Dissertations / Theses: 'Liszt'

1

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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Oh, Young Ran. "The eternal paradox in Franz Liszt's persona : good and evil as illustrated in his piano sonatas /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11392.

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3

Hartmann, Anselm. "Kunst und Kirche : Studien zum Messenschaffen von Franz Liszt /." Regensburg : G. Bosse, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955765h.

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4

Baron, Michael David. "The songs of Franz Liszt." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.

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5

Reynaud, Cécile. "Liszt et le virtuose romantique /." Paris : H. Champion, 2006. http://catalogue.bnf.fr/ark:/12148/cb40168559v.

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6

Holloway, James Dale. "Performance convention and registrational practice in the Weimar organ works of Franz Liszt /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11374.

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7

Protzies, Günther. "Studien zur Biographie Franz Liszts und zu ausgewählten seiner Klavierwerke in der Zeit der Jahre 1828-1846." [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=972689885.

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8

Tsai, Meng-Yin. "Franz Liszt's lyricism : a discussion of the inspiration for his first Italy album of "Année de Pèlerinage" /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11312.

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9

Heinemann, Michael. "Die Bach-Rezeption von Franz Liszt /." Köln : Studio, 1995. http://catalogue.bnf.fr/ark:/12148/cb357825583.

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10

Desagulier, Jean-Bernard. "Hermann Cohen, élève de Franz Liszt /." Lille : A.N.R.T, 2003. http://catalogue.bnf.fr/ark:/12148/cb390577368.

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11

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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12

Sasaki, Yuka. "Cellular construction in the piano Concerti of Franz Liszt /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11414.

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Kim, Younshin. "An analytical study of Liszt's "Grandes études de Paganini", nos. 3 and 6 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11363.

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14

Haug-Freienstein, Wiltrud. "Motiv, Thema und Kompositionsaufbau bei Franz Liszt." [München : s.n.], 1987. http://catalog.hathitrust.org/api/volumes/oclc/20164651.html.

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15

Dömling, Wolfgang. "Franz Liszt und B-a-c-h." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37202.

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16

Plylar, David. "The dynamic contextual nexus and the composition of self : Franz Liszt's Trois odes funèbres : a case study in intertextuality /." Digitized version, 2008. http://hdl.handle.net/1802/7670.

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Thesis (Ph. D)--University of Rochester, 2008.
Includes abstract and vita. Accompanies: Reliquary : for piano and orchestra / by David Plylar. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7670

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17

Dufetel, Nicolas Gosselin Guy. "Palingénésie, régénération et extase dans la musique religieuse de Franz Liszt." Tours : Service commun de documentation, 2008. http://theses.abes.fr/2007TOUR2002.

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18

Ljung, Lucas. "Skräckromantiken genom Franz Liszt Ballad i b-moll." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2977.

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I den här examensuppsatsen undersöks Franz Liszt och hans Ballad nr 2 i b moll. Genom detta ämnar jag ta reda på vad skräckromantiken egentligen var, vad som skapade den och om detta stycke är ett uttryck för tiden. Syftet är att undersöka stycket och försöka anknyta det till nutiden. Först gick jag noga igenom noterna och analyserade hur det musikaliska, dramaturgiska uttrycket hängde samman med orden, poemet. Efter att ha övat in själva melodin började ett sökande efter poemets berättelse i musiken, och en ny lång inövningsperiod där jag uttryckte historien i musiken, den som eventuellt fanns där men framför allt den egna tolkningen. Jag kom fram till att stycket var ett klart uttryck för det som kallas för skräckromantiken som många av verken Liszt och hans generationskollegor skapade.

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19

Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.

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The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by considering the contextual historical implications of the octatonic pitch set; the historic lineage of octatonic usage; and, significantly, with the goal of extracting specific compositional devices from the works of various composers that come from a variety of stylistic, historical, and harmonic perspectives. These compositional devices are learnable methods, or conventions that a composer can modify, build upon or implement into their own work. The contextual historical information, along with the description of the characteristics of the octatonic pitch set and, especially, the compositional devices are all intended to be both a single pedagogical resource and starting point for composers in relation to developing new octatonic compositional techniques and a holistic theoretical overview of octatonicism. The evidence, retrieved from third party analysis of select composers’ octatonic works, finds learnable compositional devices from broad stylistic backgrounds that can be reinterpreted and expanded into individualised compositional methods.

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20

Kim, Min. "A study of Franz Liszt's Totentanz piano and orchestra version, and piano solo version /." Lecture recital, recorded July 20, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5409.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded July 9, 2001, Nov. 18, 2002, and Jan. 24, 2005, and July 20, 2006. Includes bibliographical references and discography (p. 32-34).

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21

Fry, John Douglas. "Liszt's Mazeppa : the history and development of a symphonic poem." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260449491.

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22

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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23

Vitalino, Michael. "Franz Liszt's Settings Of “was Liebe Sei?”: A Schenkerian Perspective." Connect to this title, 2008. http://scholarworks.umass.edu/theses/170/.

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24

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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25

Rådén, Anders. "Liszt och Alkan: Den virtuosa pianoetyden : Övningsstycke eller muterat monster?" Thesis, Uppsala universitet, Institutionen för musikvetenskap, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173851.

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Anders Rådén: Liszt & Alkan: the virtuoso piano study – practice study or monstrous mutation? Uppsala: Musikvetenskap, 1998. C-uppsats (60 p). The purpose of this essay is to analyse a selection of studies by Franz Liszt (1811-1886) and Charles- Valentin Alkan (1813-1888). Can they be definedas practice studies, or are they reshaped in such a manner, as to establish a larger form reminiscent of the concert study? First of all, typical study characteristics of this time period are determined, then such characteristics are looked for in three of either Liszt's and Alkan's studies (from Douze grandes études S137 and Douze études dans les tons mineurs Op. 39). Original sources consist of scores of the two mentioned works; Carl Czerny's Die Schule der Geläufigkeit Op. 299 was used as a reference source for typical study characteristics.The analysis of the studies shows that only by way of exception do they have characteristics in common with traditional studies. Liszt and Alkan explore the traditional study genre in their earlier works, but here they cross its definition line. Form, harmony and virtuosity are expanded beyond recognition, and this is due to two reasons: In order to present technical innovations of a high virtuosity incorporated into a through-composed work. The piano as an instrument was still under development during the time of the composition of these studies. The resulting tone and mechanics of the piano made possible these new innovations. Helped by these new sonorities, to try to emulate a full-scale orchestra as closely as possible.

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26

Wu, Longkang [Verfasser]. "Kompositionstechnik und Semantik der Klaviertranskriptionen von Franz Liszt / Longkang Wu." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1171222769/34.

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27

Saffle, Michael. "Liszt, Cultural Identity, Sonata Form, and the Scherzo und Marsch." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71973.

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28

Arjona, Alfredo. "Learning From the Autograph: a New Critical Approach to Performing Liszt’s Sonata in B Minor." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804866/.

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The Sonata in B minor occupies a hallowed position in Liszt’s oeuvre, according to scholarly assessment. Despite the plethora of literature on this consummate work, the vast majority of writings on the sonata have focused almost exclusively on formal innovation, thematic transformation, and programmatic speculation, and there is a dearth of interpretative analysis of the sonata based on its fascinating autograph manuscript, even though it has been publicly accessible and widely available in facsimile for some four decades now. In view of the fact that the autograph manuscript has never been examined for the express purpose of improving performance of the sonata, this dissertation proposes to approach this problem with the direct examination of the autograph and its numerous additions and deletions, and the analysis of the many interpretive implications stemming from the surprising insights offered by the autograph itself, which is on deposit at the Pierpont Morgan Library in New York City. The goal of the dissertation is to make readily accessible a comprehensive performance-oriented study of this summit of pianism, offering solutions to the many discrepancies among its various published editions, from the first Breitkopf & Härtel in 1854 to the most recent Peters Urtext in 2011, and including photographic reproductions of the unpublished material obscured behind and beneath the collettes (idiosyncratic terminology for additional pieces of paper pasted over the manuscript) together with the author’s engraved transcriptions thereof. In sum, the dissertation provides guidance and solutions for the various forms of virtuosic and interpretive problems that earn the sonata its reputation for being one of the most difficult works in the repertoire to understand and perform.

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29

Lym, Sang-hee. "Aspects of compositional technique in the late original solo piano pieces by Franz Liszt /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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30

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.

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31

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
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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32

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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33

Larkin, David. "Reshaping the Liszt-Wagner legacy : intertextual dynamics in Strauss's tone poems." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/284073.

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34

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. .
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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35

Song, Yoon. "Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307457251.

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Reynaud, Cécile. "La notion de virtuosité dans les écrits critiques de Franz Liszt /." Paris [C. Reynaud], 2001. http://catalogue.bnf.fr/ark:/12148/cb376614270.

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Dufetel, Nicolas. "Palingénésie, régénération et extase dans la musique religieuse de Franz Liszt." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2002.

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Parallèlement à sa vaste production musicale, Franz Liszt (1811-1886) a laissé un certain nombre d'écrits qui permettent de mieux pénétrer sa pensée. La thèse propose d'étudier dans sa musique religieuse, composée principalement entre 1885 et 1886, deux idées qu'il a développées dans des articles au cours des années 1830 : la palingénésie (liée à la régénération) et l'extase. Interroger ces deux points revient à poser la question de la permanence et de l'application de données théoriques et esthétiques : Liszt met-il en pratique après 1855 ce qu'il écrit dans les années 1830 ? . Au seuil de la discussion de ces deux constantes, en partie fondée sur des sources rares et nouvelles, une approche méthodologique et épistémologique des lectures et des écrits de Liszt permet d'éclairer la façon dont le compositeur s'est imprégné de concepts dont on retrouve la trace dans ses œuvres. Jusqu'à présent, les études musicologiques ont presque exclusivement utilisé le terme de "réforme" pour aborder la musique religieuse de Liszt. Cependant, c'est un mot qu'il a très peu, voire jamais employé dans ce contexte. En revanche, en 1835, dans l'avant-dernier article "De la situation des artistes, et de leur condition dans la société", il évoque la "régénération de la musique religieuse". Il s'appuie notamment sur le concept de palingénésie ("renaissance") qui irrigue alors le milieu intellectuel et artistique, particulièrement par le biais des écrits de Ballanche et d'Ortigue. Ce concept, a joué un rôle fondamental dans ses positions esthétiques et dans son langage musical. Étudier la musique religieuse de Liszt sous l'angle de la "régénération" et non de la "réforme" permet donc de soulever de nouvelles perspectives et de mieux cerner le comportement historiciste de Liszt. Selon l'expression de Bülow, la "Missa solennis " de Liszt (1855) avait donné naissance à la "Zukunfts-Kirchenmusik", tournée vers l'avenir. Mais sa musique religieuse plonge également ses racines dans le chant grégorien et dans la musique de la Renaissance : la palingénésie explicite chez Liszt la dialectique entre passé et avenir. Elle explique aussi pourquoi son rapport aux traditions est, à l'inverse par exemple des cécitiens, progressiste et non conservateur. Par le réinvestissement des traditions romaines, Liszt confère à sa musique religieuse une profonde identité catholique. En 1839, Liszt écrit avec la treizième "Lettre d'un bachelier ès-musique" ("La Sainte Cécile de Raphaël") une véritable critique d'art. Il livre alors une lecture originale du tableau, dans lequel il voit une puissante allégorie : sainte Cécile représente "le symbole de la musique à son plus haut degré de puissance" et les quatre personnages qui l'entourent "résument les éléments essentiels de la musique et les effets divers qu'elle produit sur le cœur de l'homme". Mais surtout, il précise que sainte Cécile est en extase alors que les anges de la partie supérieure du tableau chantent "l'éternel "hozannah" [qui] retentit dans l'immensité". Le Hosanna se retrouve ainsi lié aux anges et à l'expression d'une extase contemplative. Contrairement à ce qu'écrivent habituellement les compositeurs, Liszt réserve aux hosannas un traitement particulier, puisqu'à l'instar du tableau de Raphaël, ils sont presque systématiquement doux et éthérés. Comme le montrent leur analyse et leur genèse, les Hosannas et les choeurs d'anges de Liszt expriment la même atmosphère contemplative et mystique que la "Sainte Cécile", rendue par des successions d'harmonies kaléidoscopiques, non fonctionnelles, que le compositeur appelait des "Liszt'sche Progression[s]" et que nous résumons par l'expression "champ transfiguratoire" En 1863, Baudelaire défiait quiconque de "diviser"Liszt. Notre but est enfin de rappeler la diversité de la carrière et de l'œuvre de celui qui ne fut pas seulement "le roi des pianistes". Son identité doit être rendue dans sa variété et, pour reprendre l'expression du poète, dans ses "méandres capricieux"
Among his huge production, Franz Liszt (1811-1886) left a considerable number of writings which allow us to understand his thought. The present dissertation aims at studying in his religious music – composed essentially between 1855 and 1886 – two ideas he developed in different articles during the 1830s: palingenesis (linked to regeneration) and ecstasy. Discussing these two issues means at first asking the question of permanence and the application of theoretical and aesthetical ideas: did Liszt put into practice after 1855 what he wrote in the 1830s? On the threshold of the discussion of these two subjects, partly based on rare and new sources, a methodological and epistemological approach of Liszt’s readings and writings helps us to understand the way the composer was absorbed by the concepts which we can follow through his works. To the present, studies of Liszt’s religious music almost exclusively used the word “reform” and its direct translations. Yet, it is a word the composer seldom used, if ever, in this context. However, in 1835, in the penultimate article of De la situation des artistes, et de leur condition dans la société, he mentioned the « régénération » of religious music. He thus shows himself influenced by the concept of palingenesis, which Liszt primarily accessed through the writings by Ballanche and d’Ortigue, overran intellectual and artistic concerns. This concept, which can be traced throughout his career, played an essential role in his aesthetic views and his musical language. Thus, studying Liszt’s religious music from the “regeneration” point of view as opposed to that of “reform” widens our perspectives on his historicist profile. According to Bülow, Liszt’s Missa solennis (1855) gave birth to the forward-looking “Zukunfts-Kirchenmusik.” However, Liszt’s religious music was firmly rooted in the past – both in the Gregorian Chant repertoire and the music of the Renaissance. With Liszt’s music, it is this very palingenesis that explains why his compositional conception is not conservative but progressive and well explains his opposition to the Cecilian movement. By reinvesting in Roman traditions, Liszt imbues his religious music with a deep catholic identity. In 1839, with the thirteenth “Lettre d’un bachelier ès-musique”, Liszt wrote substantive art criticism. Notably, he fashioned an original reading of Raphael’s powerfully allegorical Saint Cecilia: here the subject represents “a symbol of music at the height of its power” and the four characters surrounding her – (left to right) Saints Paul, John, Augustine and Mary Magdalene – not only embody music’s elements, but also the various effects on human’s soul. Moreover, Liszt pointed out that St Cecilia stands in ecstasy while the angels above her sing “their eternal hosanna”. The hosanna is therefore linked with angels and with expression of contemplative rapture. It is not surprising then that Liszt composed his hosannas in a singular manner, since, as in Raphael’s depiction, they are invariably mild and ethereal. As both studies of the works’ genesis and insightful analyses show, Liszt’s hosannas and angels’ choruses express the same contemplative and mystical atmosphere as Raphael’s Saint Cecilia – an atmosphere created by a succession of kaleidoscopic, non-functional harmonies which the composer himself labelled as “Liszt’sche progression”. In 1863, Baudelaire prophetically challenged anyone to “separate” and “divide” Liszt’s artistic profile. Thus we have to be mindful of Liszt’s versatility, and we cannot consider him only as “le roi des pianistes”, but as a creator characterized, again in Baudelaire’s words, by its “méandres capricieux”

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Williams, Nicholas Mark. "A study on performing the Hungarian Rhapsodies in the Liszt tradition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2360.

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Franz Liszt’s Hungarian Rhapsodies (1851, 1853) have long been among the most popular collections of piano music. They have also long garnered a reputation for “superficial brilliance and effect” which seems to have influenced the way that famous pianists play the works in public. But would a performer immersed in the Liszt tradition have approached them differently? This dissertation aims to promote a re-evaluation of the Hungarian Rhapsodies from this perspective: considering Liszt’s own ideas on music and performance, the writings and recordings of his pupils, and Liszt’s book Des Bohémiens et de leur musique en Hongrie (1859).

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Seguin, Abigail L. "Nonfunctional Parsimony and Tonal Ambiguity in the Late Lieder of Franz Liszt." Thesis, University of Louisiana at Lafayette, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557576.

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The first two chapters of this study explore Mehrdeutigkeit and parsimonious, non-functional voice leading of augmented triads, fully diminished seventh chords, and half-diminished seventh chords in the late Lieder of Franz Liszt. These techniques utilize varying numbers of common tone retention to create surface level ambiguity. Examples of this motion are extracted from the Lieder, and presented along with a discussion of how the chords function on the musical surface. In Chapter 3, these chords are paired with the concept of directional tonality and a variety of prolongational techniques to discuss deeper structural ambiguity in the selected late Lieder. Polyfocal analysis, a method of Schenkerian analysis, is employed to depict the prolongational techniques and how all of these elements function together to create tonal ambiguity. Lastly, the revisions of two different Lieder are discussed to show the change in Liszt's compositional approach later in his career.

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Tanner, Mark. "The Liszt Sonata in B minor : an analytical study of recorded performances." Thesis, Birmingham City University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310606.

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Widén, Anne Kristiina. "Liszt and 'The Musical Times' : a study of reception in Victorian England." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437104.

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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
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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Thiagarajan, Krishna Whang Joanna Yu Tao-Chang. "Sonata development at the turn of the century from Liszt to Stravinsky /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3423.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Yekta, Leylie. "Franz Liszt och Julius Reubke : en studie av två viktiga orgeltonsättare, Franz Liszt och hans elev Julius Reubke, deras liv, verk och konstnärliga miljö i Tyskland vid mitten av 1800-talet." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1228.

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LEE, JAEJIN. "A PEDAGOGICAL APPROACH TO LISZT'S SECOND BALLADE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123309037.

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Lee, Bora. "Franz Liszt's Vallee d' Obermannfrom the Annees de Pelerinage, Premiere Annee, Suisse:A Poetic Performance Guide." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377868661.

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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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Cormac, Joanne. "Liszt as Kapellmeister : the development of the symphonic poems on the Weimar stage." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3966/.

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Little research has been carried out into Liszt’s work as Kapellmeister of the Weimar Court Theatre. The nature and extent of his duties, his involvement in productions, festivals and performances, and his relationships with others within the administration has yet to be examined in detail, let alone the implications of all of this for his music. This thesis draws on a wealth of primary source material to provide new insight into this area. It begins by drawing a general picture of Liszt’s work in Weimar. Then, it attempts a detailed ‘re-historicisation’ of four of Liszt’s Weimar symphonic poems. The thesis returns four of the symphonic poems (Tasso, Orpheus, Festklänge, and Hamlet) to their original dramatic performance contexts. In doing so, it reveals that the Weimar productions or festivals in which they were premiered had a significant impact on their conception and development in numerous, diverse, and sometimes surprising ways. Accordingly, the findings shed new light on the influence of staged genres, particularly melodrama, on the development of the symphonic poem as a genre. Then the thesis explores the revision of these works in order to trace Liszt’s changing conception of what a symphonic poem might be.

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Knoll, Moises S., and 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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Umstead, Randall A. "A new perspective on the Italian songs of Franz Liszt: an Italian perspective." Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1235678838.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisors: Kenneth Griffiths M.M. (Advisor). Mary Henderson-Stucky M.M. (Committee Member), Barbara Paver M.M. (Committee Member). Title from electronic thesis title page (viewed May 1, 2009). Includes abstract. Keywords: Franz Liszt; Petrarch Sonnets; Tre sonetti di Petrarca, national influence. Includes bibliographical references.

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Dissertations / Theses on the topic 'Liszt'

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