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Franz Liszt's Early Weimar Period Piano Waltzes

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Franz Liszt's Early Weimar Period Piano Waltzes Franz Liszt’s Early Weimar Period Piano Waltzes A document submitted to The Graduate School of the University of Cincinnati 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 2017 by Wei-Ting Yin B.A., National Taiwan Normal University, 2004 M.M., National Taiwan Normal University, 2006 Abstract The piano concert waltz genre had already been established by Carl Maria von Weber, who had expanded the traditional waltz by combining several sequential dances, adding an introduction and coda, and using the first waltz as a refrain to create a rondo-like form. Weber therefore elevated the waltz genre to a concert piece and influenced later composers like Chopin and Liszt. Liszt’s waltzes from the early 1850s are either based on the concert waltz type innovated by Weber or draw on previous compositions by Liszt and other composers. Franz Liszt published Soirées de Vienne, Valse-Impromptu, and Trois Caprices-Valses during the years 1850–53. Among these waltzes, Valse-Impromptu and Trois Caprices-Valses are based on previous versions composed from 1836–43. This document discusses Liszt’s compositional style in the waltzes from the early 1850s through an analysis of their formal structure, tonality, harmony, tempo changes, and virtuosic writing. It also includes the history of the piano waltz, the waltz style of Schubert, Weber, and Chopin, and the historical background of piano waltzes by Liszt from the early 1850s. In the end, my document will shed some light on the understanding of the stylistic diversity of Liszt’s piano waltzes from his early Weimar years. ii Copyright © 2017 by Wei-Ting Yin All rights reserved. iii Acknowledgements This document could not have been accomplished without the help of many people. First, I sincerely and gratefully thank my advisor, Dr. Jonathan Kregor, whose intelligent and erudite scholarship on Liszt has provided me with valuable suggestions and perspectives. I sincerely appreciate his guidance and encouragement during this process. I also want to thank Professor Michael Chertock and Dr. Michelle Conda for their comments and insights on my document. Special thanks to Dr. Adam Shoaff for his English help and thoughtful reminders while reading through my document. Special thanks to my piano professors, Eugene and Elisabeth Pridonoff. They encouraged and inspired me during my study in Cincinnati. I am grateful to have had this opportunity to study with them. To my family, the most heartfelt thanks to my parents, Jhen-Liang Yin and Guei-Chueh Jian. I could not continue my musical journey without their love and enormous support. My sisters, Wei-Tzu Yin and Shao-Yi Yin, helped take care of my beloved pets and encouraged me while I was pursuing my doctoral degree. I am deeply thankful to have their warm support. iv Copyright Permissions All musical examples have been taken from the following sources: Fryderyk Chopin, Waltzes published posthumously, copyright © 2007 by Warszawa: Fundacji Wydania Narodowego. Used by Permission. Franz Liszt, Freie Bearbeitungen Vol. 10, copyright © 2007 by 2002 Budapest: Editio Musica. Used by Permission. Franz Liszt, Tänze, Märsche und Scherzi Vol. 1, copyright © 1985 by Budapest: Editio Musica. Used by Permission. Franz Liszt, Freie Bearbeitungen Vol. 6, copyright © 2001 by Budapest: Editio Musica. Used with Permission. Franz Liszt, Valse-Impromptu: Petite valse favorite, copyright © 2015 by Budapest: Editio Musica. Used with Permission. Franz Liszt, Années de pèlerinage. deuxième année, Italie (Frühfassungen); und andere Werke, copyright © 2010 by Budapest: Editio Musica. Used with Permission. Franz Schubert, Walzer und Deutsche Tänze, copyright © 1973 by Wiener Urtext Edition. Used with Permission. Franz Schubert, Tänze für Pianoforte, Serie 12, copyright © 1965 by Breitkopf & Härtel Edition. Used with Permission. Carl Maria von Weber, Klavierstücke, copyright © 1962–64 by Peters Edition. Used with Permission. v TABLE OF CONTENTS Abstract……………………………………………………………………………………………ii Acknowledgements…………………………………………………………………………...…. iv Copyright Permissions…………………………………………………………………………….v Table of Contents…………………………………………………………………………………vi List of Musical Examples……………………………………………………………………….viii List of Tables…………………………………………………………………………………..xii Introduction A. Statement of Purpose…………………………………………………………………......1 B. Literature Review…………………………………………………………………………2 C. Methodology……………………………………………………………………………...7 Chapter One: The Piano Waltz before Liszt A. The Origin of Piano waltz…………………………………………………………………9 B. Franz Schubert…………………………………………………………………………...11 C. Carl Maria von Weber…………………………………………………………………...16 D. Frédéric Chopin………………………………………………………………………….19 Chapter Two: Soirées de Vienne and Liszt’s practices of arrangement A. Historical Background…………………………………………………………………...26 B. Liszt and Schubert: other arrangements from the 1830s………………………………...27 C. Examination of Soirées de Vienne………………………………………………………..29 Chapter Three: Trois Caprices-Valses, S 214 A. Historical Background…………………………………………………………………..47 vi B. Examination of Trois Caprices-Valses. S 214……………………………………..…..49 Chapter Four: Valse-Impromptu and Liszt’s revision processes A. Historical Background of Valse-Impromptu…………………………………………69 B. Examination of Valse-Impromptu …………………………………………………....70 C. Revision Process of Trois Caprices-Valses, Valse-Impromptu and Soirées de Vienne, no.6…………………………………………………………….........................................72 1. Grande Valse di Bravura (1836) and Valse de Bravoure (1852)……………………..73 2. Valse Mélancolique of 1840 and 1852 ………………………………………………..80 3. Valse a Capriccio (1842) and Valse de Concert (1852)………………………………85 4. Petite Valse Favorite and Valse-Impromptu……………………………………………92 5. Soirées de Vienne, no. 6……………………………………………………………….95 Epilogue……………………………………………………………………………………...98 Bibliography…………………………………………………………………………………...101 vii LIST OF MUSICAL EXAMPLES 1.1. Schubert, 38 Waltzes, Ländler and Ecossaises, D. 145, Op. 18, No. 6, mm. 17–32. 13 1.2. Schubert, 36 Originaltänze, D. 365, Op. 9, No. 2, mm. 9–16. 13 1.3. Schubert, Valses sentimentales, D. 779, Op. 50, No. 4, m. 4. 15 1.4. Schubert, Valses sentimentales, D. 779, Op. 60, No. 29, mm. 1–5. 15 1.5a. Weber, Aufforderung zum Tanz, Op. 65, mm. 1–8. 18 1.5b. Weber, Aufforderung zum Tanz, Op. 65, mm. 35–42. 18 1.5c. Weber, Aufforderung zum Tanz, Op. 65, mm. 16–17. 19 1.5d. Weber, Aufforderung zum Tanz, Op. 65, mm. 143–47. 19 1.6. Chopin, Op. 34, No. 1, mm. 157 and 159. 21 1.7. Chopin, posthumous E-minor waltz, mm. 9–11. 22 1.8. Chopin, Op. 64, No. 1, mm. 29–36. 22 1.9a. Chopin, Op. 34, No. 2, mm. 1–7. 23 1.9b. Chopin, Op. 42, mm. 9–13. 23 1.10. Chopin, Op. 34, No. 1, mm. 25–26. 24 2.1. Liszt, Soirées no. 4, mm. 134–37. 35 2.2a. Liszt, Soirée no. 2, mm. 1–8. 36 2.2b. Liszt, Soirée no. 2, mm. 24–33. 36 2.3a. Liszt, Soirée no.4, waltz A, mm. 17–21. 37 2.3b. Liszt, Soirée no.4, waltz A with different treatment, mm. 134–37. 37 2.4a. Schubert, 36 Originaltänze, D. 365, Op. 9, No. 2, mm. 1–4. 38 2.4b. Liszt, Soirée no. 4, 2nd theme, mm. 66–69. 38 2.5a. Schubert, 12 Valses nobles, D. 969, Op. 77, No. 2, mm. 1–4. 38 2.5b. Liszt, Soirée no.8, 3rd theme, mm. 89–92. 39 2.6. Liszt, Soirée no. 4, unstable tonality, mm. 1–16. 40 2.7. Liszt, Soirée no.6, harmonic progression, mm. 241–55. 40 2.8. Liszt, Soirée no.5, enharmonic changes, mm. 93–97. 41 2.9. Liszt, Soirée no.9, chromatic passage, m. 7. 41 2.10. Liszt, Soirée no.1, successive 10th chords, mm. 225–30. 42 2.11a. Schubert, 36 Originaltänze, D. 365, Op. 9, No. 14, mm. 1–4. 42 2.11b. Liszt, Soirée no.5, 1st theme, mm. 1–4. 43 viii 2.12a. Liszt, Soirée no.4, 2nd waltz, mm. 100–3. 43 2.12b. Schubert, 36 Originaltänze, D. 365, Op. 9, No. 33, mm. 1–4. 43 2.13. Liszt, Soirée no.9, left-hand melody, mm. 100–4. 44 2.14. Liszt, Soirée no.5, melody in the middle voice, mm. 73–76. 44 2.15. Liszt, Soirée no.8, chordal octaves, mm. 445–49. 45 2.16. Liszt, Soirée no.4, pendular motion, mm. 198–201. 46 2.17. Liszt, Soirée no.8, 2nd theme with left hand ascending octaves, mm. 57–61. 46 3.1. Liszt, Valse Mélancolique, elements from the 1st theme, mm. 123–30. 51 3.2. Liszt, Valse de Bravoure, unrelated notes, mm. 1–4. 52 3.3a. Liszt, Valse de Bravoure, enharmonic changes, mm. 21–24. 53 3.3b. Liszt, Valse de Bravoure, enharmonic changes, mm. 41–42. 53 3.4. Liszt, Valse de Concert, enharmonic changes, mm. 290–91. 54 3.5. Liszt, Valse Mélancolique, unstable harmony, mm. 177–86. 54 3.6. Liszt, Valse de Bravoure, chromaticism within melody, mm. 75–77. 55 3.7. Liszt, Valse de Bravoure, diminished chords as thematic material, mm. 19–21. 55 3.8. Liszt, Valse Mélancolique, diminished chords in the melody, mm. 123–26. 56 3.9. Liszt, Valse de Bravoure, agitated atmosphere using diminished chords, mm. 209–19. 56 3.10. Liszt, Valse de Bravoure, 2nd theme with three accompanying voices, mm. 23–25. 58 3.11. Liszt, Valse Mélancolique, left hand countermelody, mm. 41–44. 58 3.12a. Liszt, Valse de Bravoure, left-hand melody, mm. 198–201. 59 3.12b. Liszt, Valse de Bravoure, separated 3rd theme, mm. 378–86. 59 3.13. Liszt, Valse de Concert, coda, mm. 439–42. 60 3.14. Liszt, Valse Mélancolique, the return of the introduction, m. 168. 61 3.15. Liszt, Valse de Bravoure, contrasting character, mm. 378–86. 61 3.16a. Liszt, Valse de Concert, single melody, mm. 365–68. 62 3.16b. Liszt, Valse de Concert, melody in octaves, mm. 373–76. 62 3.17. Liszt, Valse de Concert, counter voice, mm. 400–3. 63 3.18. Liszt, Valse de Concert, shifting registers, mm. 338–41. 63 3.19. Liszt, Valse de Concert, wide register, m. 190. 64 3.20. Liszt, Valse de Concert, dramatic effect, mm. 288–93.
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