becoming more widely known, German publishers were beginning to show an interest in his music, and Schubert was induced by his friends to give a public recital of his works. It was his first and last... Schubert's supporters could easily fill a hall, and the undertaking was both artistically and financially a great success."
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Lin, Chia-Yin. „The Liszt transcriptions for piano of songs by Beethoven, Chopin, and Mendelssohn : inspiration, process and intention /“. Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11403.
Der volle Inhalt der QuelleBücher zum Thema "Liszt's transcriptions"
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Liszt, Franz. Weihnachtsbaum (Christmas Tree): 12 Pieces for Piano Four Hands in Liszt's Original Transcription. Dover Publications, 2002.
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Liszt, Franz. The Schubert Song Transcriptions for Solo Piano / Series III: The Complete Schwanengesang (Schubert's Complete Song Texts). Dover Publications, 1999.
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Liszt, Franz, und Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.
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Valse de L'opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics, 2018.
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Liszt, Franz, und Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.
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Liszt, Franz, und Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.
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Liszt, Franz, und Charles Gounod. Valse de L'opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics, 2018.
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Smith, Rollin. Great Organ Transcriptions: 26 Works by Liszt, Saint-Saens, Bach and Others. Dover Publications, 2005.
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Neue Liszt-Ausgabe.: New Liszt edition. Index of the series I, Works for piano solo, volumes 1-18 and the series II, Free arrangements and transcriptions for piano solo, volumes 1-24. Budapest: Editio Musica, 1990.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Liszt's transcriptions"
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Watson, Derek. „Transcriptions“. In Liszt, 193–217. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0010.
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Abstract No one knew better than Liszt that the piano in the nineteenth century had assumed the importance of the orchestra. This helps explain why the names of eighty composers will be found in section XI of Appendix B. Liszt’s transcriptions and arrangements form, collectively, the most remarkable aspect of his industry - an industry unique among the great transcribers in musical history.
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Kregor, Jonathan. „Transcription“. In Liszt in Context, 209–18. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108378253.027.
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Watson, Derek. „Organ and chamber music“. In Liszt, 285–90. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0014.
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Abstract The Margittay edition of the complete organ works contains forty-seven items. Of these eleven are transcriptions from other composers - Arcadelt, Bach, Chopin, Lassus, Mozart, Nicolai, Verdi and Wagner.
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Watson, Derek. „Musical language: technique and transformation“. In Liszt, 180–92. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0009.
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Abstract Liszt’s absorption of musical styles in his youth and early maturity is as wide as the map of his travels. The list of composers from whom he made transcriptions is long, and includes some who shaped his own musical language. He had a thorough grounding in Bach and the Viennese classics. His teacher Czerny, the revered Beethoven and, later, Schubert were primary influences.
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„3. Liszt And The Schubert Song Transcriptions“. In Reflections on Liszt, 27–39. Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501717031-006.
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„Appendix: Transcriptions and Translations of Contemporaneous Reviews of Liszt’s Lieder (1843–9)“. In Liszt Recomposed, 195–208. Boydell and Brewer, 2024. http://dx.doi.org/10.1515/9781805433408-008.
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„The Gregarious Art of Music (1927)“. In Grainger on Music, herausgegeben von Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur und David Pear, 179–83. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0024.
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Abstract Editor’s Note: In the course of this article Mr. Grainger lays emphasis on the fact that the more gregarious the musical disposition of musical workers-the less esteem of themselves as soloists and the more regard they possess for music in ensemble—the greater the interest of the community is likely to become in their art, in the long run. He devotes special attention to the possibilities when two or more pianists get together, and walks into the people who stiltedly declare themselves against transcriptions and arrangements. Incidental to that, it may be mentioned that the paraphrasing of music has been much practised in the best circles—by Bach, Brahms, Schumann, and Handel as well as by Liszt, Tchaikovsky, Strauss, Saint-Saens, Gounod, and Berlioz, and a whole host of them.
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„Conscientious Translation: Liszt, Robert Franz, and the Phenomenology of Lied Transcription“. In Essays on Word/Music Adaptation and on Surveying the Field, 135–60. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789004358041_009.
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