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Gobbi, Gerald. "Biographie d'Alfred Frédéric : comte de Falloux 1811 - 1886." Paris 10, 2009. http://www.theses.fr/2009PA100018.
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La thèse de Doctorat intitulé « Alfred-Frédéric, comte de Falloux (1811-1886» soutenue par le doctorant Gérald GOBBI sous la direction de monsieur le professeur traite de la vie publique et privée du comte Alfred de falloux. Homme politique français du XIXe siècle de tendance légitimiste, il oeuvra à la restauration de la monarchie française à travers le fusionnisme. L’évolution socio-politique française, amorcée depuis la Révolution de 1789, conduisit à la défaite de sa famille politique : le dernier quart du siècle vit le triomphe de la République en France. En tant que catholique, Alfred de Falloux se rangeait dans la famille catholique libérale dont le programme était l’alliance de la religion et de la liberté pour le salut du catholicisme romain. Celui-ci malmené par le Risorgimento et l’industrialisation, luttait pour sa pérennisation au sein dune société européenne en mutation. La fin du pontifical de Pie IX, pape conservateur, marqua une évolution dans les rapports tumultueux et déséquilibrés entre les catholiques libéraux et les ultras catholiques: le pape Léon XIII, d'avantage en conformité avec les attentes du comte de Falloux, eut de bons rapports avec ce dernier. Alfred de Falloux mourut en janvier 1886 : il faisait partie des vaincus de la monarchie<br>The thesis of philosophies doctorate headed "Alfred-Frédéric, Comte de Falloux (1811 - 1886) " defended by Gérald GOBBI, under guidance of Professor Philippe LEVILLAIN, treats of the public and private life of the Earl Alfred de Falloux. 19th century French politician of legitimist leanings, he worked on the restoration of the French Monarchy through fusionism. The French sociopolitical evolvement initiated since the Revolution of 1789, led to the defeat of his political circle : the last quarter of the century saw the triumph of the Republic in France. Being a catholic, Alfred de Falloux sided with the liberal catholic circle which program was based on the alliance between religion and freedom for the salvation of the Roman Catholicism. Mishandled by the Risorgimento and the Industrialization, it fighted for its perpetuation in the bosom of an European society, then, in change. The end of Pie IX's pontificate, a conservative Pope, stated an evolution in the tumultuous and unbalanced relations between liberal catholics and ultracatholics : Pope Léon XIII, Gloser to Earl Alfred de Falloux's expectations, had with him, good relations. Alfred de Falloux died on January 1886 : he was part of the Monarchy's beaten ones
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Charrier, Jacques. "Alfred de Falloux, 1811-1886 étude de sociologie historique au XIXe siècle." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37596623t.
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Charrier, Jacques. "Alfred de Falloux, 1811-1886 : étude de sociologie historique du XIX e siècle." Paris 2, 1986. http://www.theses.fr/1986PA020095.
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La biographie d'un homme politique, depute, representant du maine-etloire, ministre de l'instruction publique, avec une etude de sociologie historique du xixeme siecle concernant les divers milieux de la societe francaise et les grandes questions de la vie francaise. Les sujets sont: la legitimite restauree, l'opposition des legitimistes sous la monarchie de juillet,-la seconde republique et le second empire, et leurs esperances de restauration apres 1870, les questions monarchique et electorale - le parti catholique, la question libera- le, les polemiques entre les catholiques liberaux et les ultramon tains - la liberte de l'enseignement et sa conquete, la loi de 1850 sur la liberte de l'enseignement secondaire - la vie rurale dans l'ouest interieur apres la revolution et l'emigration, le bocage se- green et ses gentilshommes - les salons de paris a la fin de la res- tauration et sous la monarchie de juillet - les proces de berryer, nages de fidelite au pretendant au trone et au pape - le salon de ma- dame swetchine et ses hotes - la maison resseguier - les oeuvres de charite a paris - la vie parlementaire a la fin de la monarchie de juillet et sous la seconde republique, la revolution a paris, la vie politique en province, le coup d'etat du 2 decembre 1851 - un grand proprietaire rural, batisseur, agriculteur et eleveur, et ses hotes - la vie d'une publication, "le correspondant", et ses polemiques - l'academie francaise et son opposition au second empire - le peril du saint-siege, les conferences de malines, le concile de vatican i - les candidatures au corps legislatif a la fin du second empire- une saison politique a versailles dans les premieres annees de la troisieme republique - un journal legitimiste a angers, "l"union de l'ouest"<br>The biography of a statesman, deputy, representative of maine-et-loire, minister of public instruction, with a study of historical sociologie of nineteenth century relating to the divers middles of french society and the great questions of the french life. The subjects are: the restaured legitimity, the opposition of the legitimists under the july monarchy, the second republic and the second empire, and their expectations of restauration after 1870, the monarchical and electoral questions - the catholic party, the liberal question; the pole- mics between the liberal catholics and the ultramontanists - the li- berty of the education and her conquest, the law of 1850 relating to the liberty of classiacl education - the rural life in the ouest in- terieur, the bocage segreen and his gentlemen - the fashionable cir- cles of paris at last the restauration and under the july monarchy - the ciminal suits of berryer, chateaubriand, louis napoleon bonapar- te and montalembert - the pilgrimages of loyalty to the pretender to the french throne and to pope - the house of mrs swetchine and her vi- sitors -the house resseguier-the charitable works at paris -the parliamentary life at last of the july monarchy and the second empire, the revolution at paris, the political life in country, the coup d'e- tat of 2 december 1851 - a great landlord, builder, farmer and cattle breeder and his visitors-the life of a publication, "le correspon- dant", and her polemics - the french academy and her opposition to the second empire-the peril of saint-siege, the conference of mali- nes, the council of vatican i -the candidateships of legislative bo- dy at last of the second empire -a political season at versailles during the early years of the third republic - a legitimist journal at angers, "l'union de l'ouest"
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Lee, Yoon Ju. "Selected operatic paraphrases of Franz Liszt (1811-1886): Compositional style and performance perspectives." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284277.
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This study investigates Liszt's compositional style, and considers performance perspectives in his operatic paraphrases, Reminiscences de Don Juan and Valse de l'opera "Faust" de Charles Gounod. The great body of transcriptions by Liszt forms an important contribution to the development of piano music, combining technical challenges, innovative notation, dramatic projection, and pianistic effects. Reminiscences de Don Juan and Valse de l'opera "Faust" de Charles Gounod offer good examples of Liszt's genius in condensing an operatic score into a viable piano texture. Rather than offering simple medleys of popular arias, Liszt extracts the principal elements of the operas and creates a new art work from each. The relationship of his transcriptions to the original operas is carefully planned throughout. The artistic insight, creativity, and integrity Liszt devoted to these paraphrases extends to his use of the piano to evoke sonorities of both voices and orchestra, and in doing so, he expands the pianist's concept of the instrument. These transcriptions thus pose challenges beyond the purely technical, exploiting the performer's sense of drama, color and imagination in unique ways.
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Grobler, Pieter Johannes Christoffel. "Franz Liszt (1811-1886) the Two episodes from Lenau's Faust as a unified work /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3970.
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Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Sept. 20, 2004, Oct. 24, 2005, Mar. 6, 2006, and Apr. 21, 2007. Includes bibliographical references (p. 41-42).
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Van, Dine Kara Lynn. "Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive Approaches." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28488/.
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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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Le, Diagon-Jacquin Laurence. "La Musique de Liszt et les arts visuels : essai d'analyse comparée d'après Panofsky, illustrée d'exemples, Sposalizio, Totentanz, Von der Wiege bis zum Grabe." Université Marc Bloch (Strasbourg) (1971-2008), 2003. http://www.theses.fr/2003STR20056.
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La passion de Liszt pour l'art en général révèle son imagination synesthésique : il ne peut regarder certaines œuvres sans les mettre spontanément en musique. Ses écrits, lettres et articles, révèlent sa culture et sa connaissance de l'art et du milieu artistique. Son texte sur la sainte Cécile de Raphae͏̈l dévoile ses réels talents de critique d'art, et son coup d'œil très sensible. La façon dont il parle du tableau nous a fait penser à la méthode de Panofsky, que nous avons donc choisi d'adapter à la musique de Liszt inspirée d'art visuel. Cette méthode procède en trois étapes, que Panofsky appelle niveaux de signification. Le premier niveau concerne tout l'aspect matériel immédiatement perceptible : formes, volumes, couleurs. Le pendant musical est les motifs et thèmes employés. Le deuxième niveau s'attache aux images, histoires et allégories contenues dans un tableau. Là encore, elles correspondent chez Liszt à une thématique signifiante : il évoque des personnages par des citations, telles que le Stella Matutina pour Sainte Elisabeth. Le troisième niveau considère le contenu d'une œuvre. Liszt l'exprime par la forme. Après avoir abordé l'ensemble de ses œuvres ainsi conçues, nous avons opté pour l'analyse exhaustive de celles qui donnent une idée de la variété de l'écriture de Liszt : Sposalizio, Totentanz, Von der Wieger bis zum Graber. Elles reflètent ses préoccupations principales, la religion et la mort. L'adaptation de la méthode de Panofsky pour l'analyse des œuvres de Liszt inspirées de l'art visuel met en évidence la similitude ou les divergences des principes de perception et de conception. Elle montre également que le contenu commun des œuvres réside dans l'idée qu'elles illustrent<br>Liszt's passion for art in general testifies to his synaesthetic imagination -he could not look at certain works without spontaneously setting them to music. His writings, letters and articles convey his culture and knowledge of art and artistic circles. His work on Raphael's Sainte Cécile reveals his true talent as an art critic and his highly sensitive eye. The way he speaks about this painting is reminischent of Panofsky's approach, which is adapted here to Liszt's music as inspired by the visual arts. .
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Bongrain, Anne. "La thématique des poèmes symphoniques de Liszt : contribution à l'étude de l'expressivité musicale dans la musique à programme." Paris 4, 1985. http://www.theses.fr/1985PA040055.
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Goodchild, Neil John English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Liszt's technical studies: a methodology for the attainment of pianistic virtuosity." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/38153.
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In 1970, the Hungarian publishing firm Editio Musica Budapest began a long term project, ending in 2005, that endeavored to compile and publish all Liszt's works in a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm, Liszt's Technical Studies were published in the way that he had originally intended for the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the nature of its trajectory is generally unknown. Through an examination of the didactic instruction Liszt supplied in the Preface of the autograph manuscript to the Technical Studies and specific technical commentaries written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical Studies are built on six artistic and mechanical principles, exemplified by Liszt in the exercises, written to help the pianist acquire technical virtuosity. The methodical divisions of the work into sections that deal with specific mechanical objectives are illustrated with musical examples and their technical trajectory defined.
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Vavrušová, Andrea. "Franz Liszt: Totentanz." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261365.
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Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs.<br>Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.<br>Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
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DuBay, Susan Adams. "John Humphrey Noyes, 1811-1840 : a social biography." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3568.
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John Humphrey Noyes was the founder of the Oneida Community, one of the most successful utopian ventures in nineteenth-century America. Early in his life, Noyes was a deep religious thinker, but he founded Oneida as an ideal society based on extending the family unit, and not as a church. Noyes's social theories eventually overwhelmed his former religious concentration.
The purpose of this thesis is to locate in Noyes's religiously-oriented youth the sources of his social interests. Few scholars have studied in depth the childhood and young manhood of John Humphrey Noyes, but that is where the roots of his social theories are to be found. Noyes did write his religious autobiography, but completely passed over his formative years. Further, he never wrote the analysis of his social ideas and experiences that he had once promised. However, many of his early letters and journals have been compiled and edited by his relatives; and his immediate family left reminiscences of his youth. These works provide most of the available information on the childhood of Noyes. Large gaps in his history do exist, however. Therefore, the modern psychological theories of Erik Erikson are used to illuminate the otherwise shadowy areas of Noyes's early life.
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Park, Chanwook. "Two Unfamiliar Works of Franz Liszt (1811-1886): A Comparison of Liszt's Grosses Konzertsolo (1849-1851) and Concerto Pathetique (1856)." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194277.
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This document provides a resource for Franz Liszt's unfamiliar piano work, the Grosses Konzertsolo and his subsequent rearrangement of the work for two pianos entitled Concerto pathetique. The Introduction places the work in its historical context as a precursor to the great Sonata in B minor and discusses possible reasons for its various revisions. Chapter One details Liszt's productive years from 1849-1853 in Weimar and selected keyboard works from this period which are closely related to the Grosses Konzertsolo. Chapter Two provides information on Liszt's first published piano works and his experiments with form, as well as a comparison of the Grosses Konzertsolo with the Sonata in B minor, in terms of motivic and thematic development. Technical issues and obstacles to performance are also addressed. Chapter Three compares the Concerto pathetique with the Grosses Konzertsolo showing how Liszt's rearrangement becomes more practical as well as effective. Chapter Four discusses Hans von Bulow's version of the Concerto pathetique and includes a brief biography.
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Gamrat, Malgorzata. "Muzyka fortepianowa Franza Liszta w kontekście idei correspondance des arts." Paris, EPHE, 2012. http://www.theses.fr/2012EPHE4021.
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Dans cette thèse nous étudions la musique pour piano de Franz Liszt de la période 1835–1855 en la présentant dans le contexte de l’idée de la correspondance des arts. Cela est présenté sur la base des analyses détaillées des œuvres pour piano de Liszt, telles que : Album d’un voyageur, Années de pèlerinage. Suisse et Italie, Harmonies poétiques et religieuses (1835, 1853), Mazeppa et Liebesträume. Cette thèse est composée de trois grandes parties divisées en nombreux chapitres et sous-chapitres complétés par une annexe. La première porte sur l’examen de l’idée de la correspondance des arts dans un contexte de la culture française de la première moitié du XIXe siècle. La suivante touche la pensée esthétique de Liszt vue dans sa correspondance et dans ses écrits. La dernière, la plus grande partie, comprend le matériel le plus abondant, tel que : les relations de Liszt et la culture française, les programmes extra-musicaux de sa musique et les analyses de ses œuvres pour piano. Nos recherches sont concentrées sur les aspects de sa musique où nous pouvons voir le plus de trouvailles du compositeur (la forme, le cycle, l’harmonie) et sur les éléments qui portent le contenu extra-musical. Cela nous permet de comprendre comment l’artiste a réalisé ses idées esthétiques<br>This PhD dissertation deals with the piano pieces of Franz Liszt from the period of 1835-1855, shown in the context of the idea of correspondance des arts on the basis of detailed analysis of Liszt’s selected pieces: Album d’un voyageur, Années de pèlerinage. Suisse and Italie, Harmonies poétiques et religieuses (1835, 1853), Mazeppa, and Liebesträume. The dissertation is divided into three main parts. In the first one, the idea of the correspondance des arts has been presented in a wide cultural context of the first part of 19th century. The second part deals with the composer’s aesthetic opinions explicitly presented in his writings and letters. The last part contains an analysis of selected Liszt’s piano pieces together with a detailed comment on programme texts. The research focuses on those parameters of a musical piece, in which the composer’s inventiveness is displayed in full (harmony, form, cyclical structure). At the same time, it aims at indicating some constant elements of musical language which are carriers of extra-musical meanings
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Desagulier, Jean-Bernard. "Hermann Cohen, élève de Franz Liszt." Paris 4, 1998. http://www.theses.fr/1998PA040056.
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Franz Liszt eut de nombreux élèves tout particulièrement à l'Altenburg. Aloys Tausig vint s'y installer et y vécut deux ans. Mais auparavant les biographies, les correspondances diverses que Franz Liszt a échangées avec les personnalités musicales et littéraires de son temps, font mention à de nombreuses reprises de la présence à ses côtés d'un élève privilégié qui outre son enseignement partagea son intimité familiale. Hermann Cohen né en 1821, jeune pianiste prodige venu de Hambourg devint l'élève de Liszt en 1834 ; il rejoindra son maitre à Genève ou il se verra confier malgré son jeune âge une classe de piano au conservatoire nouvellement fondé. Ce séjour sera émaillé de nombreux concerts et se termina par une mémorable excursion racontée par George Sand dans les lettres d'un voyageur (vii et x). De retour à paris, il mène une carrière de concertiste et de professeur. Malheureusement sa vie dissolue et la passion du jeu le séparent de son maitre et il continue seul sa carrière. Touche par la grâce, il se convertit au catholicisme en 1847 et entre dans l'Ordre des Carmes Déchaussés. Il deviendra le père Augustin-Marie du Très-Saint-Sacrement, appelé le plus souvent père Hermann. Il se révèle un très brillant prédicateur, fonde plusieurs monastères, compose alors de la musique religieuse. Il mourut à Spandau le 20 janvier 1871 au service des prisonniers français. Dans le cadre de cette thèse, la gravure et l’édition de deux œuvres manuscrites de Hermann Cohen ont été réalisées : Les contretemps (1839), Les bords de l’Elbe (s. D) valse.
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Dessarts, Christine. "La "Deuxième année de pélerinage" depuis son avant-texte : paratexte et signification chez Liszt." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10037.
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Ce travail de recherche s'interroge sur la signification de la "Deuxième année - Italie" des "Années de Pelerinage" de Franz Liszt. Notre hypothèse est que ce recueil, composé de sept pièces pour piano, forme un cycle cohérent du point de vue compositionnel et du point de vue du propos. On privilégie une démarche musicologique qui, partant d'un document imprimé inédit largement annoté et corrigé de manière autographe par Liszt, donne de l'importance à tout le paratexte prévu par le compositeur et à la problématique interarts que ce paratexte révèle. Au bout du compte, l'ensemble de la "Deuxième année" apparaît comme un discours détaillé sur les aptitudes du musical à dire.
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Kim, Jung-Ah. "A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2246/.
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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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Giraud, Pierre. "Liszt et la rencontre de Senancour : entre crise existentielle et formation intellectuelle : la musique à programme d'un point de vue herméneutique - Vallée d'Obermann (1835-1855)." Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX1A097.
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Ces travaux se proposent de relire d'une manière fort originale le principe de musique à programme développé au XIXe siècle par Franz Liszt. Nos chemins suivront ceux de l'herméneutique musicale, plus précisément ceux d'une herméneutique de la création. Notre terrain sera concis mais relativement précis : la "Vallée d'Obermann" composée depuis la lecture du roman de Senancour, "Obermann", seconde édition (1833). Cette oeuvre semble sourdre d'une double crise identitaire à la fois intellectuelle et existentielle. Elle se révèle être aussi l'archétype de la musique à programme. Le processus compositionnel qui la caractérise reflète à ce titre le parcours initiatique que Liszt a suivi au sein des plus grands salons littéraires de son temps. Une tâche l'obstine, celle de pouvoir "sensiblement" résorber les angoisses métaphysiques qui l'assaillent : "Que veux-je ? Que suis-je ?", premières interrogations introduites par le programme littéraire. En examinant la manière dont le compositeur s'est musicalement compris face à l'oeuvre épistolaire de Senancour de même qu'en révèlant les rencontres et les discussions qu'il a entreprises avec le romancier lors de ses "années de formation", notre tâche se fait double : cerner d'une part la raison d'être d'une telle mutation des traditions compositionnelles, ce qui l'a motivé à associer sa musique aux plus grandes épopées de la littérature occidentale ; ériger d'autre part une approche méthodologique qui puisse rendre compte de la spécificité de cette raison d'être ainsi que son originalité tant herméneutique que sémiotique.
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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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Lively, Judy Sharon. "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 Others." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332359/.
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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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Oliveira, Priscila Ott Falcão. "Os Sonetos de Petrarca 47, 104 e 123 = um estudo interpretativo da segunda versão para piano." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283926.
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Orientador: Carlos Fernando Fiorini<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T02:31:21Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: O presente trabalho tem como objetivo principal propor sugestões interpretativas para a segunda versão para piano dos Sonetos de Petrarca 47, 104 e 123 de Franz Liszt (1811-1886). Para isso, foi feito um levantamento bibliográfico e histórico da vida do compositor, juntamente com a pesquisa sobre Francesco Petrarca (1304-1374), autor dos poemas utilizados como base da composição musical. Considerando a importância das demais versões escritas pelo compositor - para tenor e piano, duas para piano e para barítono e piano - foi realizada uma análise comparativa entre estas quatro versões existentes, abordando sua estrutura, forma e harmonia. Com base nestes elementos e no estudo ao piano, foram elaboradas e apresentadas as sugestões interpretativas. A pesquisa é voltada mais a pianistas que buscam subsídios para interpretação, a cantores e a interessados pela composição musical de Liszt, uma vez que as quatro versões englobam 44 anos da vida do compositor<br>Abstract: This work's main objective is to propose interpretative suggestions to the second piano version of Franz Liszt's (1811-1886) Petrarch's Sonnets 47, 104 and 123. To accomplish this goal a bibliographical and historical survey has been made on the composer's life, and also a research on Francesco Petrarch (1304- 1374), the author of the poems used as the basis of the musical composition. Considering the importance of the other versions written by the composer -for tenor and piano, two for piano and for baritone and piano - a comparative analysis has been made between these four existent versions, approaching their structure, form and harmony. With the support of these elements and the piano study, the interpretative suggestions have been prepared. The research is mainly addressed to pianists that look for interpretative information, to singers and to people concerned with the musical composition of Liszt, since the four versions cover 44 years of the composer's life<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música
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Delamare, Virginie. "La communauté d'Oneida : 1848-1881." Rouen, 2001. http://www.theses.fr/2001ROUEL413.
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L'étude de la communauté d'Oneida s'articule autour de la notion d'utopie religieuse. Il conviendra de définir la teneur du système communautaire établi par son père fondateur, John Humphrey Noyes, le type de relation sexuelle prévalent dans la communauté d'Oneida : société patriarcale déguisée teintée de féminisme ou bien tentative réussie de rééquilibrage des relations entre les hommes et les femmes de la communauté ?<br>The study of the Oneida Community deals with the notion of religious utopia. Il will be proper to define the gist of the community system get up by its founder father, John Humphrey Noyes, the type of sexual relation prevailing at the Oneida Community : disguised patriarchal society tinged with feminism or successful attempt at finding a new equilibrium between men and women
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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 symphoniques<br>The 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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Reynaud, Cécile. "La notion de virtuosité dans les écrits critiques de Franz Liszt." Paris 3, 2001. http://www.theses.fr/2001PA030161.
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La virtuosité pianistique appartient au genre de la musique instrumentale, en plein essor dans la musique européenne de la première moitié du XIXe siècle. Pourtant, du fait de ses caractéristiques d'exécution et de démonstration, elle cumule les désavantages de la musique instrumentale (pas de mot, donc pas de sens), et ceux de la musique vocale dramatique (elle serait du côté de la gesticulation plus que de l'expression). Comment, sur les bases de la philosophie romantique allemande, en particulier d'E. T. A. Hoffmann - la musique instrumentale et la virtuosité pianistique acquièrent-elles en France un nouveau statut ? Les détracteurs de la virtuosité trouvent une tribune dans la Revue musicale de Fétis, qui constitue notre première source. .<br>Pianistic virtuosity is a highly significant element in the evolution of the flourishing art of European instrumental music during the first half of the 19th century. And yet, by dint of the very demands of execution and exhibition that it imposes, such virtuosity manifests some of the disadvantages of instrumental music (which, lacking words, may be said to lack "meaning") and some of the disadvantages of dramatic vocal music (which can suggest mere gesticualtion rather than true emotional expression). How then, in the historical context of late 18th-and early 19th century German romantic philosophy, and in particular that of E. T. A. Hoffman, did instrumental music in general and pianistic virtuosity in particular acquire in France a newly meaningful status ? Detractors of mere virtuosity found a platform for their ideas in the Revue musicale of F. -J. Fétis, who offers us our first primary source material. .
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Tan, Sok-Hoon. "The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6046/.
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This study examines Liszt's use of the style hongrois in his Swiss book of Années de pèlerinage to reference certain sentiments he had experienced. The event that brought Liszt to Switzerland is discussed in Chapter 1 in order to establish an understanding of the personal difficulties facing Liszt during the period when the Swiss book took shape. Based on Jonathan Bellman's research of the style hongrois, Chapter 2 examines the Swiss pieces that exhibit musical gestures characteristic of this style. Bellman also introduced a second, metaphoric meaning of the style hongrois, which is discussed in Chapter 3 along with Liszt's accounts from his book Des Bohémien as well as the literary quotations that are included in the Swiss book. Together, the biographical facts, the accounts from Des Bohémien, and the literary quotations show that Liszt was using the style hongrois to substantiate the autobiographical significance of the Swiss book.
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Alexander, Mark Willard. "An historical exploration of Franz Liszt's role preparing, performing, and promoting Richard Wagner's Lohengrin." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008239.
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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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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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Molina, Betancur Carlos Mario. "La réforme de la loi Falloux." Paris 2, 2000. http://www.theses.fr/2000PA020054.
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"edit de nantes du xixe siecle " ou "concordat de la deuxieme republique", la loi falloux du 15 mars 1850 est un pacte politique entre l'etat et l'eglise catholique en matiere d'enseignement secondaire. Elle met provisoirement fin au debat historique entre deux forces enseignantes opposees qui reclament, depuis l'avenement du christianisme en france, le droit a enseigner les jeunes. Cette loi, premiere legislation sur le secondaire libre, se propose de reorganiser l'enseignement scolaire dans sa totalite, en modifiant non seulement le primaire, mais en annoncant egalement une reforme du superieur. Alliee historique de l'enseignement prive, elle apparait alors comme l'adversaire de l'enseignement public, donc de la laicite, ce qui la place au coeur des debats politiques suscites par chaquereforme educative. Pour l'heure, reduite, mais toujours en vigueur, cette loi charniere entre liberte et egalite retrace l'histoire politique francaise, symbole de l'opposition gauche/droite en matiere d'enseignement. Cette querelle, qui semblait eteinte depuis 1959, reapparait avec force en 1984, puis en 1994 sous la poussee de nouvelles composantes qui s'affrontent a l'etat pour reclamer la reforme ou le maintien de la loi de 1850 : les forces syndicales et, depuis les lois de decentralisation de 1983, les collectivites territoriales. Mais outre ce debat politique, cette loi souleve des controverses juridiques sur la conciliation entre les principes d'egalite et de liberte, avec notamment les interventions du conseil constitutionnel en 1985 sur la reforme de la loi debre, puis en 1994 sur celle de la loi falloux. Cette these se propose de retracer les origines et les reformes de la legislation de 1850 afin de mieux comprendre ses enjeux contemporains.
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Lambiet, Maud. "Le critique et l’analyste : réceptions de la forme sonate chez Beethoven, Liszt, Ives et Boulez." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0160.
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La critique et l’analyse musicales sont les premières intervenantes à débattre de l’œuvre, de son expression et de sa signification. Liées à des pratiques précises, elles décrivent et interprètent la musique en mobilisant des catégories différentes d’analyse et de compréhension. En participant à transformer les valeurs et les normes auxquelles se conforme la musique et à définir de nouveaux rapports, elles enrichissent chacune à leur façon l’expérience musicale. Partir de quatre sonates pour piano, l’Appassionata de Beethoven, la Sonate en si mineur de Liszt, la Concord Sonata d’Ives et la Deuxième sonate de Boulez, balise un espace temporel de 150 ans et circonscrit un espace herméneutique. Il s’agit de quatre points d’ancrage à partir desquels il est possible d’observer et d’analyser les rapports que les acteurs entretiennent avec les œuvres, les représentations qu’ils projettent et la façon dont ils donnent sens à leurs représentations et à leurs actions. Circuler entre la critique et l’analyse met en évidence qu’un dialogue s’instaure entre les deux et ébranle ce que le sens commun retient, à savoir que l’analyse en tant que pratique savante modère les évaluations subjectives énoncées spontanément et arbitrairement par les critiques<br>Music criticism and musical analysis are first to present and discuss the musical meaning and significance of the artworks. They are bound to methods of reasoning and they describe and interpret music by mobilizing different categories of analysis and understanding. In their own ways they improve the musical experience by transforming values and norms and defining new relationships. Four piano sonatas demarcate a period of 150 years and delimit a hermeneutical space : Beethoven’s Appassionata, op. 57, Liszt’s B minor Sonata, Ives’ Concord Sonata and Boulez’s Deuxième Sonate. They are the four beacons from which the relationships between the players and the artworks could be observed and analysed. Critics’ statements and analyses of these sonatas highlight the representations reflected by the players on the artworks and how they give sense to their representations and actions. The flow of ideas between music criticism and musical analysis emphasises that a dialogue is established between them. That undermines what the popular mind retains, i. E. That musical analysis holds the epistemological authority in musical thought
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Caux, Grégoire. "Les dernières pièces pour piano de Franz Liszt. Pour une étude de la notion de fin d’œuvre." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040127.
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Dans ses dernières pièces pour piano, Franz Liszt tend à déstabiliser les codes normatifs des procédures cadentielles, en cherchant à éviter la configuration générale de la consonance, de la détente et de l’apaisement. Plusieurs catégories sémantiques peuvent être déterminées, ayant chacune ses propres caractéristiques stylistiques : la figure féminine, le passé, le sinistre, le macabre, même si la mort semble constituer le principe esthétique essentiel. À partir de ces catégories, il s’agit alors de proposer une réflexion sur les significations de ces fins d’œuvres, en convoquant les stratégies poïétiques du compositeur, les attentes esthésiques et la collaboration de l’auditeur. La première partie se consacre pleinement au processus de dépouillement et à la notion de seuil, tandis que la deuxième interroge le principe d’accroissement sonore en lien avec les topoï méphistophéliques, sinistres et tzigano-hongrois. Enfin, la troisième partie s’articule autour de plusieurs axes : la fin ouverte, la forme expérimentale, l’attente, l’inattendu, l’improvisation, la notion de fragment romantique. Ces pistes de réflexions visent à cerner un paradoxe de la fin d’œuvre chez le dernier Liszt, entre structure fermée et principe de seuil<br>In his late piano pieces, Franz Liszt tends to destabilize the traditional codes of the cadential procedures. He aims to avoid the general configuration of consonance, relaxation and quiescence. Several semantic categories can be defined, each of them having its own stylistic characteristics: female, past, sinister, macabre, even if death seems to be the most efficient principle, from a point of view of aesthetics. It is to propose a reflection into the meanings of these endings. To do this, we resort to poïtic intentions of the composer with the esthesic expectations and interpretive collaboration of the listener. The first part of this thesis is devoted to process of denudation and threshold notion, whereas the second part raises questions about the principle of increase, related to mephistophelian, sinister and gypsy-Hungarian topoï. At last, the third part focuses on several topics: open ending, experimental form, expectation, the unexpected and romantic fragment. These avenues of reflection attempt to identify a paradox of the ending in Liszt’s late piano pieces, between closed structure and threshold principle
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Tsekova-Zapponi, Daniela. "Les interprètes face à la Sonate en si mineur de Liszt." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC014/document.
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Notre recherche porte sur une analyse comparative des interprétations de la Sonate en si mineur de Liszt. Nous avons analysé vingt-cinq enregistrements de pianistes regroupés en cinq écoles :hongroise, française, russe, américaine et allemande. Nous avons comparé les déviations des interprètes par rapport à la partition et les divergences entre les différentes interprétations, en sélectionnant sept paramètres qui nous ont permis de caractériser chaque interprétation. Une double analyse a été effectuée : « à l'oreille » et à l'aide d'un logiciel informatique. Notre recherche a démontré l'importance de plusieurs facteurs d'influence complémentaires : l'enseignement reçu, l'époque où l'on vit et l'on crée, le tempérament et l'individualité artistique. Au terme de notre recherche, nous avons démontré l'existence de spécificités qui se manifestent au sein de chacune des écoles pianistiques nationales, et également de particularités caractérisant le mode de jeu des différentes générations<br>Our research focuses a comparative analysis of the performances of Liszt's Sonata in b minor. We analysed twenty-five recordings by pianists grouped into five piano schools : Hungarian, French, Russian, American and German. We compared the deviations of the performers from the score and the differences between the individual performances, based on a selection of seven parameters that allowed us to characterise each of them. A double analysis was made: "by ear" and with the aid of acomputer. Our research has shown the importance of several complementary factors of influence : education, the period during which the pianists lived and created, the artists' temperaments and their artistic individualities. At the end of our research, we demonstrated the existence of specific features within each of the national piano schools, and also of some features that characterise the performing style of each generation
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Filipec, Goran. "Paganini au piano : Franz Liszt, Ferruccio Busoni, Michael Zadora, Mark Hambourg, Ignaz Friedman et la « grande manière »." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL137.
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Dans l’art de la musique instrumentale, il y a certainement eu des moments de développement extraordinaires. La plus grande révolution dans le domaine du violon aura probablement été Paganini, avec ses innovations dans le cadre de la technique, de la texture et des effets timbriques du violon. Dans le domaine du piano, Liszt, suite à sa rencontre avec le violon assimilateur et imitateur du Génois, reforma son jeu et reconçut le pianisme de l’époque. Dans cette mission, il fut accompagné par des améliorations techniques à l’instrument. L’art du jeu du piano, qui hérita de Paganini le côté assimilateur et imitateur, qui abandonna le salon et s’installa dans les grandes salles, fut reconnu comme la « grande manière » ou le « grand style ». Ces termes, provenant principalement de l’art de Liszt, qui fut apparemment son premier représentant, se réfèrent à un style pianistique particulier, basé sur de grands effets acoustiques et de nouvelles techniques d’exécution. Le corpus de l’étude est constitué des œuvres de Liszt d’après Paganini, telles que les Études d’exécution transcendante d’après Paganini, les Grandes Études de Paganini, La Grande Fantaisie de bravoure sur La Clochette et les œuvres en relation avec Paganini des générations suivantes de pianistes de la « grande manière ». Celles-ci incluent les versions des études de Liszt réalisées par Ferruccio Busoni, son Introduzione e Capriccio (Paganinesco), les arrangements des Caprices de Paganini par Michael Zadora, les Variations sur un thème de Paganini de Mark Hambourg et les Études d’après un thème de Paganini op. 47b d’Ignaz Friedman. L’étude tente de tracer la « grande manière » dans les formes pianistiques appliquées dans les œuvres citées ainsi que d’identifier les particularités du « pianisme » des auteurs concernés<br>In the art of instrumental music there were moments of extraordinary evolution. The greatest revolution in the domain of the violin was probably the appearance of Paganini and his innovations in the technique, the texture of violin writings and the exploitation of the timbrical effects of the instrument. In the domain of the piano, Liszt, after having heard the assimilating and imitating violin of the Genovese, reformed his playing and transformed the pianism of his époque. In that mission, he was accompanied by technical improvements of the instrument. The art of piano playing, which inherited from Paganini the assimilating and imitating tendencies and left the salon in favor of big halls, was recognized as the “grand manner” or the “grand style” grand style’, first represented by Liszt. These terms, mainly originating from the conceptual grandeur of his art, refer to a particular pianistic style, based on big acoustic effects and new techniques of execution. The corpus of the present study is constituted by the works after Paganini by Liszt, including the Études d’exécution transcendante d’après Paganini, the Grandes études de Paganini, La Grande fantaisie de bravoure sur La Clochette, and the works related to Paganini of the following generations of pianists of the « grand manner”. These include the arrangements of Liszt’s studies of Busoni, the Introduzione e Capriccio paganinesco, the Variations sur un thème de Paganini of Mark Hambourg and the Paganini-Studies op. 47b of Ignaz Friedman. The study tempts to trace the “grand manner” in the pianistic forms applied in the cited works, and to identify the specificities of the pianism of the concerned authors
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Saingainy, Marie. "Mgr Dupanloup et la Seconde République : réseaux et combats, 1848-1852." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2038/document.
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Mgr Dupanloup est l’une des figures de proue du catholicisme libéral en France au XIXe siècle. À partir de la correspondance privée du prêtre de Savoie, il s’agit de mettre en exergue les réseaux mis en place et structurés par le prêtre de Savoie pour défendre les intérêts de l’Église catholique dans un contexte de tensions révolutionnaires. Ainsi sous la Seconde République, de 1848 à 1851, Dupanloup et ses réseaux se concentrent particulièrement sur la lutte pour la liberté de l’enseignement et à partir de 1849 sur la lutte pour le vote du projet de loi Falloux, un projet de loi visant à réorganiser entièrement l’instruction publique et privée. Autour de Dupanloup s’agrège tout un ensemble de partis, de réseaux et de personnalités d’origines diverses, laïcs et ecclésiastiques, religieux et politiques qu’on a pu réunir sous l’appellation de « parti Dupanloup ». Ce « parti » repose avant tout sur le « duo » Dupanloup-Montalembert, devenu « trio » dès lors qu’Alfred de Falloux est devenu ministre avec comme objectif prioritaire d’obtenir la liberté de l’enseignement secondaire et de soutenir l’autorité temporelle du pape. Des stratégies apparaissent dans la correspondance et les écrits privés de Dupanloup qui constituent les coulisses de l’action publique du prêtre pédagogue. Ces échanges épistolaires forment un maillage resserré entre des individus partageant plus ou moins les mêmes convictions et objectifs et visant à incliner le processus révolutionnaire en leur faveur. C’est dans l’espace privé de la correspondance que Dupanloup construit déjà son action publique. Étudier les réseaux et le combats du parti de Dupanloup sous la Seconde République permet de revenir plus précisément sur un pan de l’histoire assez méconnu. Les conflits qui agitent la vie politique, sociale et religieuse de la Seconde République sont, en effet, révélateurs du bouillonnement idéologique, politique, social et religieux du milieu du XIXe siècle. Il cristallise des débats publics qui animent encore l’Europe du XXIe siècle, notamment sur la question de la laïcité ou de la sécularisation de la société. L’évolution de la pensée de Dupanloup durant cette période révèle les tensions et dissensions qui agitent les catholiques libéraux dans leur rapport entre eux-mêmes, mais aussi dans leur relation avec le clergé et avec la société.Il semble ainsi pertinent de comprendre comment un groupe de catholiques conservateurs, lui-même en minorité au sein du mouvement catholique libéral, est parvenu à se hisser au sommet d’institutions républicaines alors que de 1848 à 1851 les journées révolutionnaires se multiplient et se radicalisent. Peut-on conclure à une victoire du « parti Dupanloup » ? La Révolution sociale avortée dès juin 1848 s’est-elle mue en Contre-Révolution ou bien paradoxalement en Révolution catholique ?<br>Bishop Dupanloup was one of the leading figures of the liberal Catholicism in France in the 19th century. From the private correspondence of the priest of Savoy, the objective is to highlight the networks which were set up and structured by the priest of Savoy to defend the interests of the Catholic Church in a context of revolutionary tensions.Under the Second Republic, from 1848 to 1851, Dupanloup and his networks particularly focused on the struggle for freedom of education and from 1849 on the struggle for the vote of the Falloux bill, a bill aimed to completely reorganize public and private education. Around Dupanloup an ensemble aggregated, made of parties, networks and personalities of various origins, lay and ecclesiastical, religious and political, who were known as the "Dupanloup party". This "party" relied above all on the "duo" Dupanloup-Montalembert, who turned into a "trio" when Alfred de Falloux became minister of public education and worship with the primary objective of obtaining the freedom for the Secondary education and to support the temporal authority of the pope. Strategies appear in the correspondence and private writings of Dupanloup that form the backdrop of the public action of the pedagogical priest. These epistolary exchanges form a tight grid between individuals sharing more or less the same convictions and objectives and aiming to tilt the revolutionary process in their favor. It is in the private space of correspondence that Dupanloup already built his public action. Studying the networks and the battles of the party of Dupanloup under the Second Republic makes it possible to go back more precisely to a part of history which is quite unknown. The conflicts which agitated the political, social and religious life of the Second Republic were indeed revealing of the ideological, political, social and religious bubbling turmoil of the mid-nineteenth century. It crystallized public debates that still animated the Europe of the 21st century, notably on the question of secularism or the secularization of society. The evolution of Dupanloup's thinking during this period reveals the tensions and dissensions which agitated liberal Catholics themselves but also their relationship with the clergy and with society.It seems relevant to understand how a group of conservative Catholics, a minority itself within the liberal Catholic movement, managed to rise to the top of republican institutions, whereas from 1848 to 1851 revolutionary days multiplied and radicalized. Can we conclude with a victory of the "Dupanloup party"? Was the Social Revolution which aborted in June 1848 a Counter-Revolution or paradoxically a Catholic Revolution ?
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Barrington, Barrie M. "The four Mephisto waltzes of Franz Liszt." Thesis, 1993. http://hdl.handle.net/2429/1755.
Full textAbstract:
The four Mephisto Waltzes of Franz Liszt constitute the focus of the present paper. Aside from the fascination they hold as individual works, they form an intriguing group related by title and heritage yet made distinct by important structural differences. Also, the separation of more than 20 years between the completion of the first and the last means that as a group they illustrate well the changes of style and concerns in Liszt’s composing. In this paper, the four works are discussed in a manner that reflects a shift in their dramatic source. The first two waltzes are closely tied to the poem Faust by Nikolaus Lenau and derive most of their drama from that extra musical link. The latter two pieces, however, exhibit fewer connections to the poem but contain compelling tonal and structural features. The first two chapters discuss the First and Second Mephisto Waltzes respectively with an emphasis on those aspects that are most closely associated with Lenau's Faust. In addition, certain passages that are not necessarily tied to the poem but are interesting in themselves are discussed. An example of this is the coda of the Second Mephisto Waltz and its effect on the piece's overall tonality. The third chapter discusses those few elements of the Third and Fourth Mephisto Waltzes that can be seen as stemming from Lenau's poem, while the final two chapters are made up of tonal and structural analyses of these latter two waltzes. The Third Mephisto Waltz, in particular, is treated to a more intense analysis since it is the most problematic of the group. In this piece, the overall tonic is unclear as two different, yet related, keys struggle to dominate, with neither coming to a clear and decisive victory. F-sharp major and D-sharp minor are supported in turn throughout the work and can be seen to coexist at times when the piece is viewed in its background. The Fourth Mephisto Waltz, although tonally more clear, contains a dramatic game of frustrated expectations and then unexpected fulfillment as the tonic, F-sharp, is strongly implied twice and only later is attained with little preparation. In order to come to terms with some of the problems posed by these works, I have used a modified form of Schenkerian analysis. Departures from, or additions to standard techniques are mentioned within the appropriate chapters. Since the four Mephisto Waltzes (especially the latter two) have not been exhaustively analysed, it is hoped that this study makes some contribution to the field of Liszt research.
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Lin, Wan-yu, and 林菀榆. "The Analysis and Interpretation of “Ballade in b Minor, No. 2” by Franz Liszt (1811-1886)." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80177884569003242026.
Full textAbstract:
碩士<br>東吳大學<br>音樂學系<br>99<br>Abstract
The purpose of this thesis is to analyze and discuss the interpretation of Ballade in b Minor by Franz Liszt. Liszt is one of the most important musicians in the Romantic Period. He composed two ballades. His first ballade, Ballade No. 1 in D-flat major, started in 1848 and completed in 1849. His second ballade was finished in 1953. At the same year, he also composed Piano Sonata in b minor. This thesis is going to situate the context of Liszt’s music and explore the composition background of this piece. Furthermore, this thesis is to discuss the prevailing romanticism, virtuosity at his time, and the influence of Chopin’s ballade on Liszt’s works. This thesis also analyzes the creation through different perspectives, including skills, interpretation, related background, and performance interpretation.
The b Minor Ballade(1853), based on the ancient Greek love story of Hero and Leander composed by three themes. He developed the method of "transformation of themes" as part of his revolution in form which shows his unique music texture and style. In tonality and harmony, this piece has abundant sonority. Concerning transformation of major and minor, the composer uses common-tone modulation, enharmonic modulation, and some featured chords, including Neapolitan Sixth, and Diminished 7th chords.
Liszt’s music shows incredibly difficult piano skill by dazzling notes and exaggerating contrast. Nevertheless, this piece is still visually vivid and poetic: not only does the listener see the stories depicted in the music, but also the emotional worlds are palpable.
Keyword: Liszt, Romanticism, Virtuosity, Ballade, Ballade in b Minor
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"Franz Liszt's Via Crucis: in search of a new style." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5888612.
Full textAbstract:
Jenny Liu Ng Mui.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.<br>Includes bibliographical references (leaves 123-128).<br>INTRODUCTION --- p.1<br>PART I LISZT'S RELIGIOUS DEVELOPMENT AND HIS POSITION IN 19TH-CENTURY CHURCH MUSIC REFORM<br>Chapter Chapter 1 --- Liszt's religious development --- p.5<br>The influence of Adam Liszt<br>The first religious outburst<br>The influence of the Saint-Simonians<br>The influence of the Abbe de Lammenais<br>The influence of Princess Wittgenstein<br>The Abbe Liszt<br>Chapter Chapter 2 --- Liszt's position in 19th-century church music reform --- p.13<br>The Cecilian Movement<br>Liszt's ideal of church music<br>Liszt's sacred choral works<br>The evolution of Liszt's church music reform<br>The reception of Liszt's sacred choral works<br>"PART II LISZT'S VIA CRUCIS: COMPOSITIONAL BACKGROUND, RECEPTION AND TEXT"<br>Chapter Chapter 3 --- The compositional background and reception of Via Crucis --- p.26<br>Liszt's late years<br>Date and place of composition<br>The influence of artworks on the composition<br>The reception of Via Crucis<br>Chapter Chapter 4 --- The text of Via Crucis --- p.32<br>Biblical excerpts<br>Verses from Latin hymns<br>The German chorales<br>The text of Via Crucis as compared with traditional Passions<br>PART III UNITY AND CONTRAST IN VIA CRUCIS<br>Chapter Chapter 5 --- Thematic design in Via Crucis --- p.42<br>Thematic cross-reference<br>The Cross motif<br>Jesus' theme<br>Veronica's theme<br>Large-scale repetition<br>The Prelude and Station XIV<br>The theme of the procession<br>Stations III， VII and IX<br>Stations IV and XIII<br>Chapter Chapter 6 --- Harmonic design in Via Crucis --- p.54<br>The structural importance of the tritone<br>Station V<br>Station XI<br>The six monologues<br>The broad layout<br>The emphasis on the use of symmetric structures<br>Station II<br>Station IV<br>Station VIII<br>Station X<br>Station XII<br>Chapter Chapter 7 --- Stylistic contrast in Via Crucis --- p.67<br>The adoption of Palestrina style<br>Texture<br>Rhythmic design<br>Melodic design<br>Harmonic design<br>Text setting<br>The adopt ion of Bach chorale style<br>O Haupt voll Blut und Wunden<br>O Traurigkeit<br>The coexistence of German chorales and Latin hymns<br>CONCLUSION --- p.78<br>EXAMPLES --- p.80<br>BIBLIOGRAPHY --- p.123
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Wu, Wan-Hsuan 1977. "Beethoven through Liszt: myth, performance, edition." Thesis, 2007. http://hdl.handle.net/2152/3653.
Full textAbstract:
The relationship between Franz Liszt and Ludwig van Beethoven has always held a special position in the biographical tradition of Liszt. Liszt claimed that he received a consecration kiss (the Weihekuss) from Beethoven when he was eleven. However, the story probably was fabricated: in other words, the personal relationship between Liszt and Beethoven was never realized and never existed. Even though Beethoven and Liszt probably have never met, the Weihekuss still served as, in Liszt's words, "the palladium of my whole career as an artist." Liszt constructed a rather complicated relationship with Beethoven around this myth. In this study, I shall examine how the Weihekuss influenced both Liszt's life and his professional development as a performer and editor. In chapter one, I will analyze Liszt's psychological state through the anecdote and further examine the impact that Beethoven had inserted on both Liszt's life and career. On becoming a concert pianist, Liszt was the first person who performed Beethoven's piano sonatas in public and eventually elevated the genre of the sonata into the concert repertory. In chapter two, through eyewitness testimonies, Liszt will be viewed in a broader cultural and historical perspective. Meanwhile, Liszt's relationship with his audiences and his marketing strategies will also be included in this discussion. Liszt's "authority" on Beethoven led him to complete an edition of Beethoven's thirty-two piano sonatas in 1857. By examining Liszt's edition, particularly those sonatas that he performed, one can get a sense of how Liszt himself may have interpreted the music. According to Liszt himself, he performed ten Beethoven piano sonatas in public. These ten sonatas will be the primary focus in chapter three. Liszt both added and omitted articulation and pedal markings, creating different emphases and lines from those present in Beethoven's original manuscripts. The edition, in a sense, is Liszt's final tribute to Beethoven, but also reveals his constant disappointment in never having met the composer. To edit the sonatas was, for Liszt, a way to communicate with Beethoven spiritually, if not personally.
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"Dialects in music, an innovative idea: a study of Franz Liszt's symphonic poems." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5887074.
Full textAbstract:
by Li Chi Man.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.<br>Includes bibliographical references (leaves 134-137).<br>PREFACE --- p.iii<br>Chapter Chapter One --- PROLOGUE- THE CLASSICAL AND ROMANTIC STYLES --- p.1<br>Chapter Chapter Two --- THE CONCEPT OF DIALECTICS AND TRANSCENDENCE --- p.9<br>Chapter Chapter Three --- STUDY OF FRANZ LISZT'S SYMPHONIC POEMS --- p.15<br>Les preludes (1848) --- p.18<br>Ce qu'on entend sur la montagne (1848-9) --- p.27<br>Tasso: lamento e trionfo (1849) --- p.38<br>Heroide funebre (1849-50) --- p.47<br>Prometheus (1850) --- p.55<br>Mazeppa (1851) --- p.63<br>Festklange (1853) --- p.71<br>Orpheus (1853-4) --- p.79<br>Hungaria(1854) --- p.86<br>Hunnenschlacht (1857) --- p.95<br>Die Ideale (1857) --- p.103<br>Hamlet (1858) --- p.112<br>Von der Wiege bis zum Grabe (1881-2) --- p.120<br>Chapter Chapter Four --- EPILOGUE - SOME OBSERVATIONS --- p.128<br>BIBLIOGRAPHY --- p.134
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Alexander, Mark Willard 1963. "An historical exploration of Franz Liszt's role preparing, performing, and promoting Richard Wagner's Lohengrin." 2001. http://hdl.handle.net/2152/12833.
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Haringer, Andrew Lawrence. "Liszt as Prophet: Religion, Politics, and Artists in 1830s Paris." Thesis, 2012. https://doi.org/10.7916/D8D224MX.
Full textAbstract:
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.
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Moodie, Noreen Charlotte. "Liszt's songs : a reflection of the man and a microcosm of his musical style." Diss., 1996. http://hdl.handle.net/10500/17503.
Full textAbstract:
"Liszt's music, unlike that of Mozart, projects the man.
With rare immediacy, it gives away the character
of the composer. ... "
(Brendel 1986, 3)
The purpose of this study is to examine Liszt's song genre from an historical and
stylistic standpoint as a reflection of Liszt's ongoing personality and style development.
this end the following will be presented:
- an overview of Liszt's life circumstances which reflect his personality development
- a chronological classification ofLiszt's song genre
- the songs viewed historically as a reflection of the man
- characteristics in the revisions of the songs which reveal Liszt's ongoing developing
style
- a study of the development ofLiszt's harmonic and tonal language as agents of
colour and textual imagery.
Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his
motives, his values, the experiences that moved him, and the ways in which he
reproduced them in music.<br>Department of Musicology<br>M.Mus.