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Proquest Dissertations Selected operatic paraphrases of Franz Liszt (1811-1886): Compositional style and performance perspectives Item Type text; Dissertation-Reproduction (electronic) Authors Lee, Yoon Ju Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 07:58:50 Link to Item http://hdl.handle.net/10150/284277 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter ^ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did rrat send UMI a complete manuscript and there are missing pages, ttiese will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g.. maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9' black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell lnformatk>n and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 SELECTED OPERATIC PARAPHRASES OF FRANZ LISZT (1811-1886): COMPOSITIONAL STYLE AND PERFORMANCE PERSPECTIVES by Yoon Ju Lee Copyright © Yoon Ju Lee 2000 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2000 UMI Number; 9992103 Copyright 2000 by Lee. Yoon Ju All rights reserved. UMI ® UMI Microform 9992103 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor. Ml 48106-1346 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of Che Final Examination Committee, we certify that we have read the document prepared by Yoon Ju Lee entitled SELECTED OPERATIC PARAPHRASES OF FRANZ LISZT f 1811-1886'> : COMPOSITIONAL STYLE AND PERFORMANCE PERSPECTIVES and recommend that it be accepted as fulfilling the requirements for the Degree of DOCTOR OF MUSICAL ARTS Date Date / \OL^ U Date ' Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. - :2>^'Zro Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fiilfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University' Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special p>ermission. provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or part may be granted by the copyright holder. SIGNED 4 Acknowledgements I wish to offer my thanks to my committee Professor Nicholas Zumbro, Professor Paula Fan. and Professor Rex Woods for sup)ervising the progress of the document; for offering valuable suggestions: and for encouragement. 5 TABLE OF CONTENTS ABSTRACT 6 INTRODUCTION 7 CHAPTER I: FRANZ LISZT Background 9 Early Years 9 Contact with Parisian Society 11 Lisztomania. the Virtuoso Period 13 Weimar 14 Rome and the Last Years 15 Compositional Style 17 CHAPTER II: LISZT'S OPERATIC PARAPHRASES Classifications 21 The Relationship with the Original Operas 24 Reminiscences de Don Juan 24 Valse cie I'opera "Faust" de Charles Gounod. 32 CHAPTER III: IMPORTANCE OF OPERATIC PARAPHRASES IN THE HISTORY OF KEYBOARD MUSIC Innovations in Notation 39 Performance perspectives Piano Textures 43 Technical Difficulties 45 CONCLUSION 49 EDITIONS 52 REFERENCES 53 6 ABSTRACT This study investigates Liszt's compositional style, and considers performance perspectives in his operatic paraphrases. Reminiscences de Don Juan and Vaise de I '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 V'alse de I'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. 7 rNTRODUCTION Liszt departed in his solo recitals from the traditional practice of including other instrumental musicians on programs in 1839.' By this time, audiences had also started paying for the privilege of going to concerts. Patronage was beginning to be a thing of the past and artists won success by pleasing the taste of these new concertgoers. no loger the aristocracy, but members of an emerging middle-class. In these early days of Romanticism, even the greatest musicians catered to the tastes of their listeners. Liszt said that musicians were the servants of the public, whether they wanted to be or not." Ever-present in piano recitals until 1850 were operatic paraphrases and variations on themes from popular operas. Audiences loved to see famous pianists play on the same stage as if in competition. Sponsors of concerts simultaneously featured such "leading lights" as Liszt. Herz. Thalberg. and Moscheles. for listeners loved to watch them "incinerate" pianos in operatic fantasies, in which the great pianists would embellish popular operatic themes to suit themselves and their listeners. Liszt filled this heroic role perfectly and composed and performed many brilliant operatic paraphrases on his programs. Through piano transcriptions and arrangements of major works by himself and other composers. Liszt advocated the popularity of the piano and expanded its repertoire. The hundreds of transcriptions of symphonies, operatic selections, and other large ' Harold C. Schonberg. The Great Pianists. New York: Simon & Schuster, 1987. p. 129. " Ibid., p. 132. 8 instrumental and vocal works were, in themselves, an important contribution to the development of piano music. Moreover, by performing and publishing such works. Liszt made those compositions by others available to many people who were unable to attend live performances of the original works. In this way Liszt elevated the status of the transcription from mere audience pleasing pyrotechnics into works which had a more lasting impact. 9 CHAPTER I: FRANZ LISZT Background The life of Franz Liszt (1811-86) was filled with contradictions, as was the Romantic era in which he lived. He had the kind of personality that accepted and carried out responsibilities yet wanted freedom, that sought a priestly life yet wanted all the world had to offer." Early Years The father of Franz Lis2i. Adam Liszt (1776-1827) who played the cello in the Esterha2^- court orchestra, started teaching Franz the piano at the age of seven. Franz Liszt began to compose in an elementary way at the age of eight and may also have first played in public at Baden in the same year; he certainly appeared in concerts at Sopron and Poszony in October and November 1820. after which a group of local Hungarian magnates put up a sum of money to provide for his musical education."* In 1821 the Liszt family moved to Vienna, and Franz Liszt studied the piano with Carl Czemy (1791-1857) and composition with Antonio Salieri (1750-1825). Czemy. who had been Beethoven's pupil, was the most celebrated Viennese piano teacher of the ^ K Marie Stolba. The Development of Western Music. 2nd ed. Dubuque: Brown. 1990. p. 538. ^ Humphrey Searle. Liszt in New Grove Dictionary of Music and Musiciarjs. London: Macmillan: Washington. D.C.: Grove's Dictionaries of Music. 1980. p. 29. 10 age. Czemy taught Liszt for about a year from May 1822. and never charged him a fee. Salieri was a distinguished composer and former teacher of Beethoven. Czemy. Moscheles. and Schubert. Salieri also taught Liszt free of charge. At the age of 11. Liszt played his first public concert, in Vienna. In the autumn of 1823 Liszt moved with his family to Paris, giving concerts in Munich. Stuttgart and other German cities. However, in Paris he was refused admission to the Conservatoire by Cherubini. on the grounds that he was a foreigner; instead he studied theorv' uith Reicha and composition with Paer. By good fortune the family had rented rooms in an hotel across from the residence of the piano manufacturer Sebastien Erard and his family.
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