University of Cincinnati Date: 2/1/2011 I, Javier Clavere , hereby submit this original work as part of the requirements for the degree of Doctoral of Musical Arts in Piano. It is entitled: A Study Guide to Franz Liszt's Grandes etudes de Paganini S.141 Student's name: Javier Clavere This work and its defense approved by: Committee chair: Jonathan Kregor Committee member: Steven Cahn Committee member: Elizabeth Pridonoff 1300 Last Printed:1/27/2011 Document Of Defense Form A Study Guide to Franz Liszt’s Grandes études de Paganini S.141 A Document Submitted to the CCM Graduate Thesis and Research Committee In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music January 25, 2011 by Javier Clavere 1824 Pheasant Hills Dr. Loveland, Ohio. 45140 [email protected] B.A., Brigham Young University, 2002 M.M., University of Cincinnati, 2008 Advisor __________________________ Jonathan Kregor, Ph.D. _____________________ ______________________ Mrs. Elisabeth Pridonoff Steven Cahn, Ph.D. ABSTRACT This document explores the second version of the Paganini Etudes (1851), outlining some of the characteristics of the transcription process from violin to piano in terms of pianistic devices used by Liszt to translate the capriccio and concerto theme into the piano-etude form. This document aids students, teachers, and performers in the learning process of these etudes by addressing the cognitive process from the perspective of a performer learning the basic requirements needed to master the pieces. With a short background and overall formal structure, each piece is viewed from the perspective of its original conception in the violin. Some elements of the transcription process and stylistic analysis of Liszt’s use of melodic, harmonic, and rhythmic characteristics are outlined in order to aid the learning process. Each chapter includes a “practice suggestions and guide” section where elements of technical problems, hand subdivision, and parsing of the score for memorization are explored with suggestive exercises and preparatory learning guides. The document also explores the physical-technical aspects of practicing the etudes, specifically, helpful exercises and the finger regimen needed to physically prepare these etudes for performance. 1 2 ACKNOWLEDGEMENTS I want to thank my wife Lindsay and my two boys, Dante and Julian. They are the purpose and joy of my life. Their support, unconditional love, and confidence are my daily strength by which all my work is accomplished. I consider myself blessed to have Mrs. Elisabeth Pridonoff and Mr. Eugene Pridonoff, as both friends and mentors. Their nurturing support and deep thoughtfulness has helped me to focus my energies to complete my doctoral studies. It is through their dedication and love of life that I have been able to endure to the end. I am extremely grateful to Dr. Jonathan Kregor. His enduring patience, and enthusiasm for Franz Liszt, is a sign of true mentorship and guidance. I also owe a debt of gratitude to Dr. Steven Cahn, who throughout the years has provided me with support and mentorship that has enabled me to become a better scholar, a better musician, and a better person. I especially want to thank the faculty of the piano department for sharing their love of music and support throughout these years. Finally, I am ever grateful for the blessings from God in my life, for without His support and unwavering love none of this would have been possible. 3 TABLE OF CONTENTS Abstract …………………………… 1 Acknowledgement …………………………… 3 Table of Contents …………………………… 4 Table of Figures …………………………… 5 Chapter 1 – Introduction …………………………… 10 Chapter 2 – The Piano Etudes …………………………… 19 Chapter 3 – The Learning Process …………………………… 25 Chapter 4 – Outline of the Study Guide …………………………… 30 Chapter 5 – Etude Number One in G minor “Tremolo” …………… 33 Chapter 6 – Etude Number Two in Eb Major “Octaves” …………… 47 Chapter 7 – Etude Number Three in G# Minor “La Campanella” ……… 60 Chapter 8 – Etude Number Four in E Major “Arpeggios” …………… 74 Chapter 9 – Etude Number Five in E Major “La Chasse” …………… 80 Chapter 10 – Etude Number Six in A Minor “Theme and Variations” … 88 Conclusion …………………………………………………… 103 Bibliography …………………………………………………… 105 Appendix …………………………………………………… 108 4 TABLE OF FIGURES Figure 2.1 Capriccio for Violin Op. 1 No.1 ……………… 21 Figure 2.2 Etude No.4 in E Major ……………… 21 Figure 2.3 Etude No.4 in E Major (second version) ……………… 22 Figure 2.4 Etude No. 4 in E Major ……………………………… 22 Figure 3.1 String of Random Letters ……………………………… 27 Figure 3.2 String of Letters Organized in a Logical Pattern ……… 28 Figure 5.1 Capriccio Op. 1 no. 6 – Main Theme ……………… 34 Figure 5.2 Capriccio Op.1 no. 5, Prelude (A minor) ……………… 35 Figure 5.3 Capriccio Op.1 no. 5, Postlude (A Major) ……………… 35 Figure 5.4 Capriccio Op.1 no. 5, Prelude (G minor) ……………… 37 Figure 5.5 Capriccio Op.1 no. 5, Postlude (G major) ……………… 38 Figure 5.6 Capriccio Op.1 no. 6, Theme and Tremolo ……………… 39 Figure 5.7 Piano Etude – Prelude Section First Gesture ……………… 40 Figure 5.8 Piano Etude – Prelude Section Second Gesture ……… 40 Figure 5.9 Piano Etude – Prelude Section Third Gesture ……… 41 Figure 5.10 Piano Etude – Prelude Section Closing Gesture ……… 41 Figure 5.11 Practice Pattern ……………………………………… 41 Figure 5.12 Chromatic Scale Practice Pattern ……………………… 42 Figure 5.13 Section A – Left Hand or Both Hands, Tremolo Exercise 43 Figure 5.14 Section B – Tremolo Exercise ……………………… 44 Figure 5.15 Section B – Sequential patterns (measures 27 – 28) …… 45 5 Figure 5.16 Alfred Cortot – Rhythmic Pattern ……………………… 46 Figure 6.1 Introduction section (measures 1-4) ……………………… 47 Figure 6.2 Section A – Scales and Spiccato Chords ……………… 48 Figure 6.3 Section B – Octave Work ……………………………… 48 Figure 6.4 Closing of the Coda (segue) ……………………………… 49 Figure 6.5 Prelude First Sub-division ……………………………… 50 Figure 6.6 Cadenza First Gesture ……………………………… 50 Figure 6.7 Cadenza Second Gesture and Final Chord ……………… 50 Figure 6.8 Sub-section [a1] – Rapid Scale Work ……………… 51 Figure 6.9 Sub-section [a2] – Interlocking Chords ……………… 51 Figure 6.10 Sub-section [a3] – Interlocking Octaves ……………… 52 Figure 6.11 Section B – Octave Work ……………………………… 52 Figure 6.12 Hand Redistribution ……………………………… 53 Figure 6.13 Triplet Practice Pattern ……………………………… 55 Figure 6.14 Scale Pattern Hand Distribution …………………………… 55 Figure 6.15 Interlocking Patterns ……………………………… 56 Figure 6.16 Interlocking Patterns ……………………………… 57 Figure 6.17 Rhythmic Variations for Four-Note Groups ……………… 58 Figure 6.18 Arpeggio and Blocks ……………………………… 59 Figure 7.1 False Harmonics ……………………………… 60 Figure 7.2 Motif A – Section A ……………………………… 61 Figure 7.3 Motif B – Section A ……………………………… 62 Figure 7.4 Introduction ……………………………… 63 6 Figure 7.5 Theme A – Melodic Material ……………………………… 64 Figure 7.6 Theme B – Melodic Material ……………………………… 64 Figure 7.7 Theme A, Second Presentation of the Theme (2 variants) … 65 Figure 7.8 Theme B, Second Presentation of the Theme ……… 65 Figure 7.9 Theme A, Third Presentation of the Theme (2 variants) … 66 Figure 7.10 Theme B, Third Presentation of the Theme ……………… 66 Figure 7.11 Theme A, Fourth Presentation of the Theme (1 variant) … 67 Figure 7.12 Final Coda ……………………………………………… 68 Figure 7.13 Melody and Leaps ……………………………… 69 Figure 7.14 Cortot’s Suggestion ……………………………… 70 Figure 7.15 Right Hand Octave Arpeggiation ……………………… 71 Figure 7.16 Cortot’s Octave Exercise ……………………………… 71 Figure 7.17 Trills and Melody in the Same Hands ……………………… 72 Figure 7.18 Triplets and Four-Note Groups Rhythmic Variants …… 72 Figure 7.19 Coda Octave Work ………………………………………… 73 Figure 8.1 Capriccio Op.1 no. 1 ……………………………… 74 Figure 8.2 Section B ………………………………………… 75 Figure 8.3 Closing Section Ascending Double-Thirds …………… 75 Figure 8.4 Hand Distribution ………………………………………… 76 Figure 8.5 Re-distribution of Hand Crossing ……………………… 76 Figure 8.6 Crossover Hand ……………………………………… 77 Figure 8.7 Double Thirds Scales ……………………………………… 77 Figure 8.8 Ascending Thirds ……………………………………… 77 7 Figure 9.1 Capriccio no. 9 (Section A) ……………………………… 80 Figure 9.2 Section B (Triple-Stop Chords) ……………………… 81 Figure 9.3 Section C – Sub-section a ……………………………… 81 Figure 9.4 Section C – Sub-section b ……………………………… 82 Figure 9.5 Section A – First Double-Period ……………………… 83 Figure 9.6 Section A – Second Double-Period ……………………… 83 Figure 9.7 Section B – Double Octaves and Interlocking Inner Melody 83 Figure 9.8 Double Octave ……………………………………… 84 Figure 9.9 Hand Distribution ……………………………………… 84 Figure 9.10 Double Notes Exercise ……………………………… 85 Figure 9.11 Cortot’s Exercise for Evenness in the Left Hand Accompaniment 85 Figure 9.12a Inner Melody Alone ……………………………………… 86 Figure 9.12b Without the Inner Melody ……………………………… 86 Figure 9.13 Subdivision of the Hands for Trill Performance ……… 86 Figure 9.14 Last Section A – Left Hand Practice ……………………… 87 Figure 10.1 Capriccio no. 24 (Theme) ……………………………… 88 Figure 10.2 Variation I (Triplets and Triadic Arpeggiation) ……… 89 Figure 10.3 Variation II (Rapid Finger Work) ……………………… 89 Figure 10.4 Variation III (Double Octaves) ……………………… 90 Figure 10.5 Variation IV (Rapid Scale and Arpeggio Work) ……… 90 Figure 10.6 Variation V (Broken Octaves and Leaps) ……………… 90 Figure 10.7 Variation VI (Double Thirds, and Double Tenths) ……… 90 Figure 10.8 Variation VII (Triplets) ……………………………… 91 8 Figure 10.9 Variation VIII (Chords, Triple Stop Chords) ……………… 91 Figure 10.10 Variation IX (Arpeggios, Left Hand Pizzicatto) ……… 91 Figure 10.11