1I IN H3A
0 IS 0 I1 O 2 VI A O WS OL INV V SZ
EIL UTAS
Conservatorittni of Music
Virtuosity in Piano Works of Franz Liszt
in the Weimar Period:
The Final Versions of Transcendental and Paganini Studies
by
Seon Jeong Kang
Submitted in partial fulfilment of the requirements for the Degree of
Master of Music (by coursework)
University of Tasmania (November, 2005) TABLE OF CONTENTS
I. INTRODUCTION 1
H. THE VIRTUOSITY AND THE PIANO IN THE NINETEENTH CENTURY
1. Virtuosity 3 2. Development of the Pianoforte 4 3. Piano technique 6
III. FRANZ LISZT 11
IV. LISZT'S PIANO MUSIC 16
1. Liszt's Musical Background 18 2. General musical features 3. Works of the Weimar Years 23 a. Transcendental Etudes b. Paganini Etudes 35
V. CONCLUSION 38
BIBLIOGRAPHY 40 I. INTRODUCTION
Regardless of many styles, ideas, and trends in the history of music, which have existed
so far, only some composers and performers have been known world-wide and will
continue to be recognized by future generations. Franz Liszt is one of them and one of
the representative musicians, both as a pianist and a composer, of the Romantic Era.
Liszt was a true romantic. Liszt's music resembles his romantic and dramatic life' and he
was the most distinguished virtuoso pianist in the Romantic Era, as a composer, he left
many virtuosic works, especially for piano solo. There is no doubt that hundreds of his
piano compositions were written so that he could give performances by himself. Liszt
was the incomparable virtuoso of his time and is still regarded as a legend. However, not
all his compositions exhibit technically amazing or stunning showmanship as some critics
would Claim about his music. His works for solo piano include lyrical pieces with his own particular style or in styles influenced by Chopin and other contemporaries. 2 He developed a rich harmonic vocabulary, which was called for in his religious works as well as in other works.
This thesis will examine Liszt's virtuosity focusing on selected compositions written during his Weimar period, which make him the greatest master of piano music in the
'John Gillespie, Five Centuries of Keyboard Music: An Historical Survey of Music for Harpsichord and Piano (Belmont: Wadsworth Publish Co., 1965), 237. 'John Ogdon, "The Romantic Tradition." in Keyboard Music, ed. Denis Matthews (New York: Praeger Publishers, 1972). Romantic Era, and, which remain even today, a controversial topic. It will begin with an examination of the piano itself and virtuosity in the nineteenth century, in order to provide a historical context for Liszt and his keyboard technique. It will then move on to discuss Liszt's musicality and the background to his compositions. Finally, this thesis will draw upon the information about Liszt's musical virtuosity and the historical development of new piano techniques through analysis of key pieces from Liszt's
Weimar period. These pieces are the third version of Transcendental Etudes No. 10
Allegro agitato molto as studies; the second version of La Campanella, Paganini Etudes
No. 2 as studies and transcriptions. These pieces will be analysed firstly, to show that
Liszt's virtuosity and command of technique were unique and secondly that he was successful in expressing the sound and texture of orchestral music through the medium of the piano, which was one of his chief ambitions. IL THE VIRTUOSITY AND THE PIANO IN THE NINETEENTH CENTURY
1. Virtuosity
First of all, it is important to know about the musical features, trends and virtuosity of the
nineteenth century. The aesthetic viewpoint of Romanticism placed emphasis on the
expression of the artists' own feelings and emotions. 3 Since the eighteenth century,
public performance has become more popular among musicians and they have placed
more value and effort on performance than on composition. The concert however, also
required uniqueness and virtuosity from musicians, as they sought to impress their
audiences and maintain their reputations. Therefore, much technically challenging and
virtuosic music was composed with the intention of conveying deep emotional expression
to audience. Famous items selected Irom opera and popular lieder were transcribed for
solo piano, some of these being simple and others beinL2, very elaborate and virtuosic.
Since highly advanced technical skills became an important element of playing,
musicians paid attention to piano teaching method and performance technique. A well- known collection of studies entitled Grades ad Parnasszun (1817-1820) by Clementi and many studies for the improvement of technique composed by Czerny and other contemporaries were the fruit of this period. 4 Also, many studies which were actually concert pieces were continuously introduced by Chopin and Liszt. In particular, the
3 Frank Eugene Kirby, A Short History of Keyboard Music (New York: The Free Press, 1966), 299. 4 299-301. virtuosity of Liszt was reported as "not an outgrowth, but an indispensable element of
music. " 5
2. Development of the Pianoforte
The pianoforte has been developed since Cristofori's first model was invented in 1709.
Particularly in the first half of nineteenth century, there were several developments in the
construction of the pianoforte, including Broadwood's iron wire, Babcock's metal-frame
piano (1825) and Pape's felt hammers (1826) and these inventions led to the development
of a range of new technical and expressive possibilities. Liszt, in particular, was inspired
by Erard's 'double-escapement mechanism', invented in 1821. The 'double-escapement
mechanism'
a note was repeated. °
This made it possible to have quicker and subtler note repetitions, and produced a more
rapid sound, thus facilitating the spread of virtuosity in the nineteenth century by
virtuosos such as Thalberg and Liszt. The possibilities for virtuosity opened up by the
'double-escapement mechanism' inspired Liszt to compose and perform his
Transcendental Etudes] These Etudes contain fast passages, impressively showy and
5 Owen Jander, "Virtuoso." in The New Grove Dictionary of Music and Musicians, Second Edition, ed. Stanley Sadie (London: Macmillan Publishers Inc., 2001), vol.26, 789. 6 Kim Yong Hwan, "The Development of Piano Manufacture Technique and the Influence," Music and Korea, Winter 2003, 365-392, available from
4
rapid lingering, and require the pianist to have a high standard of practical experience and
performance technique.
performance technique, and the perforthers needed more advanced techniques as new
piano mechanism appeared and as audience expectations increased.
1 Key 11 Hammer rest 2 Intermediate lever 12 Hammer rail 3 Repetition lever 13 'T' of the double-escapement 4 Hopper or escapement 14 Screw to regulate the double- 5 Hopper spur escapement 6 Escapement button 15 Screw to regulate the arc des- 7 Hammer butt cribed by the hammer 8 Hammer head 16 String 9 Check 17 Damper 10 Shank of hammer check 18 Pedal spring
s Ernest Closson. History of the Piano. Edited and revised by Robin Golding (London: Elek Books Ltd., 1974), 136.
1
a. Transcendental Etudes No. 4, "Mazeppa" (1851) mm. 82- 84
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3. Piano technique
Until Liszt's time, the pure finger action was normally required for keyboard technique.
clavichord and the harpsichord. In principle this technique aims to minimize movement
of the hands and to play the keyboard only with 'fingers and wrists. 9 A number of
composers such as Muzio Clementi (1752-1837), Johann Baptist Cramer (1771-1858),
Johann Nepomuk Hummel (1778-1857) Friedrich Kalkbrenner (1785-1849) and Carl
Czemy (1791-1857) contributed to establish this technique. i°
a. Muzio Clementi's Gradus ad Parnassinn: Ex. 68. (1817-1820) mm. 1 - 4
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9 Son, Jeon, Ee, Piano Playing and Teaching (Seoul: Eumag Chunchu Publishing Co., 1986), 65. 1() Gillespie, 248-256, ; Kirby, 301.
7 The evolution of the piano, which led to its greater strength, bigger sound and wider
dynamic range, allowed a richer variety of pianistic textures." Therefore, new
techniques were required. In the early nineteenth century, a number of great composers
such as Chopin, Schumann, Mendelssohn were born. The foundations of piano technique
were laid by these pioneers whose studies are still essential today. I2 Liszt did more to
develop piano technique than any of his predecessors or contemporaries, with the
possible exception of his teacher Carl Czerny." The contribution of Chopin is also
considered vital for the establishment of the new piano technique especially with the
extreme pianism to be found in his etudes. However, Liszt's contribution to the
development of piano technique is immense.
Liszt's compositions abound in the more obvious technical devices, such as octave
passml.es or scales in thirds. His devices are used to emphasize melodic line, to
accompany melody or simply to add bravura. F . 3> Chromatic progressions by octaves
and massive chords appear prominently along with trills, double trills. and all kinds of
ornamentation." Also. in order. to achieve an orchestral sound from the piano. Liszt expanded the range of dynamics and there was no restriction to the use of arms and even
body. Liszt opened up the modern piano technique through his unique technique, which
was to relax the shoulders, to place to the hands quite far from the keyboard and to allow
II Alan Walker, "Liszt, Franz." in The New Grove Dictionary of Music and Musicians, Second Edition, ed. Stanley Sadie (London: Macmillan Publishers Inc., 2001), vol.14, 765 12 Peter Cooper, Style in Piano Playing (London: John Calder Ltd., 1975), 126. Gillespie, 238. ; The studies by Czerny are still regarded as one of the important method to achieve keyboard technique. 14 Ibid. the arms to remain flexible. I) - It is a completely different technique from "the fetters of
the quiet hand, stiff linger school." I6
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4 2
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1 15 Park Young Soo, The Great Pianists and Their Technique (Jaesoon Publishing Co., 1995), 259. ' 6 Reginald R. Gerig, Famous Pianists and Their Technique (Washington: Robert B. Luce, Inc., 1974), 180. 1 c. Hungarian Rhapsody No. 2 (1847) mm. 82.- 84
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1
1 0 FRANZ LISZT
Franz Liszt was born in 1811 in Raiding; Hungary. Liszt's father Adam Liszt was a clerk
of Prince Esterhazy and an amateur cellist. Adam gave his son Franz the first piano
lessons. Franz gave his first public performance at the age of nine and this gifted young
child had financial support from Counts Amaden and Zapary for his further study. The
Liszt family moved to Vienna in 1821. Adam looked for the best teachers for his son and
eventually Franz studied piano with Czerny and composition with Salieri. By the
following year he had already mastered keyboard technique and had given his -firq-4
concert. He also had the chance to publish his first composition, as one of the fifty
variations on a theme of Diabelli commissioned by the composer, who was also the
publisher.
a. The original theme. mm . 1 - 16
Vivace
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16
The Liszt family moved to Paris in 18-23 and until 1827, before Adam's death, Franz travelled Europe as a concert pianist. During the tour he also composed some music such as variations or bravuras, which showed Off his brilliant technique. But the compositions in this period are hardly performed or even mentioned because most of them focus on finger movement reminiscent of Czerny exercises so that adolescent Liszt could show off his prodigious piano technique.
Liszt was not active as a performer or composer; instead, he taught pupils and
I 2 strengthened his mind by becoming absorbed in literature, such as the writings of Sainte-
1 Beuve, Hugo and Balzac. 1
1
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became acquainted with many musicians. writers and poets, including Hector Berlioz
(1803-1869). Frederic Chopin (1810-1849). Alkan (Charles Henri Valentin IVIorhan ,, e,.
1813-1888), Alphonse de Lamartine(1790-1869), Victor Hugo(1802-1885), Heinrich 1 Heine (1797-1856). The most important musicians who influenced Liszt were Nicol° 1 Paganini (1782-1840), Berlioz and Chopin. In particular, Paganini gave the young Liszt desire to be "Paganini of the piano" and Liszt became so. Even Liszt influenced the
course of musical history more than Paganini had done. Liszt's masterpieces, the
Transcendental Etudes and Paganini Etudes are strongly inspired by Paganini and his
virtuosity. Although the first version of the Transcendental Etudes were already
1 composed before Liszt heard of Paganini. Liszt revised them to very virtuosic. But they were nearly unplayable at that time. Many of the virtuosic passages which predominate in his works date from that period.
Liszt spent the years from 1839 to 1847 as an active concert pianist. Even though he was very busy to travel over the Europe to give performances, "the king of the piano" did not stop to compose and he made sketches of the works which were to be completed later and wrote many transcriptions, mainly fantasias based on opertic works. Unfortunately, most of them have been forgotten. I7 Because they were mostly to show off his brilliant.' pianism. Meanwhile, he became to be concerned about Hungarian music and gypsy music, his native country in this period, he left Ungarische Nalionahnelodien and though he did not complete in that time, but he began to Write Hungarian Rhapsodies.
However, in the be;__,!inninii, of the "Ganzzeit". Liszt brought sensational innovation in the performance-stage. Until his time, the music concerts were usually given by a number of performers, who play with music. But his magnetic personality and dynamic pianism established the precedent of the solo performer in a way that has not been emulated since.' 8 In 1840 at a London concert, Liszt appeared himself alone in the concert, without music. That was the first time to use this term "recital" by Liszt himself. He became an innovetor of stage manner as the first performer to play entirely from memory and to make solo repertoire in a concert.
17 Gillespie, 237-8. Cooper, 41.
14 Liszt gave his last recital in Elizabetgrad in 1847 at the zenith of his fame. He continued
to give performances after the official retirement but he did not accept payment for
them. ° He settled down in Weimar and worked as a musical director and a conductor.
He did not need to travel everywhere, so he could focus on producting music. Liszt left
many of master pieces in this period. In 1861, Liszt became Abbe Liszt. Since he took
miner orders, Ile merely worked as a musician. But after 1869 until his death in 1866, he
came back to the music career, and continued to teach and compose. The works in this
period are mostly religious and pre-Impressionism character pieces, which are simple and
the musical depth are preferred than virtuosity.
iv Kirby, 302.
IV. LISZT'S PIANO MUSIC 1
Liszt composed about four hundred pieces of piano solo music including original works
and arrangements. These works can be divided into three parts; first, technical and
1 demanding virtuosic works, second, lyrical and harmonic character pieces, and third,
arrangements such as paraphrases, operatic and instrumental transcriptions.
a. Mephisto Waltz No. I (1859-60) mm. 1 - 29
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The virtuosic music made Liszt the greatest virtuoso of the era. His character pieces
influenced the music of the next generations, and numerous transcriptions were also an
important part of his career. In order to examine Liszt's virtuosity, the Transcendental
17 Etudes as representative virtuosic works and the Paganini Eludes, some of his important
compositions, will be discussed in this exegesis.
1. Liszt's Musical Background
When the Liszt family arrived in Vienna in1821, Czerny was only thirty years old, but
already a well-known pianist, a pupil of Beethoven and a famous teacher. Adam Liszt
chose this musician as his son's teacher. Franz was a child prodigy but Czemy made him
a disciplined pianist. 2° Franz Liszt learned from Czerny only for eighteen months, but
Czerny's contribution to drill Liszt to master the piano technique was enormous. He
became an incomparable virtuoso in that period and left a great deal of technically.
demandinL; pieces for the piano. In particular his early works show Czemy's influence. •
Liszt moved to Paris in 1823, because Adam was concerned about his son's composition
study. 21 In Paris, Franz met important figures in his life and career - Paganini, Berlioz
and Chopin.
Paganini was the foremost virtuoso in the Romantic Era. Liszt heard Paganini for the
first time in 1831. Paganini's "technical wizardry on the violin" motivated Liszt to develop the piano technique. 22 In fact, respect for Paganini came from a number of musicians of that era: not only Liszt, but also Mendelssohn, Chopin, Schumann and so
20 Alan Walker, ed., "Liszt's Musical Background." In Franz Liszt: the Man and His Music (New York: Taplinger Publishing Company, 1970), 37. 21 Ibid., 40. Gerig, 172.
Is on. 23 Liszt was the most outstanding composer who succeeded in transferring Paganini's virtuosity into his piano music.
Berlioz's impressive orchestral works inspired Liszt to make arrangements. Particularly the success of Liszt's arrangement of Symphonic. Fanlastique by Berlioz (1833) led Liszt to compose piano arrangements from orchestral works.24 Liszt's music often had programmatic titles, especially in French, such as 111117jeS de Pelerinage, Harmonies poeliques el religieuses. This fact shows a strong strain of French literary Romanticism, with its ideal of the program music of Berlioz. 25
Liszt met Berlioz and Chopin in 1833. He formed a friendship. with Chopin, and his observation of Chopin's playing brought more Romanticism into his own playing. -
Chopin was .entirely the opposite to Liszt but the in IlLICI1CC Or C1101)111 on Liszt WaS huge: Chopin's elements of pianisism, such as his poeticism, lyricism, harmonic innovations and rubato technique, affected Liszt's music. 27 Liszt wrote a number of works inspired by Chopin - two Ballades. two Polonaises, a Berceuse in two different versions, a Mazurka Brillante, and a few shorter works such as his earlier Waltzes. 28
23 Harold Day, ed., Secret Life of Paganini: Journals and Jotting,s. etc. (Hobart: Hobart Press, 2002), v. 24 Carl F. Weizmann. A History of Pianoforte-plaving and Pianoforte-literature (New York: Da Capo Press, 1969), 183. Is Donald J. Grout and Claude V. Palisca. A History of Wetern Music. 6111 ed. (New York: W.W. Norton and Company, Inc., 2001), 582. 26 Sitwell, 24. 27 Grout, 582. Humphrey Searle. The Music of Franz Liszt. 2"d ed. (New York: Dover Publications, Inc., 1966), 56.
19 2. General musical features
As mentioned in the section above, Liszt was an eclectic artist. 29 He accepted the styles
and ideas of Paganini, Berlioz, Chopin and the idea of extra-musical element, French
literature. However, Liszt was born for for the piano and his aim was to introduce the
orchestra into the piano. Liszt said;
"My piano is to me what his boat is to the seaman, what his horse is to the Arab: nay even more, it has been till now my eyes, my speech, my life. ... I hold the piano very high. In my view it takes the first place in the hierarchy of instruments. . . . In the circumference of its seven octaves it embraces the whole circumference of an orchestra;
and a man's ten fingers are enough to render the harmonies which in an orchestra are .r ,e only brought out by the combination of hundreds of musicians.
By transferring orchestral idioms to the piano. Liszt freed the role of the pianoforte. For
example, tremolos and chromatic scales in the low register are to express
orchestrakstring) colourint4.
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29 Grout, loC.cit. 3`) Oscar Bie. A Hisiory °law Piano/brie and Pianglinle Players, Translated by Ernest E. Kellett and Edward W. Naylor. (New York: Da Capo Press, 1966), 281-2. 1
En classic piano music, piano music can be regarded as "dualistic" music, consisting of
roles played by the right and the left hands. But Liszt wanted an orchestral sound, so the
piano music required another element, that is the intermediate part between the song and
the bass parts. 31 The intermediate part appears across wide range in left-hand passage or
passages shared by both hands.
Allegro. (M. td. .1= 1.12-t16)
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Liszt had some physical advantage as a pianist; his hands were long and narrow; there
was a lack of webbing between the fingers, and he also possessed unusually long and
' I Camille Saint-Saens. "Liszt, the Pianist." Translated by Fred Rothwell. The Musical Times, Vol. 62, No. 943 (September I, 1921), 623. available from
intervals than an octave at once, and so on. And this physical advantage was a means of
presenting orchestral sound and virtuosity. Consequently, Liszt, as a pianist-composer,
wrote compositions which often have these passages, which make them hard for other
pianists to perform.
However, sometimes we find that Liszt's passage-work is easier to perform than
Chopin - s works or the works of other composers, even though it may sound more
difficult. That is because of the symmetry of Liszt's ornamentation. 32 Liszt was a well-
displined pianist, and he also had a certain sense of the "topography" of the piano. Liszt
understood the performance technique while the musical process is considered. Therefore
the passages that seem difficult, can be play with economic fingerings ; for instance, in a
cadenza-like passaue in his Ballade No.?. 1:x. 9> many passaL!,es can be played more
easily without many difficulties, once the pianist has become familiar with the fingering.
24 3 2 1. • 3 2 43 2 143 2 1
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Alan Walker. "Liszt and the Keyboard." The Musical Times, Vol. 118, No. 1615 (September 1977),,720. available from
1 1 Because Liszt composed such a vast amount of music, the quality of the compositions is
often uneven. 33 This has led to criticism that Liszt could not compose consistently to a
high standard. However, the same could be said of other composers with a very large
output of compositions. The problem was made worse for Liszt due to his alternative
career as concert pianist, which required him to travel extensively and did not allow him
as much time to compose as he might have wished. Therefore, Liszt's role as a concert
performer and pianist had a great impact on his compositional work- firstly, it allowed
him to write extremely difficult and technically demanding music which he could still
performed with relative ease; and secondly the consistency and quality of his output was
affected by the effort of touring Europe to perform piano concerts, as well as the reduced
amount of time he was able to use for.composing while on tour.
3. \Yorks of the \Velma'. Years
In middle age. 1848, the great pianist. retired from the public concert -stage and settled in
. Weimar as Court Kapellmeister. While he held this position, from 1 848 to 1861. Liszt
wrote most of the compositions that established his reputation as a major composer - not
only the chief piano works such as sonatas, revisions of earlier pieces and transcriptions,
but symphonic poems, songs and so on. Because he did not give as many as performance
in previous years, he came to compose more mature music rather than technically demanding music.
33 Gillespie, 239.
2 3 a. Transcendental Etudes
Liszt's studies are considered as the most important compositions among his whole repertoires. Because they portrait the ''picture of Liszt's pianistic personality in seed, in growth and finally in self-clarification." 34 Liszt also put these etudes on the head on his autograph catalogue. They are composed and revised from Liszt childhood to manhood,
1826 to 1863 and there are several sets of studies: Twelve Transcendental Eludes have three versions of 1826, 1838, and 1851, Six Paganini Etudes, which have 1838 and 1851 versions, Trois Etudes de Concert (1848), Ab lrato (1852), and Two Concert Studies
(1862-3).
The Transcendental Etudes exist in .three versions but the last version is the one that usually used for performance. Generally the degree of difficulty is increase in each version. Liszt's virtuosity - its extremes and varieties, the most difficult elements of his piano technique are contained in these eludes.: ) And each piece contains various technical exercises, not like general studies composed by other composers.
But, not all studies attached weight to "virtuosity - . there are romantic and lyrical pieces such as Paysage, Ricordanza, Harmonies cht soir.
Ferruccio Busoni. The Essence of Music and Other Papers. Translated by Rosamond Ley (London: The Rockliff Publishing Corporation, 1957), 154.
35 Kirby, 304.
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26 The first version of the Transcendental studies was Elude en 48 exereices clans boas les
tons ma/curs ci mineurs composed in 1826 ; when Liszt was fifteen years old. Liszt
intended to write pieces in every major and minor keys like Bach's Well-Tempered
Clavier but only twelve studies were written. 36 This harmonic order is retained in the
later versions, which consist of descending circle of fifth and each of their minors,
leaving the circle half finished. 37 Preludio C major 7 Untitled, Molto yivace A minor 3 Paysage F major 4 M a ze ppa D minor 5 Feux Follets 13 major 6 Vision 0 'Minor 7 Eroica E- flat major 8 Wild .1a(nd C minor 9 k i cordanza A-ilat major 10 Untitled..Allew-o Ligitato molto IT minor II Harmonies du soir D-flat major 12 Chasse-Neige B-flat minor Liszt wanted to create for the piano the same kind of diabolic, virtuosic effects that Pai;anini had done for the violin after he has been impressed by Paganini's concert ml 831. Several years later he revised his early etudes which were like lingering exercises in 1.838, and he also composed the first versions of Paganini. The 24 Grandes Etudes, the first version of the Transcendental Etudes consists of only twelve pieces, originally from the former version. But they were considerably revised, which were regarded as M' Searle, 14. 37 •Louis . Kentner. "Solo Piano Music (1827-61)." in Franz Liszt: the Man and His Music. Ed. Alan Walker (New York: Taplinger, 1970), 105. 27 unplayable music because of its difficulty and complexity. Berlioz wrote about this music, "Unfortunately one cannot hope to hear music of this kind often; Liszt created if for himself, and no one else in this wOrld could flatter himself that he could approach being able to perform it." 38 The 1830s to the 1840s were a period of great virtuosity for Liszt. There is no doubt that the 24 Grandes Eludes, though made up by twelve pieces, are more virtuosic and more technically demanding. However, it was so virtuosic and demanding that only Liszt himself was considered capable of performing it satisfactorily at the time. So Liszt realised the extreme technical difficult of these pieces, therefore he revised again, lastly in 1851, thus reducing their technical difficulty. However, it does not mean that the pieces are simply easier to play. According to Busoni's opinion, the improvements in this version are to he find in -*a greater ease and smooth plavahteness and corresponding amount of impressive effect and character." 39 Transcendental Etudes„Yo.10 F 11711101 is one of dramatic pieces. It is often compared with Chopin's F minor Study Op.25-, no.2 and Beethoven's Appassionata Sonata. Because musically and emotionally they have something in common. Searle, 15. 39 Busoni, 161. 25 a. Chopin's Etude Op. 10, No. 9 mm. 1 - 4 ALLEGAO VIOLTO AGITATO. ...... r.■ a Wi lMr•Nilt-■ AIN■laNIO■r MOM= .1/1111■ ■-■■• ..■ ft clear.rarrw■ ■Immr ....■ •■■••■■ me. ■Immr. m■r. A.m.. dEMS■ ..■=1■ J■l■ Aliall■ /MOM am, .mt■ ■Imaw mama AM= /maw ..maINV ■IMI ■ 1■1■1 . • • Proll. Prd 4 'r Prif P., 1. b. Liszt's Transcendental Etude No. 10 mm. 6 — 9 •• 101116 NIN zw■Imm..ar . 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Paganini Etudes Liszt made numerous arrangements for piano from his own and other composers' music such as works for other instruments, songs, orchestral and operatic works. Many of Liszt's transcriptions belong to his early days, because transcription is normally an exercise in virtuosity. 40 Because of the technical demands of many of his transcriptions, they can be criticized as being "short in musical value."' But Liszt wrote arrangements so that he could draw an orchestral effect from the piano, which widened its potential and range of expression.42 Liszt also introduced to audiences original works that were transformed by his virtuosity.' Liszt's piano transcriptions of orchestral works prove that he had an uncanny ability for ereatin2 orchestral Ulric at the keyboard. On the other hand. technical aspects outshine the musical substance in much of his music. However. Liszt composed transcriptions to display his phenomenal technique and he was very successful. 44 Liszt transcribed many instrumental works for piano solo: Beethoven's nine symphonies. the major works by Berlioz, overtures by Weber, the organ worksof Bach. He made keyboard arrangements of songs by Schubert, Rossini, Schumann and others as well. -Liszt's arrangements are no 4° Cooper, 165. 4 1 Searle, 16. Ibid. 41 Grout, 583. 44 Gillespie, 238. mere transcription; there are poetical re-settings, seen through the medium of the piano, also, Liszt's own genre of his virtuosity.45 Paganini Etudes outdo the wizardry of the original violin pieces, and today remain essential studies for the pianist. 46 These are piano transcriptions of Paganini's caprices for solos violin and with the finale of the B minor violin Concert. Even though there is a technical difference between performing violin and piano, but Liszt transferred successfully. The studies display the virtuoso in his element as well as his Transcendental Etudes. The first version of the Paganini Etudes (Etudes d'execution Ironscendante d'apres Paganini) composed in 1838 had a technical problem in performance; they are extremely difficult because the etudes were composed with the inspiration by the virtuoso Pai4anini. Therefore Liszt revised so that can be performed in 1851. Liszt dedicated the etudes to Clara Schumann. The third piece of Gram/es Etudes de Paganini (the 1851 version), La companella is a fascinatinu, study in shimmering bell effect. like the title. also in the width of the stretches and leaps, the persistent intricacy of the decorative passages.47 The repeated notes and chromatique scales by 'interlocking' techniques or even one hand and jumping octaves or chords are the elements of Liszt's virtuosity. The beginning was in light mood but it finishes with a joius carillon chiming. Bie, ?90. Cooper, 165. 47 Dale, 194. a. mm. 1 — 7 8. . 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RIM= TIM .. lip P 11111111.111E1 * a , > 57"i ■•■ ,...... ••-•0-....-..~-■-••-•w,...... 0.0.0- ..m...... 00•-■ • =i zg= . ,0.~-... ,....■ ww....-- ...... ew—..m.g...... , r.4...... ,.....• ...—...... 37 CONCLUSION Liszt's virtuosity and talent allowed him to push the boundaries of performance and piano playing. He was responsible for the creation of innovative piano techniques and came up with a unique new format for the piano concert, which focused on a solo performer and which still is the standard for concert performance today. 48 His virtuosity in music was sometimes criticised as a 'circus show' because of its extremely demanding technique. However, the impact of his music and the legacy of his compositions have meant that his compositions are still popular and are still being performed everywhere. Critics have said that Liszt's compositions and music were technically brilliant and innovative but lacking in depth and musicality. His compositions have been described as examples of "vulgarity, showmanship, charlatanry, and Liszt, as a mixture of priest and circus rider:49 However, when we examine pieces such as the Sonata in B Minor, Consolations, and the Dante Sonata; and when we consider the fact that Liszt single-handedly invented the idea of the symphonic poem, it is easy to recognise that Liszt was intellectual and had a profound and deep knowledge of literature and music. He chose to express the inner, more profound essence of his subject matter. 50 These characteristics mark Liszt out as being a serious composer. Because of Liszt, the piano was developed and refined as an instrument, as he advised piano-makers to alter their instruments to accommodate the " Gillespie, 238. 49 Walker, preface 13 and Sitwell, 2 in Franz Liszt: the Man and His Music. 50 www.d-vista.com/OTHER/franzliszt.html 38 demands of his own virtuosity. Liszt treated the piano as an orchestra, allowing it to produce a wide range of sound and expression through this instrument, revolutionising the way that musicians and the public perceived it - thus opening up new musical possibilities for the piano as an instrument. And his career, as a virtuoso, was not just for him to show off himself but to leave to pianists after him useful instructions, the footprints of attained advancement.51 As Liszt had desired, his work contributed to the future not only of pianists but also of other musicians and his music strongly influenced the twentieth century as well as the late nineteenth century. Bie, 282. 39 BIBLIOGRAPHY Ripin, Edwin M. et al. "Pianoforte." In The New Grove Dictionary of Music and Musicians, 2'' ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 19, 655 - 95. Ferguson, Howard. "Study." In The New Grove Dictionary of Music and Musicians, 2 nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 24, 622 - 3. Jander, Owen. "Virtuoso." In The New Grove Dictionary of Music and Musicians, 2nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 26, 789. Neill Edward. "Paganini, Nicole." In The New Grove Dictionary of Music and Musicians, 2nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 18, 887 - 893. Walker, Alan. "Liszt, Franz." In The New Grove Dictionary of Music and Musicians, 2nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 14, 755 - Apel, Willi. Master of the Keyboard: a brief survey of pianoforte music. Cambridge: Harvard University Press, 1947. Bernstein, Susan. Virtuosity of the Nineteenth Century: Perlin-ming Mak' and Language in Heine, Liszt and Baudelaire. Stanford: Stanford University Press, 1998. Bie, Oscar. A History of the Pianoforte and Pianoforte Players, Translated by Ernest F. Kellett and Edward W. Naylor. New York: Da Capo Press, 1966. Busoni, Ferruccio. The Essence of Music and Other Papers. Translated by Rosamond Ley. London: The Rockliff Publishing Corporation, 1957. Closson, Ernest. History of the Piano. Translated by Delano Ames, Edited and revised by Robin Golding. London: Elek Books Ltd., 1974. Cooper, Peter. Style in Piano Playing. London: John Calder Ltd., 1975. Dale, Kathleen. The Nineteenth-Century Piano Music: A Handbook for Pianists. London: Oxford University Press, 1954. Day, Harold. ed., Secret Life of Paganini: Journals and Jottings etc. Hobart: Hobart Press, 2002. 40 Fay, Amy. Music-study in Germany, From the Home Correspondence. New York: Dover Publications, Inc., 1965.. Gerig, Reginald R. Famous Pianists & Their Technique. Washington: Robert B. Luce, Inc., 1974. Gillespie, John. Five Centuries of Keyboard Music: An Historical Survey of Music for Harpsichord and Piano. New York: Dover Publications, Inc., 1965. Grey, Cecil. Contingencies and Other Essays. Freeport: Books for Libraries Press, 1971. th Grout, Donald J. and Claude V. Palisca. A History of Western Music. 6 ed. New York: W.W. Norton and Company, Inc., 2001. 582 - 584 Hanslick, Eduard. On the Musically Beautiful: A Contribution towards the Revision of the Aesthetic of Music. Translated by Geoffrey Payzant, Indianapolis: Hackett Publishing Company, 1986. Horowitz, Joseph. Arrau on Music and Performance. Mineola: Dover Publications, Inc., 1999. Kim, Yong Hwan. "The Development of Piano Manufacture Technique and the Influence," Music and Korea, Winter 2003, 365-392, available from Kirby, Frank E. A Short History of Keyboard Music. New York: The Free Press, 1966. Longyear, Rey M. Nineteenth-Century Romanticism in A/lusic. 2"d ed. Englewood Cliffs: Prentice-Hall, Inc., 1973. Moon, Jin Hee. "A Comparative Study on the Technique of Scale." (M.Mus. Pusan National University, 2002). Newman, Earnest. The Man Liszt: A Study of the Tragicomedy of a Soul Divided against Itself. New York: Taplinger Publishing Co. Inc., 1970. Ogdon, John. "The Romantic Tradition." In Keyboard Music, Edited by Denis Matthews, New York: Praeger Publishers, 1972. Park, Young Soo. The Great Pianists and Their Technique. Seoul: Jaesoon Publishing Co., 1995. Pincherle, Marc. The World of the Virtuoso. Translated by Lucile H. Brockway. New York: W. W. Norton and Company, Inc., 1963. Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press, 1995. 41 Saint-Saens, Camille. "Liszt, the Pianist." Translated by Fred Rothwell. The Musical Times, Vol. 62, No. 943 (September 1, 1921), 623. available from Searle, Humphrey. The Music of Franz Liszt. 2nd ed. New York: Dover Publications, Inc., 1966. Sitwell, Sacheverell. Liszt. New York: Dover Publications, Inc., 1967. Song, Jeong Ee, Piano Playing and Teaching. Seoul: Eumag Chunchu Publishing Co., 1986. Walker, Alan. "Liszt and the Keyboard." The Musical Times, Vol. 118, No. 1615 (September 1977), 717+719-21. available from Walker, Alna. ed. Franz Liszt: The Man and His Music. New York: Taplinger Publishing Company, 1970. Weitzmann, Carl F. A Histou of Pianoforte-playing and Piangforie-lnerainre. New York: Da Capo.Press, 1969. • 42