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1
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.
Testo completoAbstract (sommario):
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.
2
Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt". Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.
Testo completoAbstract (sommario):
Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par LisztLiszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt
3
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.
Testo completoAbstract (sommario):
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.
4
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.
Testo completoAbstract (sommario):
L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le piano moderne, cet exercice lui permet d’acquérir une certaine connaissance de l’écriture orchestrale de son temps. Ce postulat prend tout son sens lorsqu’on observe que parmi les auteurs que Liszt transcrit le plus et en premier se trouve Berlioz, habituellement considéré comme l’inventeur de l’orchestre moderne.L’approche adoptée s’inscrit dans deux champs de la musicologie traditionnelle, l’analyse et l’histoire, et dans une branche plus récente de la discipline, les études génétiques. Il est effectivement nécessaire de replacer tout d’abord chaque transcription dans son contexte, pour évaluer l’influence des réécritures lisztiennes d’œuvres de Berlioz sur l’élaboration de sa propre écriture orchestrale. Par ailleurs, le point de vue se place du côté de la création : l’analyse d’une grande quantité d’esquisses et de brouillons donne des informations sur la manière dont Liszt aboutit à l’écriture orchestrale qui est la sienne dans la décennie 1850, au cours de laquelle il produit la majeure partie de ses œuvres symphoniquesThe object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)
5
Knoll, Moises S., e 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.
Testo completoAbstract (sommario):
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."
6
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.
Testo completo
7
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/.
Testo completoAbstract (sommario):
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.
8
Pierce, Stephen R. "An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions of Works by J. S. Bach". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1322052457.
Testo completo
9
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/.
Testo completoAbstract (sommario):
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.
10
Sheldon, Vanessa Renee. "Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp". Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/282893.
Testo completoAbstract (sommario):
The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the author also offers four of her own transcriptions of Liszt's solo piano compositions, corresponding from each of the four life stages, explaining why these are idiomatic for performance on the harp. This document also examines and explains any changes made from the original to the transcription with the inclusion of musical examples. These transcriptions, included in the document as appendices, are ready for publication and will hopefully become valuable additions to the harp repertoire.
11
Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16097/1/Vicky_Yang_Thesis.pdf.
Testo completoAbstract (sommario):
As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences
dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original
form. With this in mind, it can be argued that piano transcriptions of music originally
written for instrumental ensemble is still a viable form of musical expression, because the
piano is still the most widely used medium for the performance of art music in the Western
world. Transcriptions of instrumental and vocal music expand the listening audience for a
composer's music while they also increase the repertoire of music for the piano for both
amateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts:
1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis.
2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's The
Sleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overview
of piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.
12
Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16097/.
Testo completoAbstract (sommario):
As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original form. With this in mind, it can be argued that piano transcriptions of music originally written for instrumental ensemble is still a viable form of musical expression, because the piano is still the most widely used medium for the performance of art music in the Western world. Transcriptions of instrumental and vocal music expand the listening audience for a composer's music while they also increase the repertoire of music for the piano for both amateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts: 1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis. 2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's The Sleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overview of piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.
13
Kong, Won-Young. "Paul Wittgenstein's Transcriptions for Left Hand: Pianistic Techniques and Performance Problems : A Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, S. Prokofiev, F. Liszt, M. Ravel, and F. Chopin". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935633/.
Testo completoAbstract (sommario):
Paul Wittgenstein (1887-1961) made significant contributions to the piano literature for the left hand through numerous commissioned works as well as his own transcriptions. In the transcriptions, Wittgenstein preserved the texture of two-hand music, aiming for the simulation of the original works. This requires special techniques in the performance by the left hand alone. This dissertation investigations technical means and performance problems associated with the transcriptions as well as Wittgenstein's own recordings of selections from his works. Chapter 1 serves as an introduction, providing a historical overview of the role of the left hand in two-hand piano literature. Chapter 2 gives biological information on Paul Wittgenstein and discusses the commissioned works. Chapter 3 investigates special techniques in the transcriptions, in the areas of arpeggios, widespread chords, fingering, pedaling, and others. Chapter 4 discusses Wittgensteins's performance style based on his recordings. Chapter 5 presents a conclusion pointing to the benefits of performing left-hand music in two-hand piano playing.
14
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/.
Testo completoAbstract (sommario):
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.
15
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.
Testo completoAbstract (sommario):
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 concernésIn 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
16
Chen, Chia-Ling, e 陳佳伶. "An Analysis and Interpretation of Four Piano Transcriptions by Franz Liszt". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/yg8yg8.
Testo completoAbstract (sommario):
碩士國立臺灣師範大學
音樂學系
106
As a composer and pianist, Franz Liszt (1811-1886) transcribed many famous works for touring performances, which made a lot of important music works reappeared in the world. In many scholars’ opinion, F. Liszt made great contributions in transcriptions composition. In the aspect of transcripting skills, F. Liszt not only fully transferred the original pieces into piano works, but also captured and developed fragments from original pieces. In addition to maintain the original features and meaningful content, F. Liszt added lots of consummate piano performing techniques within the original pieces to present them with new appearances. The researcher first introduced the music cultivation of F. Liszt and the categories of piano transcriptions in the 19th century, then referred to literatures, classifying the transcriptions of F. Liszt into four species, including transcriptions of art songs, instrumental solo works, operas, and orchestral works. Based on the above categories, the researcher chose “Widmung,” “La Chasse,” “Concert Paraphrase of Rigoletto,” as well as “Danse Macabre” respectively. By analyzing and interpreting the four transcriptions, the researcher hopes to learn more about the features and significance of F. Liszt’s transcriptions.
17
LO, YU-YIN, e 羅于茵. "The Research of Franz Liszt Piano Works and his Transcriptions on Recital Repertoire". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/87873359873968581376.
Testo completoAbstract (sommario):
碩士中國文化大學
音樂學系碩士班西洋音樂組
100
This thesis focuses on Franz Liszt’s piano works between original compositions and transcriptions. The content includes three original compositions and two transcriptions. Original compositions are” Sonetto 104 del Petrarca”, “Ballade No.1” and” Trois etudes de concert no.2”. Transcriptions are “Gretchen am spinnrade” and “Rigoletto paraphrase”. This thesis covering five chapters and with exception to the introduction on chapter one and the conclusion on chapter five, the research could be divided into three chapters. Chapter two introduces Liszt’s Life and piano works. Depict his childhood on Europe tourism to settle down in Weimer . To research his alteration on music his style. Chapter three discusses the composing technique of original compositions and transcriptions. Compare with the differences and similarities between these two techniques of composition. Chapter four discusses the interpretation and perfecting skills of original compositions and transcriptions. Demonstrate how to practice and convey the ideas of music. Chapter five would be the summary of the entire thesis.
18
Lin, Yu-Yin, e 林鈺音. "An Issue about Franz Liszt''s "Transcription" Techniques". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/unxqkh.
Testo completo
19
Huang, Pin-hsuan, e 黃品璇. "The Research of Liszt''s Transcription "Müller-Lieder von Franz Schubert"". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/25085133800950335799.
Testo completoAbstract (sommario):
碩士國立中山大學
音樂學系研究所
99
Liszt, the pianist well-known for his outstanding performing style, has led a trend of 19th century virtuoso style and created a phonomonon for piano world in the Romantic period. A great deal of his piano transcriptions have helped to promote many composers’ works and also the development of modern piano manufacture to the new level. Those transcriptions have become the standard concert repertoire of modern virtuoso pianists. A large proportion of Liszt’s piano transcriptions is Schubert Lieder transcriptions which were increasing brilliant style within the beauty and simplicity of Schubert’s melody. The Müllerlieder is the last one of Schubert lieder transcriptions that Liszt composed in 1846. Through his superb compositional technique, this transcription conveys musical content of Schubert lieder successfully. Chapter one in this paper will introduce Liszt’s compositional life of piano transcriptions, including the society background and different types of transcriptions. The connection between Liszt and Schubert lieder is also discussed in it. Chapter two includes the development of piano and the virtuoso style in the times of Liszt. The last chapter focuses on the research of Die Schöne Müller, comparing Schubert’s original song edition and the transcription of Liszt and concentrates on analyzing Liszt’s compositional technique in this piano transcription.
20
Voltchok, Anastasia. "The art of piano transcription as represented in works of Franz Liszt and Sergey Prokofiev". 2005. http://hdl.handle.net/1903/9751.
Testo completo
21
Tasi, Yi-Shan, e 蔡宜珊. "Transcription and re-creation: Piano as a vehicle of musical transcription as seen from Bach- Liszts Prelude and Fugue in A minor, BWV543 and Bach- Busonis Toccata and Fugue in D minor, BWV565". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/32vs6q.
Testo completoAbstract (sommario):
碩士實踐大學
音樂學系碩士班
101
The outbreak of French Revolution in 1789 proved the change of social class. As the extensive power and rights previously enjoyed by the clergy and nobility later being “shared” by the commoner, the life and working style of all court and church artists as well changed. It was the time of public and salon concerts. Musicians seeking no longer for the even limited positions in court sought to make livings by teaching and concertizing. As a all-too-natural result, showy pieces favoring the public taste by adapting popular songs, opera excerpts, made up a great body of repertoire of the day. The flirtation between the intentional transcriber, performer, and the mass public did tarnish the name of transcription. Virtuosity undoubtedly plays a great part of the forming and performing of a transcription work, while history also proves that transcription may help promoting less-known or rarely performed music. Mendelssohn, Schumann, Liszt and Brahms contributed their creativity and fame to promote Bach’s music, and Busoni kept the torch on. Throughout the centuries, musicians, critics, and musicians voiced their opinions upon transcription, the criteria of a worthy transcription always set upon preserving of essence of the original work. This thesis sees piano as a vehicle of transcription, and from analysis of Bach- Liszt’s Prelude and Fugue in A minor, BWV 543 and Bach- Busoni’s Toccata and Fugue in D minor, BWV 565, I will try to take a closer look of how the revolution of piano-making, Bah Revival, and the performer-composers - Liszt and Busoni as the subject, have shaped the identity of transcription.