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A Study on Performing the Hungarian Rhapsodies in the Liszt Tradition

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A Study on Performing the Hungarian Rhapsodies in the Liszt Tradition Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2020 A study on performing the Hungarian Rhapsodies in the Liszt tradition Nicholas Mark Williams Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Performance Commons, and the Performance Studies Commons Recommended Citation Williams, N. M. (2020). A study on performing the Hungarian Rhapsodies in the Liszt tradition. https://ro.ecu.edu.au/theses/2360 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2360 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. A study on performing the Hungarian Rhapsodies in the Liszt Tradition This dissertation is presented for the degree of Master of Arts (Performing Arts) Nicholas Mark Williams Edith Cowan University Western Australian Academy of Performing Arts 2020 i Abstract 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,”i 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). i Humphrey Searle, The Music of Liszt 2nd rev. ed. (New York: Dover Publications, 1966), 42. ii Copyright Declaration I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher degree or diploma in any institution of higher education; ii. contain any material previously published or written by any person except where due reference is made in the text of this thesis iii. contain any defamatory material; or iv. contain any data that has not been collected in a manner consistent with ethics approval. Signed: ____ ______ Date: _12/10/2020____ iii Acknowledgements Thanks must be awarded to my research supervisors, Associate Professor Jonathan Paget and Associate Professor Stewart Smith for their assistance and guidance in over-seeing the completion of this dissertation. I am indebted to Matthew Testa of the Friedheim Archives at the Peabody Institute (Johns Hopkins University) for providing access to the numerous published articles of Friedheim that made this research possible. Gratitude also to Ton van de Laar at the OBA Oosterdok (Amsterdam) for kindly supplying scans of the edition of two Hungarian Rhapsodies edited by Richard Burmeister. Most importantly, I must acknowledge my family for their inexhaustible support over the course of my years of study. iv Contents Abstract .................................................................................................................................................... i Copyright Declaration ............................................................................................................................. ii Acknowledgements ................................................................................................................................ iii Contents ................................................................................................................................................. iv Index of Musical Examples ................................................................................................................... vi Index of Sound Excerpts ....................................................................................................................... vii Introduction ............................................................................................................................................. 1 I. The Hungarian Rhapsodies ...................................................................................................... 1 a. Preamble ......................................................................................................................... 1 b. Vox Populi ....................................................................................................................... 2 c. Vox Dei ............................................................................................................................ 5 d. Life and Death ................................................................................................................. 9 Part 1: Des Bohémiens et de leur musique en Hongrie ......................................................................... 18 I. Definitions .............................................................................................................................. 18 II. Background ............................................................................................................................. 21 a. Liszt’s Return to Hungary ............................................................................................. 21 III. Hungarian-Gypsy Music......................................................................................................... 25 a. History ........................................................................................................................... 26 b. Hungarian-Gypsy Music: Basis in Improvisation ......................................................... 29 c. Hungarian-Gypsy Music: Instruments .......................................................................... 32 d. Style: Scales, Harmony and Modulations ..................................................................... 34 e. Style: Rhythm and Ornamentation ................................................................................ 39 f. Style: Form and Structure ............................................................................................. 45 IV. Expression .............................................................................................................................. 47 a. Defining Liszt’s “Bohemian Sentiment” ...................................................................... 47 b. The Love of Nature and the Proud Primordial Egoism ................................................. 48 c. Joy and Suffering .......................................................................................................... 52 V. Composing the Hungarian Rhapsodies .................................................................................. 56 a. The Bohemian National-Epic ........................................................................................ 56 b. Rhapsodies Hongroises ................................................................................................. 59 Part 2: Performing in the Liszt Tradition .............................................................................................. 63 I. Studying Performance ............................................................................................................ 63 a. Performing Music in the Nineteenth Century ............................................................... 65 II. Liszt and Performance ............................................................................................................ 69 a. The Virtuoso and Virtuosity ......................................................................................... 69 v b. The Virtuoso and the Composer ................................................................................... 72 c. The Virtuoso: Automaton or Autonomous? .................................................................. 75 d. The Impalpable Flame .................................................................................................. 77 e. Virtuosity and Representation ....................................................................................... 81 III. The Liszt School: Theory and Practice ................................................................................... 83 a. The Pianist as Artist ...................................................................................................... 83 b. The Spirit and the Letter ..............................................................................................
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