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Eine Symphonie Zu Dantes Divina Commedia Deux Légendes
Liszt SYMPHONIC POEMS VOL. 5 Eine Symphonie zu Dantes Divina Commedia Deux Légendes BBC Philharmonic GIANANDREA NOSEDA CHAN 10524 Franz Liszt (1811–1886) Symphonic Poems, Volume 5 AKG Images, London Images, AKG Eine Symphonie zu Dantes Divina Commedia, S 109* 42:06 for large orchestra and women’s chorus Richard Wagner gewidmet I Inferno 20:03 1 Lento – Un poco più accelerando – Allegro frenetico. Quasi doppio movimento (Alla breve) – Più mosso – Presto molto – Lento – 6:31 2 Quasi andante, ma sempre un poco mosso – 5:18 3 Andante amoroso. Tempo rubato – Più ritenuto – 3:42 4 Tempo I. Allegro (Alla breve) – Più mosso – Più mosso – Più moderato (Alla breve) – Adagio 4:32 II Purgatorio 21:57 5 Andante con moto quasi allegretto. Tranquillo assai – Più lento – Un poco meno mosso – 6:22 6 Lamentoso – 5:11 Franz Liszt, steel plate engraving, 1858, by August Weger (1823 –1892) after a photograph 3 Liszt: Symphonic Poems, Volume 5 7 [L’istesso tempo] – Poco a poco più di moto – 3:42 8 Magnificat. L’istesso tempo – Poco a poco accelerando e Deux Légendes published by Editio Musica in Budapest in crescendo sin al Più mosso – Più mosso ma non troppo – TheDeux Légendes, ‘St François d’Assise: la 1984. ‘St François d’Assise’ is scored for strings, Un poco più lento – L’istesso tempo, ma quieto assai 6:40 prédication aux oiseaux’ (St Francis of Assisi: woodwind and harp only, while ‘St François de the Sermon to the Birds) and ‘St François de Paule’ adds four horns, four trombones and a Deux Légendes, S 354 19:10 Paule marchant sur les flots’ (St Francis of bass trombone. -
A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis. -
Liszt SYMPHONIC POEMS VOL
Liszt SYMPHONIC POEMS VOL. 4 Hungaria • Hamlet • Hunnenschlacht • Die Ideale BBC Philharmonic GIANANDREA NOSEDA CHAN 10490 AKG Images AKG Franz Liszt (1811–1886) Symphonic Poems, Volume 4 Hungaria, S 103 22:01 Symphonic Poem No. 9 1 Largo con duolo – Quasi andante marziale – Largo con duolo – Quasi andante marziale – Poco animando – 8:19 2 Agitato (un poco più mosso) – Allegro eroico (più tosto moderato) – Vivo – Allegro moderato – Vivo – Un poco animato – 3:41 3 Agitato molto – Più mosso (ma poco) – Stringendo – 2:50 4 Largo con duolo – Andante. Tempo di marcia funebre – 3:25 5 Allegro marziale – Von hier an bis zum Allegro trionfante das Tempo allmählich beschleunigen – 1:45 6 Allegro trionfante – Stretto – Presto giocoso assai 1:59 Franz Liszt, c. 1840, engraving by Carl Arnold Gonzenbach (1806–1885) after a drawing by Wilhelm von Kaulbach (1805–1874) 3 Die Ideale, S 106 28:45 Symphonic Poem No. 12 15 ‘So willst du treulos von mir scheiden’. Andante – 1:38 16 Aufschwung. ‘Es dehnte mit allmächt’gem Streben’. Hamlet, S 104 13:47 Allegro spiritoso (alla breve) – 5:47 Symphonic Poem No. 10 17 ‘Da lebte mir der Baum, die Rose’. Quieto e sostenuto assai – 2:55 7 Sehr langsam und düster – Etwas bewegter, aber immer langsam – 18 ‘Wie einst mit flehendem Verlangen’. [Quieto e sostenuto assai] – Fast dasselbe Tempo, aber allmählich beschleunigend – 3:32 Allmählich accelerando – Allegro molto mosso – 2:28 8 Allegro appassionato ed agitato assai – Dasselbe Tempo – 2:26 19 ‘Wie tanzte vor des Lebens Wagen’. [Allegro molto mosso] – 3:12 9 Allegro (wie früher) – Allegro molto agitato – Immer drängender – 3:28 20 Enttäuschung. -
Recomposing National Identity: Four Transcultural Readings of Liszt’S Marche Hongroise D’Après Schubert
City Research Online City, University of London Institutional Repository Citation: Loya, S. (2016). Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert. Journal of the American Musicological Society, 69(2), pp. 409-476. doi: 10.1525/jams.2016.69.2.409 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15059/ Link to published version: http://dx.doi.org/10.1525/jams.2016.69.2.409 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert SHAY LOYA A Curious Attachment Sometime in 1882, past his seventieth year, Liszt decided that an old piece of his deserved another revision. This resulted in the last of many arrange- ments of the Marche hongroise d’après Schubert, a work that originally took form as the second movement of the Mélodies hongroises d’après Schubert of 1838–39 (S. -
Interpreting Liszt's Piano Compositions Through Orchestral
Interpreting Liszt’s Piano Compositions Through Orchestral Colours by Megan Yen-Wei Chang A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Graduate Department of Faculty of Music University of Toronto © Copyright by Megan Yen-Wei Chang 2014 Abstract Interpreting Liszt’s Piano Compositions Through Orchestral Colours by Megan Yen-Wei Chang D.M.A. in Piano Performance (2014) University of Toronto, Faculty of Music The piano compositions of Franz Liszt are often viewed as a body of work that allows pianists to demonstrate their virtuosity at the keyboard. What is often neglected is that in addition to this element of virtuosity, his piano compositions also require one to listen in an orchestral way. This dissertation explores how Liszt utilized specific compositional techniques to create orchestral sonorities and colours, especially in the piano works of the Weimar period. The first chapter introduces Liszt as a pianist, a conductor and a composer. Chapter two reviews various treatises on orchestration written during and since Liszt’s time. This discussion considers the different timbres and playing techniques associated with each orchestral instrument. The third chapter focuses on Liszt’s transcriptions of his own work, Mazeppa, and Wagner’s Overture to Tannhäuser as well as Liszt’s concert paraphrase on Verdi’s Rigoletto. Through these short analyses, I indicate how Liszt translates the orchestral idioms onto the keyboard. Based on the observations from chapter three, the following two chapters take up two of Liszt’s piano works: Ballade No.2 in B minor and Rhapsodie Espagnole. Within these two detailed analyses, I provide possible technical and interpretive solutions on the keyboard through the imagination, understanding and hearing of orchestral colours. -
A Study of the Personality of Franz Liszt with Special
· ~ I (; A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL REFERENCE TO THE CONTRADICTIONS IN HIS NATURE Submitted for the Degree of MASTER OF MUSIC Rhodes University by BERYL EILEEN ENSOR-SMITH January 1984 (ii} CONTENTS Chapter I Background Page 1 CAREER CONFLICTS Chapter II Pianist/Composer Page 17 Chapter III Showman/Serious Musician Page 33 PERSONALITY CONFLICTS Chapter IV Ambiguity in Liszt's Relationships - Personal and Spiritual Page 77 Chapter V Finally- Resignation ... Dogged Perseverance . .. Hopeful Optimism Page 116 ----oooOooo---- (iii) ILLUSTRATIONS Liszt, the Child At the end of Chapter I Liszt, the Young Man At the end of Chapter II Liszt, the performer At the end of Chapter III Liszt, Strength or Arrogance? At the end of Chapter IV L'Abbe Liszt Liszt, Growing Older Liszt, the Old Man At the end of Chapter V Liszt, from the last photographs Liszt . .. The End ----oooOooo---- A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL r~FERENCE TO THE CONTRADICTIONS IN HIS NATURE Chapter I BACKGROUND "The man who appears unable to find peace there can be no doubt that we have here to deal with the extraordinary, multiply-moved mind as well as with a mind influencing others. His own life is to be found in his music." (Robert Schumann 19.4) Even the birth of Franz Liszt was one of duality - he was a child of the borderline between Austria and Hungary. His birthplace, even though near Vienna, was on the confines of the civilized world and not far removed from the dominions of the Turk. -
Matt Wheeler Instrumental Ensemble Literature December 19Th, 2011 Prof
Liszt and the Symphonic Poem Matt Wheeler Instrumental Ensemble Literature December 19th, 2011 Prof. Rudy Perrault 2 Dec. 19. 2011 Liszt and the Symphonic Poem Matt Wheeler While one of the most overlooked orchestral composers of the Romantic era, Franz Liszt‟s contributions to the development of the symphonic repertoire were significant. Known in his time primarily as a „rock star‟ pianist, a composer of technically challenging piano works, and a conductor, Liszt nonetheless managed to leave his mark on the orchestral world as well. His twelve Symphonic Poems, written in the span of ten years from 1848-1858, burst onto the scene, breaking the mold of the symphonic genre and opening new paths for a musical world that was still struggling to escape from Beethoven‟s looming shadow. For all of their ingenuity, the Symphonic Poems of Liszt are rarely performed. However, they occupy an important place in the symphonic history. Franz Liszt was born on October 22nd, 1811 in Hungary. From an early age, he was dubbed the “Hungarian Wonder-Child”1 by the audiences that wowed with his precocious technique and style of performance at the piano. He was the son of an accountant, who happened to be employed by Nicholas Esterhazy, the same patron of the deceased Haydn. This connection proved to be vital to Liszt‟s musical development, as Listz‟s father grew to be acquainted with Haydn, Hummel, who assumed the position of Kapellmeister upon Haydn‟s passing, and Beethoven2. Liszt‟s father had hoped to a be a musician in his younger days, so upon noticing the musical aptitude of his son, he soon saw a chance to live vicariously through Franz. -
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552131-32bk VBO Liszt 7/8/06 9:10 PM Page 8 CD1 1 Hungarian Rhapsody No. 2 . 10:47 2 Liebesträume, S541/R211 No.3: Nocturne in A flat major . 4:22 3 12 Etudes d’exécution transcendante, S139 5. Feux follets . 3:55 4 Années de Pèlerinage, Année 2, S161 Sonetto 104 del Petrarca . 6:18 5 Mephisto Waltz No.1, S514/R181 . 11:50 6 Piano Concerto No. 2 in A major, S125/R456 1. Adagio sostenuto assai . 7:56 7 Années de Pèlerinage, Année 1, S160/R10 Au bord d’une source, S160/R10/4 . 3:47 8 6 Consolations, S172/R12 III. Lento placido . 3:28 9 Les Préludes, S97/R414 . .. .. 16:55 Total Timing . 69:52 CD2 1 Prometheus, S99/R416 . 13:27 2 3 Concert Studies, S144/R5 III. Un Sospiro . 5:41 3 6 Etudes d’exécution transcendante, S140/R3a III. La campanella . 4:43 4 Piano Concerto No.1 in E flat major, S124/R455 IV. Allegro marziale animato . 4:21 5 Années de Pèlerinage, Année 3, S163/R10 Les jeux d’eau à la Villa d’Este, S163/R10/4 . 7:26 6 Harmonies Poétiques et Réligieuses, S173/R14 Funérailles . 10:15 7 Valses Oubliées, S215/R37 No.1 . 2:55 8 Rapsodie Espagnole, S254/R90 . 13:15 9 Die Forelle, S564/R248 . 3:59 0 2 Concert Studies, S145/R6 Gnomenreigen . 3:10 ! A Faust Symphony, S108/R425 Final Chorus . 7:32 Total Timing . 77:14 FOR FULL LIST OF LISZT RECORDINGS WITH ARTIST DETAILS AND FOR A GLOSSARY OF MUSICAL TERMS PLEASE GO TO WWW.NAXOS.COM 552131-32bk VBO Liszt 7/8/06 9:10 PM Page 2 FRANZ LISZT (1811–1886) Alles Vergangliche ist nur ein Gleichnis, All transitory things are but a likeness; das Unzulangliche, hier wird’s Ereignis, what is insufficient, here becomes a true event; HIS LIFE das Unbeschreibliche, hier wird es getan, what is unwritten, here is accomplished; Liszt was the son of a steward in the service of the Esterházy family, patrons of Haydn. -
Symphonic Poems Testen Gedicht Von Tasso: Canto L’Armi Pietose E ‘L Capi- Anfang Des Stückes Hingewiesen
557487bk EU&US 7/11/06 3:35 pm Page 8 dirigierte und das Werk dort auch aus der Taufe hob. Wie lie getönte Episode folgt, die von den Tönen der langsam in der ursprünglichen symphonischen Dichtung verwen- absteigenden, chromatischen Skala unterstrichen wird. det Liszt auch hier eine chromatisch absteigende, melan- Das Gondoliere-Lied, das Kernstück des Werkes, liefert cholische Skalenfigur und ein Lied, das er von venezia- einen großen Teil des nachfolgenden Materials. Dann ver- LISZT nischen Gondolieri gehört hatte – und er wiederholt die wandelt sich der Triumph in Trauer: Die Totenglocke ersten Zeilen aus Gerusalemme Liberata, dem berühm- schlägt, und zum Schluss wird noch einmal auf den Symphonic Poems testen Gedicht von Tasso: Canto l’armi pietose e ‘l Capi- Anfang des Stückes hingewiesen. tano / Che ‘l gran Sepolcro liberò di Cristo. Der Epilog beginnt in Trauerstimmung: Hörner und Fagotte werden von düsteren Celli und Bässen beantwortet; sie führen zu Keith Anderson Hungaria • Héroïde funèbre einem Triumph, worauf eine zart-lyrische, von Melacho- Deutsche Fassung: Cris Posslac Le Triomphe funèbre du Tasse New Zealand Symphony Orchestra Michael Halász 8.557847 8 557487bk EU&US 7/11/06 3:35 pm Page 2 Franz Liszt (1811-1886) die er zur neuerlichen Weihe des Domes von Esztergom zu breiten, mit ihrer goldnen Gloriole die Toten und die Hungaria • Héroïde funèbre • Le Triomphe funèbre du Tasse komponiert hatte. Skizzen zu der symphonischen Dich- Sterbenden zu umwinden, auf dass die Lebenden sie be- tung reichen bis 1848 zurück – in das Jahr des ungarischen neiden. Born at Raiding, in Hungary, in 1811, the son of Adam year earlier. -
Franz Liszt Studies in Central European Histories
Franz Liszt Studies in Central European Histories Edited by Roger Chickering (Georgetown University) David M. Luebke (University of Oregon) Editorial Board Steven Beller (Washington, D.C.) Marc R. Forster (Connecticut College) Atina Grossmann (Columbia University) Peter Hayes (Northwestern University) Susan Karant-Nunn (University of Arizona) Mary Lindemann (University of Miami) H.C. Erik Midelfort (University of Virginia) David Sabean (University of California, Los Angeles) Jonathan Sperber (University of Missouri) Jan de Vries (University of California, Berkeley) VOLUME 59 The titles published in this series are listed at brill.com/sceh Franz Liszt A Story of Central European Subjectivity By Erika Quinn LEIDEN | BOSTON Cover illustration: Josef Danhauser, Liszt at the Piano, 1840. Oil on Canvas. © Bildarchiv Preußischer Kulturbesitz, Berlin / Nationalgalerie, Staatliche Museen / Art Resource, NY. Quinn, Erika, author. Franz Liszt : a story of Central European subjectivity / by Erika Quinn. pages cm. — (Studies in Central European histories, ISSN 1547-1217 ; 59) Includes bibliographical references and index. ISBN 978-90-04-27921-6 (hardback : alk. paper) — ISBN 978-90-04-27922-3 (e-book) 1. Liszt, Franz, 1811–1886. 2. Composers—Hungary—Biography. 3. Music—Hungary—19th century—History and criticism. 4. Music—Germany—19th century—History and criticism. I. Title. ML410.L7Q56 2015 780.92—dc23 [B] 2014023817 This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see brill.com/brill-typeface. issn 1547-1217 isbn 978-90-04-27921-6 (hardback) isbn 978-90-04-27922-3 (e-book) Copyright 2014 by Koninklijke Brill nv, Leiden, The Netherlands. -
Franz (Ferenc) Liszt (1811-1886)
EAST-CENTRAL EUROPEAN & BALKAN CONCERTOS From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Franz (Ferenc) Liszt (1811-1886) Born in Doborjan, Hungary (today, Raiding, Austria). He played the piano as a child and then in Vienna studied with Carl Czerny and Antonio Salieri, who taught him counterpoint and score reading. Then he moved on to Paris where he was a student of Antoine Reicha for theory and Ferdinando Paer for composition. His career as a piano virtuoso, composer and teacher was launched and he became one of the dominant musicians of the 19th century. He composed in nearly every genre but is best known for works for the piano and orchestra. His orchestral mastery is best represented by his cycle of 13 Symphonic Poems. Piano Concerto No. 1 in E flat, S 124 (1832, rev. 1849, 1853, 1856) Alessandro Ambrosoli (piano)/Fabio Mastrangelo/The Saint Petersburg Northern Sinfonietta ( + Piano Concerto No. 2 and 1Transcendental Studies( DYNAMIC CDS7801 (2018) Géza Anda (piano)/Otto Ackermann/Philharmonia Orchestra (rec. 1955) ( + Hungarian Fantasy and Saint-Saëns: Carnival of the Animals) TESTAMENT SBT 1071 (1996) (original LP release: COLUMBIA CX 1366/ANGEL 35268) (1956) Martha Argerich (piano)/Claudio Abbado/London Symphony Orchestra ( + Chopin: Piano Concerto No. 1) DEUTSCHE GRAMMOPHON THE ORIGINALS 449719-2 (1999) (original LP release: DEUTSCHE GRAMMOPHON SLPM 139383) (1968) Martha Argerich (piano)/Christoph von Dohnányi/Berlin Radio Symphony Orchestra (rec. 1981) ( + Dvorák: Symphony No. 8) ZDF/TELDEC 66 22 486 01 (LP) (1985) Martha Argerich (piano)/Charles Dutoit/Montreal Symphony Orchestra (rec. 1998) ( + Concerto Pathétique for 2 Pianos and Ravel: Piano Concerto in G) EMI CLASSICS (Japan) TOCE14118 (2008) Martha Argerich (piano)/Ion Marin/Orchestra della Svizzera Italiana (included in collection: "Martha Argerich - Lugano Concertos") DEUTSCHE GRAMMOPHON 4779884 (4 CDs) (2012) Martha Argerich (piano)/Alexandre Rabinovitch/Sinfonia Varsovia (rec. -
Included in Main Catalogue) Drawer 6 Student/Cambridge Items 1938 Festival Newmarket Road, Cambs Monday Jan 3Rd 1938
Cabinet One Classmark or Additional Column1 Title/Description Date Column2 Information DRAWERS 1-5 Broadsides (included in main catalogue) Drawer 6 Student/Cambridge Items 1938 Festival Newmarket Road, Cambs Monday Jan 3rd 1938 Arts Theatre, Cambs, Monday Jan 10th 1938 Festival Newmarket Road, Cambs Monday Jan 10th 1938 St John's College Musical Society Organ Recital by Douglas E. Hopkins Sunday 27th Feb 1938 Five Quarters, All Saints Church, Jesus Lane, Cambs Sun 27th Feb 1938 International Student Service, "The Aims and Methods of University Trending", 26th-27th Feb 1938 CURUFC v London Scottish, University Football Ground, 26th Feb 1938 CU Swimming Club v otters, Leys School Baths, 26th Feb 1938 CUAC University Sports, Feb 26 & 28, March 1 & 3 1938 Let the people decide. CU Democratic Front, Liberal Club, Socialist Club 1938 CU Christian Science Organisation. "The Revelation of Spiritual Power" 1938 Anglo-German Kameradschaft- A Crawford Esq. 1938 League of Nations (University Branch) Dance 1938 Cambridgeshire Harriers. Harrier Hunt Ball 1938 Rugby- St John's vs. Jesus, Thurs Feb 24 1938 Be a Teledemocrat Wednesday at 1 o'clock 1938 The Granta, Feb 23rd 1938 CU Engineering & Aeronautical Society G. Ellson Esq. 1938 Association CUAFC Knock-Out Semi-Final 1938 Miss Alma Royalton Kisch. Housing Problems, Wed Feb 23rd 1938 People At Sea. Monday Feb 21. Cambridge Festival Club 1938 Athletic Sports- Inter-Collegiate Competition 1938 CUAFC Catford Wanderers Sat Feb 19th 1938 United Annual Ball. University Arms Hotel, Cambridge. 1938 CU Steeplechases will be held at Cottenham 1938 CU English Club- James Smith "The Prelude" 1938 Lacrosse.