Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement

A document submitted to the

Division of Graduate Studies and Research of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Keyboard Studies Division of the College-Conservatory of Music

2011

Yoon Sun Song

B.M., Kyung Won University, 1999

M.M., North Carolina School of the Arts, 2003

Committee Chair: Jonathan Kregor, Ph.D.

ABSTRACT

This study explores the relationship between art song and its recomposition as a solo piano work by three nineteenth-century composers. While Franz Liszt is considered the most well-known arranger of art songs, other contemporaries excelled at the practice as well, such as

Sigismond Thalberg and Stephen Heller. Though they lived in close proximity to one another, their arranging style shows significant variety, with each displaying different interpretations of their source material.

Chapter 1 explains some of the most important differences between the techniques of paraphrase and transcription, with particular reference to works by Liszt. In Chapter 2, composers as arrangers in the nineteenth century are introduced with their biographical sketches and a survey of their arrangements. Analyzing song arrangements by three composers – Liszt,

Thalberg, and Heller – comprises the largest part of the document. In Chapter 3, each composer’s compositional/arranging style is noted in detail, drawing from secondary sources as well as from some of their representative pieces. In the following chapter I compare different approaches to the same songs by pairing two composers at a time. A selected bibliography follows.

In exploring the diverse styles of composers-arrangers of the nineteenth century, this document will also suggest that, in their hands, such works could become vehicles for homage to the source composer as well as vehicles for charting the direction of the music of the future.

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ACKNOWLEDGEMENTS

I would like to thank my advisor, Dr. Jonathan Kregor for his thoughtful criticism, time, and support on improving and eventually finishing this document. I am very grateful for his encouragement and patience through every stage of its completion.

I would like to express special gratitude to my piano teacher, Professor Awadagin Pratt. He has helped me to learn how to teach myself as a professional pianist. His effect on my musical life must be acknowledged. A special thanks goes to Professor Kenneth Griffiths for his invaluable knowledge and thoughtful consideration.

I would like to thank Deborah Mishoe, who has polished my English of this project, for her thoughtful caring and encouragement when I needed it the most.

I wish to acknowledge my family with deepest appreciation. In particular, my husband, Bin

Pyon, has shown me enormous support, and Johanna, my precious girl, became an inspiration of my music. I would like to thank my parents and sisters, without whom my educational pursuits would not have been possible.

Finally, my deepest gratitude goes to God, whose name I will glorify through my music and life.

TABLE OF CONTENTS

ABSTRACT ii

ACKNOWLEDGEMENTS iv

TABLE OF CONTENTS v

LIST OF TABLES AND MUSICAL EXAMPLES vi

INTRODUCTION 1

CHAPTER 1. Song Arrangement: Terminology 3

CHAPTER 2. Composers as Arrangers 8

CHAPTER 3. Analysis of Selected Song Arrangements by Liszt, Thalberg, and Heller 31

CHAPTER 4. Comparative Analysis 63

CONCLUSION 72

BIBLIOGRAPHY 73

LIST OF TABLES AND MUSICAL EXAMPLES

TABLES PAGE

1. Catalogue of Liszt’s Schubert Song Transcriptions 11

2. Catalogue of Liszt’s Beethoven Song Transcriptions 13

3. Catalogue of Liszt’s Schumann Song Transcriptions 14

4. Catalogue of Liszt’s Transcriptions of His Own Songs 14

5. Miscellaneous 15

6. Catalogue of Thalberg’s Song Arrangements 24

7. Catalogue of Heller’s Song Arrangements 29

EXAMPLES PAGE

1. Thalberg, Célèbre fantaisie pour le piano sur “Moïse,” Op. 33, mm. 297–99 19

2. Schubert, “Auf dem Wasser zu singen,” mm. 9–12 33

3. Liszt, “Auf dem Wasser zu singen,” mm. 7–12 33

4. Liszt, “Auf dem Wasser zu singen,” mm. 43–48 34

5. Liszt, “Auf dem Wasser zu singen,” mm. 61–66 35

6. Liszt, “Auf dem Wasser zu singen,” mm. 73–78 36

7. Liszt, “Auf dem Wasser zu singen,” mm. 91–99 37

8. Liszt, “Liebestraum, No. 3,” mm. 24–27 39

9. Liszt, “Liebestraum, No. 3,” mm. 26–28 39

10. Liszt, “Liebestraum, No.3,” mm. 59–60 40

11. Liszt, “Frühlingsnacht,” mm.1–2 42

12. Schumann, “Frühlingsnacht,” mm.1–2 42

13. Liszt, “Frühlingsnacht,” mm. 20–23 43

14. Liszt, “Frühlingsnacht,” mm. 32–33 44

15. Liszt, “Frühlingsnacht,” mm. 36–39 44

16. Liszt, “Frühlingsnacht,” mm. 41–42 44

17. Liszt, “Frühlingsnacht,” mm. 61–65 45

18. Schumann, “Widmung,” mm. 2–4 46

19. Liszt, Widmung,” mm. 4–7 48

20. Liszt, “Widmung,” mm. 51–52 48

21. Schubert, “Täuschung,” mm. 5–10 50

22. Thalberg, “Täuschung,” mm. 6–11 50

23. Thalberg, “Adelaide,” mm. 6–8 51

24-a. Beethoven, “Adelaide,” mm. 16–18 52

24-b. Thalberg, “Adelaide,” mm. 16–19 52

25. Thalberg, “Adelaide,” mm. 82–91 53

26. Heller, “Das Wandern,” mm. 5–8 54

27. Schubert, “Das Wandern,” mm. 1–10 54

28. Heller, “Das Wandern,” mm. 25–27 55

29-a. Schubert, “Das Wandern,” mm. 17–20 55

29-b. Heller, “Das Wandern,” mm. 59–61 56

30-a. Schubert, “Die junge Nonne,” mm. 21–24 57

30-b. Heller, “Die junge Nonne,” mm. 21–24 57

31. Heller, “Die junge Nonne,” m. 31 58

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32. Heller’s motives in “Wohin?” 59

33. Heller, “Wohin?” mm. 19–23 60

34. Heller, “Wohin?” mm. 32–35 60

35. Heller, “Wohin?” mm. 73–76 60

36. Heller, “Wohin?” mm. 145–148 61

37. Heller, “Wohin?” mm. 153–156 62

38. Liszt, “Adelaide,” mm. 33–35 64

39-a. Beethoven, “Adelaide,” m. 65 65

39-b. Liszt, “Adelaide,” mm. 70–73 65

40-a. Beethoven, “Adelaide,” mm. 41–46 66

40-b. Liszt, “Adelaide,” mm. 81–84 66

41-a. Thalberg, “Adelaide,” mm. 104–105 67

41-b. Liszt, “Adelaide,” mm. 158–159 67

42. Schubert, “Auf dem Wasser zu singen,” mm. 1–3 68

43. Liszt, “Auf dem Wasser zu singen,” mm. 9–12 69

44. Heller, “Auf dem Wasser zu singen,” mm. 9–10 69

45. Liszt, “Auf dem Wasser zu singen,” mm. 61–66 69

46. Heller, “Auf dem Wasser zu singen,” mm. 45–50 70

47. Heller, “Auf dem Wasser zu singen,” mm. 61–64 71

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INTRODUCTION

This study explores the relationship between art song and its recomposition as a solo piano work by three nineteenth-century composers. The characteristic of the Lied is often described as a marriage of text and music, whereby the latter enhances the former through a nuanced reading. The masters of Lieder, such as Schubert, Schumann, and Brahms, not only excelled in writing a melody for the voice, but also excelled in writing expressively for the piano.

The importance of the piano part in Lieder has much to do with a composer’s interest in its improved sonorities, which was due to the evolution of the piano-building industry. These innovations enabled composers, pianists, and arrangers to explore more on the instrument and to find new sounds and techniques. The piano could now produce symphonic sonorities and more effectively convey the nuances of vocal works.

It was during this time that nineteenth-century composers such as Liszt, Heller, and

Thalberg began arranging works for piano, such as symphonies, opera, chamber music, and

Lieder of past and contemporary composers. In a time of neither radio nor recordings, their arrangements reached those who never had the opportunity to go to concerts or operas or had the skill to perform these works in their original form. Despite the enormous output of these composers, their song arrangements have nevertheless been under-estimated and neglected by contemporary scholars–one reason pianists today have difficulty finding copies of Liszt’s arrangements.

This document will examine the compositional styles of the song arrangements of Franz

Liszt, Sigismond Thalberg, and Stephen Heller and how they recreated a solo piano work from a vocal art song. I will study the style of selected works by each composer respectively and will compare their different approaches to the same song.

In my document, I will consider the following questions: What is the relationship between music society and the rise of piano arrangements in the nineteenth century? What differences are evident between the afore-mentioned composers-arrangers? How is the poem rendered in the piano work? What techniques does each composer employ and how do they exemplify the text? Why is it valuable to consider song arrangements as a re-creation and not a mere secondary production of a genre? Therefore, my methodology will primarily be the study of a song, its poem, and the comparison of the original musical work with its arrangement.

As a reference, I will follow James M. George’s dissertation, “Franz Liszt’s Transcription of Schubert Songs for Solo Pianoforte: A Study of Transcribing and Keyboard Technique.”1

George’s classification of the Schubert-Liszt transcription will be used in my discussion of

Liszt’s selected works. While George limited the classification to the Schubert song transcriptions, I will extend his application to deal with composers like Schumann, Beethoven, and Liszt himself in order to examine how Liszt interpreted his models using the transcribing techniques listed in George’s dissertation.

Since there are few publications about the lives of Thalberg and Heller, this study cannot help but add to their annals. The aim of this document is to study the style of the song arrangements of selected composers; these arrangements should be regarded as a self-sufficient genre, not as a secondary production of the Lied.

1 James M. George, “Franz Liszt’s Transcription of Schubert Songs for Solo Pianoforte: A Study of Transcribing and Keyboard Technique” (Ph D. diss., University of Iowa, 1976)

CHAPTER 1

Song Arrangement: Terminology

A. Arrangement, Transcription, and Paraphrase

Terms such as arrangement, transcription, and paraphrase are associated with different methods of reproducing, resetting, or recomposing an original work. According to Malcolm

Boyd, “arrangement” is a hypernym that includes transcription and paraphrase, although

“arrangement” and “transcription” are used interchangeably:

The word “arrangement” might be applied to any piece of music based on or incorporating pre-existing material. … The word may be taken to mean either the transference of a composition from one medium to another or the elaboration (or simplification) of a piece, with or without a change of medium. In either case some degree of recomposition is usually involved, and the result may vary from a straightforward, almost literal, transcription to a paraphrase which is more the work of the arranger than of the original composer. It should be added, though, that the distinction implicit here between an arrangement and a transcription is by no means universally accepted.2

The entry of “arrangement” in The Oxford Dictionary of Music clarifies the difference between “arrangement” and “transcription”:

Adaptation of a piece of music for a medium other than that for which it was originally composed. Sometimes ‘Transcription’ means a rewriting for the same medium but in a style easier to play. (In the USA there appears to be a tendency to use ‘Arrangement’ for a free treatment of the material and ‘Transcription’ for a more faithful treatment.)3

While The New Grove describes “transcription” as a reworked composition of the original work with a change of performing medium,4 The Oxford Dictionary embraces

2 Malcolm Boyd, “Arrangement.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/01332 (accessed January 27, 2011).

3 “Arrangement.” In The Oxford Dictionary of Music, 2nd ed. rev. Edited by Michael Kennedy. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e561 (accessed January 27, 2011).

arrangements without a change of a medium as “transcription” if they are in a more elaborate style.5 The Oxford Companion to Music suggests a more detailed distinction between

“arrangement” and “transcription”:

A term often used interchangeably with arrangement. It is however possible to make a distinction between transcribing, as copying a composition while changing layout or notation (for example, from parts to full score), and arranging, as changing the medium (for example, from piano quartet to full orchestra, as in Schoenberg’s arrangement of Brahms’s op. 25).6

The distinction between “transcription” and “paraphrase” is easier to follow. The New

Grove expounds as follows:

In the 19th century the ‘Paraphrase de Concert’, sometimes called ‘Réminiscences’ or ‘Fantaisie’, was a virtuoso work based on well-known tunes, usually taken from popular operas. Liszt in particular wrote such paraphrases for piano, including ‘Grande paraphrase de la marche de Donizetti’ (1847) and Totentanz: Paraphrase über das Dies irae (1849).7

The entry in The Oxford Companion to Music offers a similar perspective:

In the 19th century the term [paraphrase] was applied to works based on existing melodies or pieces, often used as virtuoso showpieces. The supreme master of this type of recomposition was Liszt, who wrote numerous piano paraphrases of Italian operas, such as Rigoletto, and even of Wagner’s operas.8

Alan Walker considers the differences between “transcription” and “paraphrase” as follows:

4 Ter Ellingson, “Transcription (i).” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/28268 (accessed January 27, 2011).

5 “Transcription.” In The Oxford Dictionary of Music, 2nd ed. rev. Edited by Michael Kennedy. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e10386 (accessed January 27, 2011).

6 Arnold Whittall, “Arrangement.” In The Oxford Companion to Music. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e410 (accessed January 27, 2011).

7 Richard Sherr, “Paraphrase.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/20882 (accessed January 27, 2011).

8 “Paraphrase.” In The Oxford Companion to Music. Edited by Alison Latham. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e4979 (accessed January 27, 2011).

The difference between a transcription and a paraphrase is worth remarking. The paraphrase, as its name implies, is a free variation on the original. Its purpose is metamorphosis. It can concentrate exclusively on one theme, decking it out with ever more complex ornamentation; or it can embrace the entire act of an opera, mixing and mingling the material en route, giving us (so to speak) an aerial view of the composition. . . . The transcription, on the other hand, is quite different. It is strict, literal, objective. It seeks to unfold the original work as accurately as possible, down to the smallest detail. . . . Transcription is more difficult than paraphrase. In a paraphrase, the arranger is free to vary the original, to weave his own fantasy around it, to go where he wills. This is not so in a transcription. The transcription must be obedient, a true copy of the original; it binds the transcriber to it, making him its slave.9

According to the above references, “paraphrase” is largely an independent work, except that it borrows a melody or melodies from a preexisting work and was usually composed as a show-piece for the virtuosos who flourished in the nineteenth century, including Liszt, Thalberg,

Heller, and their pianistic competition.

To sum up, “arrangement” denotes any kind of transference of a musical work. It includes recomposition with a different performance medium from that of the original, and was commonly adopted among musicians to increase an instrument’s repertory. For example, before guitarists or violists had a sufficient amount of opuses of original material, they had to depend on arrangements transferred from other medium. Yet this term can also apply to recomposition of the work within the same medium.10 For example, Godowsky arranged Chopin’s piano etudes into more challenging technical works, and orchestral works are sometimes arranged for better instrumentation. (Rimsky-Korsakov is a notable example of this practice.) Arrangements are also used for piano reductions of orchestral scores such as the piano accompaniment of a concerto.

More practically, arrangements have served as an efficient practice for a novice to learn particular forms and technique, in effect becoming vehicles of homage to the source

9 Alan Walker, “Franz Liszt: The Weimar years, 1848–1861( New York: Cornell University, 1993), 158.

10 Malcolm Boyd, “Arrangement.”

composers.11 As a subset of “arrangement,” “transcription” indicates recomposition using a more literal approach. It is faithful to the original work even though it applies a certain degree of elaboration. On the other hand, “paraphrase” is generally considered a work in its own right as a virtuosic show piece.

B. The Use of these Terms in the Nineteenth Century

Liszt’s arrangements help to clarify these terms, since his usage tends to be based on the performance medium or the genre of the original work. The phrase “transcribed for” (or

“transcrit pour,” or “übertragen für”) was applied to his song arrangements while the terms

“paraphrase,” “reminiscence,” “fantasy,” and “illustration” were used for works that freely adapted operatic melodies or symphonies by other composers, such as the Réminiscences de

Lucia di Lammermoor, Paraphrase de concert sur Rigoletto, and Grande fantaisie sur la tyrolienne de l’opéra La fiancée de Auber. Liszt used the terms such as “Klavierauszug,”

“Klavierpartitur,” or “partition de piano” to designate his piano reductions of orchestral works, including Beethoven’s nine symphonies and Berlioz’s Symphonie fantastique.12

Liszt’s colleagues used similar vocabulary. Schubert’s songs such as Wohin? or Die Post exist in two different versions by Stephen Heller. He arranged the songs in the manner of literal transference (“transcription”) as well as free treatment (“caprice brillant”, “improvisata”) of the vocal melody, much like the paraphrases of Liszt. Sigismond Thalberg also classified his arrangements with various terms. His L’Art du Chant appliqué au Piano contains his arrangements of art songs and opera melodies in the subtitle of “transcription” (for example:

11 Ibid.

12 James M. George, “Franz Liszt’s Transcription of Schubert Songs for Solo Pianoforte: A Study of Transcribing and Keyboard Technique” (Ph D. diss., University of Iowa, 1976), 3.

Transcription of Beethoven’s Adelaide, Transcription of the quartet from Bellini’s I Puritani).

On other hand, the terms “fantasia,” “grand caprice,” and “grand fantasie” were applied to the works freely adopted for piano solo.

CHAPTER 2

Composers as Arrangers

A. Franz Liszt (1811– 1886)

Franz Liszt received his musical education from his father, Adam Liszt, who was an amateur singer, pianist, and cellist. An admirer of Mozart, Adam traveled with his son, tracing the route that Leopold Mozart traveled with his son Wolfgang.13 Franz enjoyed great success as a virtuoso in the many cities of Europe where he traveled, including Paris, Leipzig, Berlin,

London, Madrid, and Moscow. He astonished his first piano teacher, Carl Czerny, with his brilliant talent and technique. Not only praised as a virtuosic pianist, Liszt was also hailed as an intellectual. He wrote many articles and essays on the state of art in society and the music of his contemporaries, and he also edited Beethoven’s 32 piano sonatas and Chopin’s preludes, among others.

Thanks to the developments of the pianoforte between the years 1800 and 1860, Liszt was able to create an unrivaled piano technique that introduced a range of new technical and expressive possibilities. Especially during the 1830’s and 1840’s, Liszt achieved a reputation as a virtuosic pianist. The pianoforte’s greater strength, bigger sound, and wider dynamic range allowed a richer variety of pianistic textures. The instrument could even produce symphonic sonorities and effectively produce the nuances of vocal works. It is around this period that Liszt began arranging works for piano.

13 Alan Walker, “Liszt, Franz” In Grove Music Online. Edited by Laura Macy.[http://www.grovemusic.com.proxy.libraries.uc.edu] (accessed February 1, 2011).

1. Liszt’s Song Transcriptions

Between 1830 and 1860, Liszt transcribed symphonies, chamber music, and choral music by various composers. He had a special sympathy for song, transcribing over 140 songs by other composers and twenty-one of his own; these “other” composers include Beethoven, Chopin,

Mendelssohn, Schumann, Dessauer, and Schubert. His fifty-eight transcriptions of Schubert songs, dating from 1833 to 1846, are the most of any one composer. Important among these are the selections from Schwanengesang (S 560) and Winterreise (S 561), both arranged between

1838 and 1839.14 Liszt’s dedication to Schubert’s songs publicly began in the year 1838, when

Liszt arrived in Vienna to give charity concerts for flood victims in Hungary.15 However, even before coming to Vienna, he was so interested in Schubert’s music that he had already begun transcribing his songs, in addition to the symphonies of Beethoven. And, as a pianist, while continuing to perform Beethoven’s sonatas, he also accompanied singers, such as Adolphe

Nourrit, in Schubert songs.16

Although Liszt never met Schubert during his lifetime, several biographical aspects helped make him a “Schubertian” for life. His own theory and composition teacher, Antonio

Salieri, had taught Schubert ten years earlier, so Liszt was likely acquainted with Schubert’s remarkable musicianship through this link. Another connection was made in 1822, when Anton

Diabelli, the Viennese publisher, asked fifty-one composers living in Austria to write a variation on a waltz theme he had written. Liszt heard Schubert’s variation and was astonished by his beautiful transformation of the theme. Lastly, Liszt was influenced by Chrétien Urhan, a violinist

14 Ben Arnold, ed., The Liszt Companion (Westport: Greenwood Press, 2002), 133.

15 Walker, “Liszt and the Schubert Song Transcriptions,” 50.

16 Christopher H. Gibbs, “Just Two Words. Enormous Success: Liszt’s 1838 Vienna Concerts,” in Franz Liszt and His World, ed. Christopher H. Gibbs and Dana Gooley (Princeton: Princeton University Press, 2006), 179.

and composer in Paris whose arrangements of Schubert’s songs for string quartet and piano fascinated him. Thereafter, Liszt tirelessly promoted Schubert’s name, which was little known outside of Vienna.

In addition to Schubert, Liszt also took great pains to make literal transcriptions of Lieder by other composers. While most of his Schumann song transcriptions were composed after 1861,

Zwei Lieder (An den Sonnenschein, Rotes Röslein; S 567) and Liebeslied (Widmung; S 566) were composed in 1861 and sometime between 1846 and the 1860s, respectively. An den

Sonnenschein is based on the fourth song of Sechs Gedichte, op. 36, and Rotes Röslein is an arrangement of Dem roten Röslein gleicht mein Lieb, No. 2 of Lieder und Gesänge, Vol. I, op.

27. Later in life, Liszt also wrote a set of transcriptions which consists of selected songs by

Robert and Clara Schumann. The first five arrangements are from Robert Schumann’s op. 79 and the next two, from op. 98a; nos. 8–10 are taken from various sets of Clara Schumann’s Lieder.

Liszt also transcribed nineteen Beethoven songs, including An die ferne Geliebte (S 469, 1849) and Adelaide (S 466, 1839–1840), as well as songs by himself and other composers he admired.

Among twenty-one transcriptions of his own Lieder, the Liebesträume (S 541) and Petrarch

Sonnets are the most well-known. Most of his early songs from 1839–1845, which include Heine and Hugo settings, exist in solo piano arrangements that appeared in two volumes of Buch der

Lieder für Klavier allein at the end of the 1840s.

Even though Liszt was not the first composer to transcribe songs for the piano, he is set apart from other transcribers because of his respect for the original works. Ever mindful of the original during the transcription process, he even wanted the text to be placed appropriately throughout the score, not at the beginning of each work, which was the typical practice of the

day.17 This fact alone demonstrates Liszt’s dedication to the text. In an effort to further uphold the integrity of the original work, Liszt strove to condense a song’s vocal line and distinctive accompaniment without distorting its musical and poetic sense.18 Many of the nineteenth-century pianistic features he showcased in his fantasies were in fact developed through his experiements in transcription.

The musical and literary fuse in many of Liszt’s song transcriptions. The following tables illustrate his extensive output in this regard:

Table 1: Catalogue of Liszt’s Schubert Song Transcriptions

R S Composed Title Poet Published

241 556 1833 Die Rose (D.745) Friedrich von Leipzig: Hoffmeister, Schlegel 1835; Vienna: Haslinger, 1838 242 557 1838 Lob der Thränen (D. 711) August Wilhelm von Schlegel 243 558 1837–8 Lieder von Franz Schubert Vienna: Diabelli, 1838; Paris: Richault, 1838 1. Sei mir gegrüßt (D. 741) Friedrich Rückert 2. Auf dem Wasser zu Friedrich von Singen (D. 774) Stolberg 3. Du bist die Ruh (D. 776) Rückert 4. Erlkönig (D. 328) JohannWolfgang von Goethe 5. Meeresstille (D. 216) Goethe 6. Die junge Nonne J. N. Craigher de (D. 828) Jachelutta 7. Frühlingsglaube (D. 686) Johann Ludwig Uhland 8. Gretchen am Spinnrade Goethe (D. 118) 9. Ständchen von Translated Shakespeare (from English (Horch, horch!die Lerch!) to German) by (D. 889) August Wilhelm von Schlegel

17 Rena Charnin Mueller, “Liszt’s Schubert Lieder Transcriptions,” preface to The Schubert Song Transcriptions for Solo Piano (New York: Dover, 1995), ix.

18 Walker, “Liszt and the Schubert Song Transcriptions,” 54.

10. Rastlose Lieder (D.138) Goethe 11. Der Wanderer (D.493) G. P. Schmidt von Lübeck 12. Ave Maria (D. 839) Translated (from English to German) by Adam Storck 244 559 1838 Der Gondelfahrer (D. 808) Johann Mayrhofer Vienna:Spina, 1838 245 560 1838–9 Schwanengesang (D. 957) Heinrich Heine Vienna: Haslinger, 1840 1. Die Stadt

2. Das Fischermädchen 3. Aufenthalt Vienna: Haslinger,1838 4. Am See 5. Abschied R S Composed Title Poet Published 6. In der Ferne 7. Ständchen Vienna: Haslinger, 1838 8. Ihr Bild 9. Frülingssehnsucht 10. Liebesbotschaft 11. Der Atlas 12. Der Doppelgänger 13. Die Taubenpost 14. Kriegers Ahnung 246 561 1838–9 Winterreise (D. 911) Wilhelm Müller Paris:Richault, 1840 1. Gute Nacht 2. Die Nebensonne 3. Muth 4. Die Post 5. Erstarrung 6. Wasserfluth 7. Der Lindenbaum 8. Der Leyermann 9. Täuschung 10. Das Wirthshaus 11. Der stürmische Morgen 12. Im Dorfe 247 562 1840 Geistliche Lieder Leipzig: Schuberth,1841 1. Litaney (D. 343) Johann Georg Jacobi 2. Himmelsfunken (D. 651) Johann Peter Silbert 3. Die Gestirne (D. 444) Friedrich Gottlieb Klopstock 4. Hymne (D. 797) Helmina von Chezy

Sechs Melodien von Paris: Richault, 1844 Franz Schubert 1. Lebewohl (D. 578) K.F.G. Wetzel 2. Des Mädchens Klage Friedrich von (D. 191) Schiller 3. Das Zügenglöcklein Johann Gabriel Seidl (D. 871) 4. Trockne Blumen Müller (D. 795/18) 5. Ungelduld (D. 797/7) Wilhelm Müller 6. Die Forelle (D. 550) Christian F. D. Schubart 248 564 1846 Die Forelle (2nd version) Vienna: Diabelli, 1846 249 565 1846 Müllerlieder (D.795) Müller Vienna: Spinna, 1846 1. Das Wandern 2. Der Müller und der Bach 3. Der Jäger 4. Die böse Farbe 5. Wohin? 6. Ungeduld (2nd version)

Table 2: Catalogue of Liszt’s Beethoven Song Transcriptions

R S Composed Title Poet Published 121 466 1839–40 Adelaide Friedrich von Leipzig: B&H, 1840 Matthisson 122 467 1840 Sechs Geisteliche Lieder Christian Fürchtegott Hamburg: Schuberth, 1. Gottes Macht und Gellert 1840 Vorsehung 2. Bitten 3. Busslied 4. Vom Tode 5. Die Liebe des Nächsten 6. Die Ehre Gottes aus der Natur 123 468 1849 Lieder von Göthe Goethe Leipzig: B&H, 1849 1. Mignon 2. Mit einem gemalten Bande 3. Freudvoll und leidvoll 4. Es war einmal ein König 5. Wonne der Wehmut 6. Die Trommel geruhret 124 469 1849 An die ferne geliebte Aloys Jeitteles Leipzig: B&H, 1850

Table 3: Catalogue of Liszt’s Schumann Song Transcriptions

R S Composed Title Poet Published 253 566 1846–60s Liebeslied (Widmung) Rückert Leipzig:Kistner, 1848

255 567 1861 Zwei Lieder von R. Leipzig: Schuberth, 1861 Schumann Robert Reinick 1. An den Sonnenschein Wilhelm Gerhard 2. Rotes Röslein 256 568 1872 Frühlingsnacht Joseph von Dresden: Heinze (Peters), Eichendorff 1872 257 569 1874 Lieder von Robert & Clara Leipzig: B&H, 1875 Schumann 1. Weihnachtslied Andersen 2. Die wandelnde Glocke Goethe 3. Frühlings Ankunft Fallersleben 4. Des Sennen Abschied F. von Schiller 5. Er ist’s Eduard Mörike 6 Nur wer die Sehnsucht Goethe kennt 7. An die Türen will ich Goethe schleichen 8. Warum willst du andere Rückert fragen 9. Ich hab’ in deinem Auge Rückert 10. Geheimes Flüstern Hermann Rollett 254 570 1881 Provenzalisches Minnelied Richard Pohl Berlin: Fürstner, 1881

Table 4: Catalogue of Liszt’s Transcriptions of His Own Songs

R S Composed Title Poet Published 106 158 1843–6 Tre sonetti del Petrarca Petrarch Vienna: Haslinger, 1846 1 Benedetto sia’l giorno 2 Pace non trovo 3 I’ vidi in terra angelici costumi 209 531 1843 Buch der Lieder für Piano Berlin: Schlesinger, 1844 allein, I 1. Die Loreley Heine 2. Am Rhein Heine 3. Mignon’s Lied Goethe 4. Es war ein König in Goethe Thule 5. Der du von dem Himmel Goethe bist

6 Angiolin dal biondo crin Boccella 1847 Buch der Lieder für Piano Victor Hugo allein, II 210 536 1. Oh, quand je dors 204 535 2. Comment, disaient-ils 205 537 3. Enfant, si j’étais roi 206 538 4. S’il est un charmant gazon 207 539 5. La tombe et la rose 208 540 6. Gastibelza 211 541 1843–50 Liebesträume, 3 notturnos Leipzig: Kistner, 1850 1. Hohe Liebe (In Uhland Liebesarmen) 2. Seliger Tod (Gestorben Uhland war ich) 3. (O lieb, o lieb, so lang Ferdinand Freiligrath du lieben kannst) 211a 542 1857–60 Ich liebe dich19 Rückert

Table 5: Miscellaneous

R S Composed Title Poet Published 100 234 1840 Hussitenlied [J.T. Krov] Prague: Hoffmann, 1840 101 249 1847 Glanes de Woronince20 Leipzig: Kistner, 1849 1. Ballade d’Ukraine (Dumka) 2. Mélodies polonaises 3. Complaintes (Dumka) 225 416 1841 Le moine [Meyerbeer] Émilien Pacini Berlin: Schlesinger, 1842 144 479 1874 Dantes Sonett ‘Tanto Leipzig: Schlesinger, gentile e tanto onesta’ [H. 1875 von Bülow] 145 480 1857–60 Six chants polonais Leipzig: Schlesinger, [Chopin, from op.74] 1860 1. Mädchens Wunsch Stefan Witwicki 2. Frühling Witwicki 3. Das Ringlein Witwicki 4. Bacchanal Witwicki

19 Based on his own song, S315.

20 Dedicated to Princess Marie Sayn-Wittgenstein and based on the Polish melody “Oj, nye hogy Grigu” (no. 1), on Chopin’s Mädchen’s Wunsch, op. 74, no. 1 (no. 2), and on the Ukrainian folksong, “Vijuty vitri, vijuty bujni” (no. 3).

5. Meine Freuden Adam Mickiewicz 6. Die Heimkehr Witwicki 150 485 1846–7 Drei Lieder [Dessauer] Berlin: Schlesinger, 1847 161 487 1844 Spanisches Ständchen [Grafen Leo Festetics] 162 488 1848 Er ist gekommen in Sturm Rückert Leipzig: Kistner, 1849 und Regen [R. Franz]

163 489 1848 Lieder von Robert Franz Leipzig: B&H, 1849 2. Drüben geht die Sonne scheiden 3. Trübe wird’s 4. Sonnenuntergang 5. Auf dem Teich ii: 3 Lieder Josef Karl Benedikt von 6. Der Schalk, op.3/1 Eichendorff 7. Der Bote, op.8/1 8. Meeresstille, op.8/2 iii: 4 Lieder

9. Treibt der Sommer, Wilhelm Osterwald op.8/5 10. Gewitternacht, op.8/6 Wilhelm Osterwald 11. Das ist ein Brausen und Heine Heulen, op.8/4 12. Frühling und Liebe, August Heinrich op.3/3 Hoffmann von Fallersleben Zwei Lieder [E. Lassen] 173 494 1861 1. Löse Himmel meine Peter Cornelius Dresden: Heinze Seele (Peters), 1865 174 495 1872 2. Ich weil in tiefer Cornelius Leipzig: Heinze Einsamkeit (Peters), 1872 177 498 1882 Drei Lieder aus J. Wolffs Julius Wolff Berlin: Barth (A. Tannhäuser [Lessmann] Junne), 1883 1. Der Lenz ist gekommen (Frühlingslied) 2. Trinklied 3. Du Schaust mich an (Liebeslied) 217 547 1840;rev.187 Lieder [Mendelssohn, based Leipzig: B&H, 1840 4–5 on 7 songs from opp.19a, 34, 47] 1. Auf Flügeln des Heine Gesanges 2. Sonntagslied Karl Klingemann 3. Frühlingslied Lenau

4. Neue Liebe Heine 5. Reiselied Heine 6.Winterlied Volkslieder 7. Suleika Göthe 239 554 1881 O! wenn es doch immer so Leipzig: Kistner, 1881 bliebe [A. Rubinstein]

B. Sigismond Thalberg (1812–1871)

1. The Rivalry between Liszt and Thalberg

In the 1830s, a virtuoso rivalry captivated Paris. Liszt was the one who initiated the rivalry through his review of Sigismond Thalberg’s Fantasy, Op. 22, published in the Gazette musicale on January 8, 1837. Liszt harshly criticized Thalberg’s Fantasy, writing that it was

“pretentiously empty and mediocre,” with a lack of “invention, color, character, verve, and inspiration.”21 This statement alludes to Liszt’s insecurities in Paris as well to his professional jealousy.

Despite enjoying success as a pre-eminent virtuoso in the middle of the 1830’s in Paris,

Liszt was often criticized by those who believed that he squandered his talents on cheap effects, such as François-Joseph Fétis and Joseph d’Ortigue, the latter of whom claimed that Liszt lost

“control of color and expression through bodily convulsions.”22 The “anti-virtuosity” critics judged him more harshly, saying that his music was about materialism as well as sensuality.23 In an attempt to placate his critics, beginning in the second half of the decade he decided to devote his energy to becoming an artiste, not just a pianist, through his compositions and letters. He

21 Franz Liszt, An Artist’s Journey: Letters d’un bachelier es musique 1835–1841, trans. Charles Suttoni (Chicago: The University of Chicago Press, 1989), 24.

22 Dana Gooley, The Virtuoso Liszt (Cambridge: Cambridge University Press, 2004), 21.

23 Dana Gooley, “The Battle Against Instrumental Virtuosity in the Early Nineteenth Century,” in Franz Liszt and His World, ed. Christopher H. Gibbs and Dana Gooley (Princeton: Princeton University Press, 2006), 95.

even stopped giving solo public benefit performances, but he occasionally appeared at benefit concerts for other musicians. Liszt’s efforts, nevertheless, were overshadowed by Thalberg’s arrival in Paris in late 1835. His brilliant technique and compositional style were praised unanimously by the Parisians, especially those who criticized Liszt’s approach. Indeed, both the general public and critics played a great role in fanning the flames of rivalry between Thalberg and Liszt. A review in the Revue et Gazette Musicale is representative: “I have never seen one produce such a similar effect as does Liszt, and, Thalberg is more calm, less audacious than

Liszt.”24

Thalberg studied under virtuosos like Hummel, Kalkbrenner, Moscheles, and Pixis, and his audiences were captivated by his flawless performances and the seeming effortlessness with which he executed his virtuosic showpieces. He also established his fame through his ability to make the melody stand out. This should come as no surprise, for he took voice lessons from the famed Spanish bass, Manuel Garcia (1805–1906), for five years. His projection of melody was even more beautiful when the melody was surrounded by waving arpeggios, as seen in his

Célèbre fantaisie pour le piano sur “Moïse,” Op. 33 (Ex. 1).

In this and similar works, Thalberg perfected a style in which runs and arpeggios were subordinate to the melody, which was executed by a “three-hand technique” whereby the melody was placed in the middle register, often projected by alternating thumbs, while arpeggios fluctuated above and below. His presentation of the melody differed from the standard “singing tone,” for which Cramer, Field, and Chopin were famous.25 While the “singing tone” was played

24 Michael Bero, Sigismond Thalberg: Aspects de la Virtuosite Pianistique au XIX siècle, Section I (Brussels: University Library of Brussels, 1975), 28; quoted in Hominic, “Sigismund Thalberg (1812–1871),” 65.

25 Gooley, The Virtuoso Liszt, 27.

in a soprano voice with legato, refined phrasing, and careful fingering, Thalberg’s melody was presented with marcato in the registers of tenor or contralto.

Example 1. Thalberg, Célèbre fantaisie pour le piano sur “Moïse,” Op. 33, mm. 297–99.26

Because of his distinguished talent for presenting melody at the keyboard, he was strongly supported by the dilettantes, the fans of vocal music, especially that of Italian opera.27

Parisian audiences tended to be opera-oriented, and Thalberg appealed to them by offering what

26 Ibid., 26.

27 Gooley, The Virtuoso Liszt, 29.

they liked. Most of his paraphrases are based on a theme or an aria of a current, popular opera, and his association with the dilettantes, whose musical tendency was socially coded as

“aristocratic,” aroused Liszt’s criticism. There are several reasons for this. First, the dilettantes were associated with the Théâtre des Italiens, the venue considered to be the icon of the nobility.

Second, they showed their enthusiasm for the music by shouting a responding bravo at every high note or virtuosic passages—in the belief that they embodied noble taste, just like the aristocracy before the Revolution of 1789. 28

Liszt’s treatment of melody was often compared to that of Thalberg, especially in

Ménestrel, a journal published in Paris, which praised Thalberg, whose vocality was “suavity, sensitivity, expression, and warmth without impetuosity.”29 The word impetuosity certainly referred to the treatment of melody by Liszt. His vocal concept was not attractive to most of the

Parisians who preferred opera, although his arrangements of symphonic works thrilled audiences.

His arrangements of Berlioz’s Symphonie fantastique and selections of Beethoven’s nine symphonies, among others, provide excellent examples of Liszt’s “impetuosity.” Liszt was an expert in conveying the character, drama, image, and sonorities of the orchestral works at the piano. He could even create orchestral effects that were never before rendered by the piano. The innovations, such as fortified strings and double escapement, made in the piano industry around that time, enabled Liszt to imitate the climax of orchestra tutti passages by repeatedly enlarging chords. He wanted to deliver multiple timbres, such as those experienced by listening to an orchestral work, via the piano. He achieved this sound of orchestral sonorities and effects

28Ibid., 31.

29 Ménestrel 9, no.19 (April 17, 1842); quoted in Gooley, The Virtuoso Liszt, 35.

through his use of the keyboard’s various ranges as well as through his use of sensitive dynamic expressions. Critics were amazed by his work:

Just listen to Liszt, orchestra on the piano! See in each of his fingers the capacity of a whole association of people! . . . He successively conjures up in their magnificence all the faces, the grandiose monologue of the winds, the demonic pizzicatos of the basses; from the trembling pianissimo to the fortissimo tempest! And you will admit that Liszt has transformed the piano, that he has metamorphosed it into an orchestra.30

For such multiple effects and sonorities, the independent movement of each part of the body was necessary, especially that of the fingers. Liszt arranged his finger position in awkward ways, such as crossing the fourth finger over the fifth, to achieve particular effects. His excessive bodily motions were often mentioned when discussing his performances:

In performance he stamped his feet, lifted his arms far above the keyboard, and on the whole denied his body a stable center of gravity . . . his limbs and hair are in restless motions: one foot in the air, the other on the ground, the toes pointing different ways, his hair blowing in one direction, his head looking upward while his limbs spread out, octopus-like, in all directions.31

Although Liszt’s histrionics were criticized by some for their diffuseness and tendency to shift focus away from the music itself, as mentioned earlier, it was commonplace during this time to elaborate on the performance with gestures and body motions.32

On the other hand, Thalberg was very calm and quiet on the stage. Thalberg’s restraint differed from most of the competition. The American critic James Huneker described Thalberg’s presence on the stage as follows:

He entered noiselessly; I might almost say without disturbing the air. After a dignified greeting that seemed a trifle cold in manner, he seated himself at the piano as though upon an ordinary chair. The piece began, not a gesture, not a

30 Revue et gazette musicale 6, no. 67 (December 12, 1839), 531; quoted in Gooley, The Virtuoso Liszt, 36.

31 Gooley, The Virtuoso Liszt, 43.

32 Hominick, “Sigismund Thalberg (1812–1871),” 43.

change of countenance! Not a glance toward the audience! If the applause was enthusiastic, a respectful inclination of the head was his only response.33

Thalberg prided himself as a gentleman, both on and off stage. While Liszt attacked

Thalberg continuously in the public through his brutal reviews, Thalberg made no personal attack on Liszt or his compositions. Yet when he was asked to have a joint concert with Liszt, he answered, “I do not like to be accompanied.”34 His gentle, yet caustic comment was the only utterance about the relationship between the two of them.

In some ways, Liszt and Thalberg were flip sides of the same virtuosic coin. Thalberg’s virtuosity delivered polished melodies with a strong vocal foundation; thus, the vocally-oriented audience applauded him for his refined technique and his ability to convey lyricism. On the other hand, Liszt was praised for his ability to realize orchestral music on the keyboard, emphasizing the drama and character of the music and pleasing the public with fascinating gestures and expressions.

They finally agreed to end their feud when they both participated in a performance at the salon of the Princess Belgiojoso on March 31, 1837. The critic Jules Janin reported that their rivalry ended in a draw:

Never was Liszt more controlled, more thoughtful, more energetic, more passionate; never has Thalberg played with greater verve and tenderness. Each of them prudently stayed within his harmonic domain, but each used every one of his resources. It was an admirable joust. The most profound silence fell over that noble arena. And finally Liszt and Thalberg were both proclaimed victors by this glittering and intelligent assembly. … Thus two victors and no vanquished.35

33 James Huneker, Mezzotints in Modern Music (New York: Charles Scribner’s Sons, 1912), 225; quoted in Hominick “Sigismund Thalberg (1812–1871),” 45.

34 Alan Walker, Liszt: Great Composers Series (New York: Thomas Crowell Co., 1971), 39; quoted in Hominick “Sigismund Thalberg (1812–1871),” 67.

35 Journal des débats, April 3, 1837, trans. in Alan Walker, Franz Liszt, Volume One: The Virtuoso Years, 1811–1847 (New York: Alfred A. Knopf, 1983), 240; quoted in R. Allen Lott, From Paris to Peoria: How

2. Thalberg as Composer and Arranger

As mentioned earlier, arrangements or transcriptions were common fare for nineteenth- century composers-pianists. As Italian and French grand operas were enormously popular in

Paris, composers-pianists eagerly produced abundant paraphrases of those works.

Without a doubt, much of Thalberg’s output consisted of opera fantasies in which a lyrical melody was treated to a virtuosic technique.36 As an expert in making the melody sing at the piano, Thalberg’s inclination to write arrangements of opera themes seems only natural. His repertory mainly contains fantasies (paraphrases) on themes from favorite operas by Donizetti,

Bellini, Verdi, Meyerbeer, Rossini, Weber, and Mozart.37 These fantasies, especially that on a theme from Rossini’s Moïse (Op. 33), were exceptional successes among Parisian audiences. Yet while he was acclaimed for his sensitive virtuosity during his lifetime, today Thalberg’s compositions have fallen out of favor. Two reasons come to mind: First, Thalberg’s fantasies, based mostly on grand operas, have followed the falling stars of their models. Second, their virtuosity is no longer attractive to audiences expecting Lisztian pyrotechnics. Yet Thalbeg’s smaller pieces, such as caprices, etudes, nocturnes, romances, and waltzes, found favor during his lifetime and are worth rediscovering today. Dwight, for instance, praised these pieces, finding

“a certain grace and flavor … a certain poetry and delicacy of feeling, some-thing like original creation”38

European Piano Virtuosos Brought Classical Music to the American Heartland (Oxford: Oxford University Press, 2003), 115.

36 Lott, From Paris to Peoria, 122.

37 Robert Wangermée, "Thalberg, Sigismond." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/27766 (accessed March 2, 2011)

38 Dwight’s Journal of Music 10 (17 January 1857): 126, and 10 (11 October 1856): 14; quoted in Lott, From Paris to Peoria, 123.

While he was visiting the United States (1856–1858), he wrote variations on themes of popular American songs, as many foreign composers did, including Home, Sweet Home, The

Last Rose of Summer, and Lilly Dale. Home, Sweet Home saw tremendous success, for people were enthralled by its beautiful vocal style and evocative images of homesickness.

One of Thalberg’s most instructive works is L’art du chant appliqué au piano, in which arrangements are used as pedagogical pieces. While most of these arrangements are from operas, the set contains two art songs: “Adelaide” by Beethoven and “Der Müller und der Bach” from

Die schöne Müllerin by Schubert. Trois mélodies de Franz Schubert transcrites is another set of song transcriptions derived from Schubert’s Winterreise and Die schöne Müllerin. These arrangements will be examined in the following chapters.

Table 6: Catalogue of Thalberg’s Song Arrangements

Op. Title Poet Published Remark 70 L’art du chant appliqué au piano 1853 2. “Der Müller und der Bach” Müller [Schubert] 3. “Adelaide” [Beethoven] Friedrich von Matthisson 79 Trois mélodies de Franz Schubert Müller 1862 transcrites, tirées de “Winterreise” et de “Schöne Müllerin” 1. “L’Illusion” (“Täuschung”) Winterreise 2. “La curieuse” (“Der Die schöne Neugierige”) Müllerin 3. “La poste” (“Die Post”) Winterreise

C. Stephen Heller (1813–1888)

1. As Correspondent for the Neue Zeitschrift für Musik

As contemporaries with the same nationality, Stephen Heller experienced a career similar to that of Liszt. First, he was taught by Carl Czerny, although he could not continue because of

the celebrity teacher’s high fee. Secondly, when discovering his son’s unusual talent after his debut in 1828, Heller’s father started to arrange concert tours, as Liszt’s father did for the young

Liszt. Heller’s tour included Hungary, Transylvania, Poland, and Northern Germany and ended in Augsburg, Germany, where he planned to remain for a few weeks in order to recuperate from nervous exhaustion. He eventually stayed there for eight years under the patronage of Count

Friedrich Fugger-Kircheim-Hoheneck. The Count played a prominent role in Heller’s musical life, offering a library and a pianoforte and by acquainting him with the music of Beethoven,

Haydn, Mozart, and Mendelssohn.39 Up to this time, Heller’s performance repertoire was limited to the concertos and brilliant rondos of Moscheles, Hummel, and Ries, and his schooling had concentrated largely on the correct execution of the pieces.40 Lastly, both Liszt and Heller were active in Paris. After arriving in Paris in 1838, Heller remained in the city for the rest of his life.

Like Liszt, in his later years, he seldom performed in public; instead, he accepted piano pupils and wrote music criticism for the Gazette musicale.41

While staying in Augsburg, he was impressed by the city’s musical environment and realized that he had not yet perfected his musical education. He also saw himself as a “mere pianist,” not as an “artiste,” and knew that he needed to expand his repertory beyond brilliant concert pieces.42 Being acquainted with the classical composers, thanks to Count Fugger, he began to study composition seriously with a French composer named Hyppolyte Chelard. His

39 Ronald Earl Booth, Jr., “The Life and Music of Stephen Heller” (Ph.D. diss., The University of Iowa, 1969), 14.

40 Hippolyte Barbedette, Stephen Heller: His Life and Works, trans. Robert Brown-Borthwick (Whitefish: Kessinger Publishing, 2008), 4.

41 Ronald Earl Booth and Matthias Thiemel, "Heller, Stephen." In Grove Music Online. Oxford Music Online [http://www.oxfordmusiconline.com/subscriber/article/grove/music/12736] (accessed February 27, 2010).

42 Hippolyte Barbedette, Stephen Heller: His Life and Works, 8.

first compositions were numerous Lieder to the words of Goethe, Heine, Uhland, and other

German poets. These remain unpublished.

In 1836, while still in Augsburg, he sent his scherzo (Op. 8) and three impromptus (Op.

7) to Robert Schumann, asking the noted critic to consider reviewing them in his journal.

Schumann offered the following assessment to his readers:

A few years ago, an unknown person wrote to us that he had been informed that the Davidites would accept even poor manuscripts. “We cannot,” the letter continued, “be sufficiently thankful for this. Some hardhearted publisher, some Herz publisher, may, through just criticism of such manuscripts, turn his attention to young talent, may become more favorably disposed towards it, or strengthened in his hardness of heart. In me, honoured Davidites, you behold one of the many who desire to see their compositions (so-called works) published, and, at the same time, one of the few who desire it, not merely to be printed or engraved, but rather to be judged, to receive blame, instruction, or encouragement, which may be my due,”—and so on.43

Impressed by the young composer’s enthusiasm, Schumann persuaded the Leipzig-based Kistner to publish these two manuscripts. In their exchange of letters, Schumann encouraged Heller and invited him to be the Augsburg correspondent for the Neue Zeitschrift für Musik under the

Schumann-bestowed pseudonym of “Jeanquirit.” Though they never personally met each other,

Heller always trusted Schumann as a mentor, corresponding about professional and personal topics.44

Heller’s reviews of musical performance were incisive yet humorous, such as when he reviewed a concert given by the pianist Amalie Feracci in 1837:

Miss Amalie Feracci showed herself as a pianist should not be. Her playing was unclean and of the greatest frivolity; with the help of limited study and with constant use of the pedals she drew from the piano wonderful, never suspected

43 Robert Schumann, "Drei Impromptus für das Pianoforte von Stephen Heller," Neue Zeitschrift für Musik, VII (Leipzig: J. H. Barth, 1837), 70–71; quoted in Ronald Earl Booth, Jr., “The Life and Music of Stephen Heller,” 17.

44 Ronald Earl Booth, Jr., “The Life and Music of Stephen Heller,” 18.

harmonies. The first piece presented was by Herz. Who doesn’t know the glorious variations on the Othello March? Herz built an imperishable monument to himself with them; whoever doesn’t believe it should take the same in hand and, afterwards, wash himself with fresh water, followed by heavy towels. Short pieces of Hoffman and Varina are to be recommended, if your constitution can stand them. I have forgotten to report that Miss Feracci has beautiful black eyes.45

Sometimes he criticized both the performers and the audience:

Among the solos, the aria from Pres aux Cleres was presented with violin accompaniment. This “honey and butter-bread” aria is a favorite piece here, and most faces become unbearably pleasant when it begins. And at the end everybody clucked his tongue, and the singer curtsied gratefully. 46

His career took a decided turn in 1837. One of these was a visit to Augsburg by a Parisian pianist named Kalkbrenner. Heller joined him in a piano duo and made a great impression, being praised that “He stood worthily at the side of the great master.”47 Kalkbrenner persuaded Heller to continue his musical education under him in Paris. Though Heller felt reluctant to leave

Augsburg, it must have been less painful due to the death of Count Fugger, the one who had helped Heller settle in Augsburg and who had been his most enthusiastic supporter.48

Even though Kalkbrenner was the one who encouraged Heller to study with him, these lessons could not be continued for long because of his excessive fees and arrogant attitude. It soon became obvious that Kalkbrenner looked down on Heller and expected him to change:

You are such a poor provincial! I will not only direct your musical training, but will also take the trouble to polish you and make you presentable for Paris. . . You are awkward, timid, speak terrible French, and walk in an ungraceful manner . . . I have always been close to the throne; I have conversed with kings and queens,

45 NZfM, VII (1837), 51; quoted in Ronald Earl Booth, Jr., “The Life and Music of Stephen Heller,” 22.

46 NZfM, VII (1837), 42; quoted in Ronald Earl Booth, Jr., “The Life and Music of Stephen Heller,” 24.

47 Rudolf Schütz, Sthephen Heller. Ein Künstlerleben (Leipzig: Breitkopf & Härtel, 1911), 35– 36; quoted in Ronald Earl Booth, Jr., “The Life and Music of Stephen Heller,”25.

48 Hippolyte Barbedette, Stephen Heller: His Life and Works, 13.

and the Duchess of Berry was like a sister to me. This long practice has given me these distinguished manners, the ease and poise which one observes in me.49

At that time Paris was full of young artists with various skills and personalities; hence, it was competitive to get teaching positions or publishing opportunities. Moreover, Parisian society was dominated by the salon. Heller, with a modest, even shy personality, eventually found himself isolated from the mainstream. As he could not be reconciled with Parisian salons and audiences, it became harder to find a teaching position. However, the marketplace clamored for easy and light pieces for piano, and Heller, through his compositions, was able to not only satisfy their requests, but also to remedy his poor financial situation.

2. Heller’s Song Arrangements

European bourgeois audiences during Heller’s time were more fascinated by pieces that were short, charming, or familiar than serious masterworks. Nevertheless, publishers managed to persuade composers to write the former kind of music, saying that the fame acquired from such secondary works would increase the sale of their masterpieces.50 Heller composed to suit popular taste; thus, his piano oeuvre was occupied with a large portion of character pieces as well as operatic fantasies.

His opera fantasies were based on favorite operas by Halévy, Grétry, Donizetti, and

Meyerbeer with titles like rondo, caprice, and fantasy. He also arranged songs by other composers, including Reber, Schubert, and Mendelssohn. Ever mindful of the marketplace,

Heller often wrote two different versions of the same song: one in a more conservative manner of the transcription; and the other with free treatment of the song under titles of improvisata or

49 Stephen Heller, "Memoirs," Société internationale de musique revue musicale mensuelle, X (Paris, Gaston Chaudon de Brailles, 1919), 537; quoted in Ronald Earl Booth, Jr., “The Life and Music of Stephen Heller,” 28. 50 Hippolyte Barbedette, Stephen Heller: His Life and Works, 37.

caprice brilliant. For example, his transcriptions of “Die Forelle,” “Erlkönig,” “Lob der Tränen,” and “Die Post” by Schubert were not only included in 30 Melodies of Schubert; but were also transformed as free arrangements and published as independent opuses.

The following table presents an overview of Heller’s song arrangements.

Table 7. Catalogue of Heller’s Song Arrangements

Op. Title Poet Published 33 Caprice brillant, Die Forelle Schubart Berlin, 1844 [Schubert] 34 Ballade sur Le roi des Aulnes Goethe Berlin, 1844 (Erlkönig) [Schubert] 35 La poste (Die Post). Improvisata Wilhelm Müller Berlin, 1844 Winterreise [Schubert]. 36 L'éloge des larmes (Lob der Schlegel Berlin, 1844 Tränen). Morceau de salon [Schubert] 55 Caprice brillant, Wohin? Berlin, 1845 Die schöne Müllerin [Schubert] 55a Message d'Amour, Liebesbotschaft Rellstab Berlin, 1845 Schwanengesang [Schubert] 55b Trois mélodies de Schubert Müller Berlin, 1845 1. Die Nebensonnen Winterreise 2. Der Müller und der Bach Die schöne Müllerin 3. Die liebe Farbe Die schöne Müllerin 67 La Vallée d'amour. Improvisata sur Berlin, 1846 la mélodie de Mendelssohn (Auf Flügeln des Gesanges) –– 15 Melodies of Schubert Paris, 1846 Transcribed for Piano 1. Heidenröslein Goethe 2. Wanderers Nachtlied Goethe 3. Nähe des Geliebten Goethe 4. Das Wandern Müller Die schöne Müllerin 5. Halt Müller Die schöne Müllerin 6. Der Schmetterling Schlegel 7. Zur Guten Nacht Rochlitz 8. Wasserfluth Müller Winterreise 9. Am See Bruchmann 10. Irrlicht Müller Winterreise 11. Am Meer Heine Schwanengesang 12. Der Leiermann Müller Winterreise 13. Romanze des Ritter Schiller Toggenburg

14. Abendstern Mayrhofer 15. Der Geistertanz Matthisson –– 30 Lieder von Schubert, Cologne, übertragen 1846 1. Lebewohl Wetzel 2. Die Gestirne Klopstock 3. Schlummerlied Mayrhofer 4. Der Tod und das Mädchen Claudius 5. Die junge Mutter Hülshoff 6. Rosamunde Chézy 7. Ständchen Rellstab Schwanengesang 8. Ave Maria Storck 9. Das Zügenglöcklein Seidl 10.Auf dem Wasser zu singen Stolberg 11. Lob der Tränen Schlegel 12. Die junge Nonne Craigher 13. Gretchen am Spinnrade Goethe 14. Die Post Müller Winterreise 15. Erlkönig Goethe 16. Der Alpenjäger Mayrhofer 17. Du bist die Ruh Rückert 18. Im Haine Bruchmann 19. Des Mädchens Klage Schiller 20. Ungeduld Müller Die schöne Müllerin 21. Morgengruss Müller Die schöne Müllerin 22. Abschied Rellstab Schwanengesang 23. Der Wanderer Lübeck 24. Die Forelle Schubart 25. Sei mir gegrüsst Rückert 26. Der Fischer Goethe 27. Lied des Jägers 28. Das Echo Castelli 29. Drang in die Ferne Leitner 30. Im Dorfe Müller 68 Ständchen. Caprice brillant, Schlegel Berlin, 1847 sérénade de Schubert 72 Capricen, Impromptus und Bonn, 1849 Improvisationen über Lieder von Mendelssohn 1. Chant du matin 2. Chant du troubadour (Minnelied) 3. Chant du dimanche 98 Improvisata über Flutenreicher Emanuel von Winterthur, Ebro von Schumann [from the Geibel 1861 Spanische Liebeslieder]

CHAPTER 3

Analysis of Selected Song Arrangements by Liszt, Thalberg, and Heller

Analysis of Selected Song Arrangements by Liszt

A. Liszt’s Text Treatment

James M. George’s dissertation, “Franz Liszt’s Transcription of Schubert Songs for Solo

Pianoforte: A Study of Transcribing and Keyboard Technique,” gives important guidelines for analyzing Liszt’s arranging style. George delineates five formal types of transcribing: literal transcription, registral variation, accompaniment intensification, accompaniment variation, and controlled improvisation. “Literal transcription” is a procedure to transfer a song to piano with little or no change of material. “Registral variation” is simply accomplished by shifting the melodic line to a range different from the original work. “Accompaniment intensification” shows the accompaniment’s gradual strengthening in volume and rhythm. In “accompaniment variation,” the transcriber develops the accompaniment through continuous variations or stanzas of the poem. The category of “controlled improvisation” contains the greatest number of Liszt’s arrangements of Schubert’s songs. They are “controlled” in terms of original melody, harmony, and formal structure, but “improvisational” in the sense of Liszt’s more liberal arrangement of the original work.51 As George stresses in his study, Liszt used various arranging techniques to convey the nuances and various levels of meaning of the text effectively.

51 James M. George, “Franz Liszt’s Transcription of Schubert Songs for Solo Pianoforte: A Study of Transcribing and Keyboard Technique” (Ph D. diss., University of Iowa, 1976), 81–83.

1. “Auf dem Wasser zu singen”

Schubert often set music to a mediocre poem, and “Auf dem Wasser zu singen” is one of those. Yet while the poem itself lacks appeal, the same cannot be said of Schubert’s setting. His is typical water music – in the form of a Barcarole – set to a poem full of idleness and delightfulness.52 In the first stanza, the poem describes water scenes at twilight and nature’s consolation. Its accompanimental figure in succeeding appoggiatura notes resembles ripples of water.

Mitten im Schimmer der spiegelnden In the middle of the shimmer of the Wellen reflecting waves Gleitet, wie Schwäne, der wankende Kahn: Glides, as swans do, the wavering boat; Ach, auf der Freude sanftschimmernden Ah, on joy's soft shimmering waves Wellen Glides the soul along like the boat; Gleitet die Seele dahin wie der Kahn; Then from Heaven down onto the waves Denn von dem Himmel herab auf die Wellen Dances the sunset all around the boat. Tanzet das Abendrot rund um den Kahn.

Über den Wipfeln des westlichen Haines Over the treetops of the western grove Winket uns freundlich der rötliche Schein; Waves, in a friendly way, the reddish gleam; Unter den Zweigen des östlichen Haines Under the branches of the eastern grove Säuselt der Kalmus im rötlichen Schein; Murmur the reeds in the reddish light; Freude des Himmels und Ruhe des Haines Joy of Heaven and the peace of the grove Atmet die Seel im errötenden Schein. Is breathed by the soul in the reddening light.

Ach, es entschwindet mit tauigem Flügel Ah, time vanishes on dewy wing Mir auf den wiegenden Wellen die Zeit; for me, on the rocking waves; Morgen entschwinde mit schimmerndem Tomorrow, time will vanish with shimmering Flügel wings Wieder wie gestern und heute die Zeit, Again, as yesterday and today, Bis ich auf höherem strahlendem Flügel Until I, on higher more radiant wing, Selber entschwinde der wechselnden Zeit. Myself vanish to the changing time.53

52 Richard Capell, Schubert’s Songs: with a Preface by Martin Cooper (Old Woking, England: The Gresham Press, 1973), 73.

53 http://www.recmusic.org/lieder/get_text.html?TextId=15364 (accessed March 5, 2010).

George classifies this work as a “registral variation,” since each of the three stanzas presents the melody in different registers of the keyboard. The opening verse is literally transcribed with slight insertions of harmonic enforcement. In the original, the melody and the sixteenth-note accompaniment “water” figure are in the same register (Ex. 2). To solve the problem of melody and accompaniment overlapping, Liszt places the melody one octave lower than the original, while the “water” figure is played with the repeated inner voices by the right hand, as in the introduction (Ex. 3). Liszt adds staccatos to the notes of the melody along with an indication, un poco marcato il canto graziosamente, to make it audibly distinct.

Example 2. Schubert, “Auf dem Wasser zu singen,” mm. 9–12

Example 3. Liszt, “Auf dem Wasser zu singen,” mm. 7–12

In the second verse, Liszt places the melodic line in the middle voice, while the right hand continues to play the accompaniment in the upper part, creating thirds (Ex. 4) in parallel motion, an extremely challenging texture for pianists to execute effectively. His indication of sempre distinto il canto calls the performer’s attention to bring out the melody line. The left hand returns to the initial chordal figures, providing richer sonority. The texture of this verse is an intact consolidation of the original in terms of register as well as musical materials.

Example 4. Liszt, “Auf dem Wasser zu singen,” mm. 43–48

In the third verse, the melody and the harmonic part of the accompaniment are played by the right hand, while the running sixteenth-note accompaniment figure moves down an octave.

The shifting of the vocal line to the upper register facilitates its projection of the voice (Ex. 5).

Moreover, the thickened texture sounds virtuosic with the “water” figures played in distant registers. While the “water” figure in the first two verses is placed in the upper register—where it describes the shallow waves of water—it now produces a weightier atmosphere in the lower register. The change of this character is associated with the poem, for the first two verses depict only the scenery around the water, while the last verse turns to the poet’s emotions aroused by the circumstances.

Example 5. Liszt, “Auf dem Wasser zu singen,” mm. 61–66

As the piece proceeds, Liszt’s use of arpeggios, rolling chords, and thicker harmonies gradually enriches the texture’s sonority. At measure 73, Liszt adds a second accompanimental figure to Schubert’s original at the interval of a third; two measures later both melody and accompaniment are reinforced at the octave. Liszt often doubled the melody in his transcriptions as a means of textual emphasis.54 While this enhanced texture foreshadows Liszt’s newly- composed, elongated postlude, it also prepares the player and listener for the text’s denouement:

“Bis ich auf höherem strahlendem Flügel / Selber entschwinde der wechselnden Zeit / Until I, on higher more radiant wing, myself vanish to the changing time.” The octave arpeggios replace the long held E-flat of the original vocal line in mm. 77–79. The melody at this point vanishes completely, being either submerged by the tenor’s thematic figure or leaped upon by the right hand’s octaves (Ex. 6).

54 George, “Franz Liszt’s Transcription of Schubert Songs for Solo Pianoforte,” 55.

Example 6. Liszt, “Auf dem Wasser zu singen,” mm. 73–78

In his postlude, Liszt introduces various pianistic techniques not encountered in the original. He uses arpeggios, leaping chords, doublings, and broken chords to maximize the dramatic effect of this song. Because the accompanimental chords are excluded in this section, the aural impression of cascading water creates an intense emotional effect (Ex. 7). Liszt returns to the original material where the accompaniment postlude begins in the original at m. 106. The last two measures of the original are now extended into a four-measure segment built on the A- flat harmony. It dissolves into a tremolo that responds to the last line of the poem (“Selber entschwinde der wechselnden Zeit/ Myself vanish to the changing time”).

Example 7. Liszt, “Auf dem Wasser zu singen,” mm. 91–99

2. “Liebestraum, No. 3” from Liebesträume, 3 Notturnos

The Liebesträume, 3 Notturnos has a unique genesis. It was not originally composed as a set, only compiled as such later. “O lieb, so lang du lieben kannst,” the third number of this set, was composed as a song with a text by Ferdinand Freiligrath, intended for publication in 1844.55

But the manuscript was lost in transit, and the piece was not published until 1847. Liszt revised the song in 1850, and in the same year, he reworked his solo piano piece, which had been composed several years earlier. He combined this with the text by Uhland, “Gestorben war ich,” and it became the second of the Liebesträume. Finally, he added a newly-composed song, “Hohe

Liebe,” to another poem by Uhland, which became the opening of the set. All three songs were

55 Mueller, “The Lieder of Liszt,” in The Cambridge Companion to the Lied, 171.

published under the title Drei Lieder für eine Tenor oder Sopranstimme. After some revisions, they were issued as piano works, entitled Liebesträume, Drei Notturnos.56

Liszt’s arrangement of the “Liebestraum, No. 3” is composed of three sections, each divided by extended cadenzas. The piece falls under the heading of “accompaniment intensification” with gradual development of volume, harmony, and texture. “Registral variation” was also partially used in the first section. Since the melody and the accompaniment overlap in the same register, Liszt moves the vocal line down an octave, as he had done in “Auf dem

Wasser zu singer” years earlier. Placed in the middle voice, the melody is shared by two hands, using the “three-hand technique” already encountered in Thalberg’s music. The first section is true to the original song except for a few alterations in the arpeggios. In addition to this change,

Liszt omits the short introduction and one-bar interlude at m. 22 from the original. The first two- measure cadenza which separates the first section from the second is now extended to three measures by means of similar material (Ex. 8).

56 Ibid., 172.

Example 8. Liszt, “Liebestraum, No. 3,” mm. 24–27

While the second section was originally written as a melody with doubling-octave accompaniment, the arrangement replaces the accompaniment with simultaneously moving arpeggio figures (Ex. 9). The texture becomes richer with the enhancement of harmonic chords as well as descending arpeggios spanning three octaves beginning at m. 37. Liszt takes out 22 measures of the recitative, just after the phrase, “und mach ihm keine Stunde trüb.” In the spot omitted, he inserts a newly-composed virtuosic section utilizing octave leaps, octave scales, and passionate-sounding arpeggios to create a dramatic conclusion.

Example 9. Liszt, “Liebestraum, No. 3,” mm. 26–28

Another sweeping cadenza, written exclusively in the upper registers of the keyboard (Ex.

10), follows. The last section returns to the literal transcription in a contemplative mood and in the concluding passage, Liszt replaces the last six bars with sparsely-written broken chords.

Example 10. Liszt, “Liebestraum, No.3,” mm. 59–60

3. “Frühlingsnacht”

“Frühlingsnacht” is the last number of Schumann’s “Eichendorff” Liederkreis, Op. 39, a cycle of twelve songs not linked by any story or poetic idea. Instead, Schumann selected a variety of poems by Eichendorff and made them a set under one title.57 The poem of

“Frühlingsnacht” is filled with abundant romantic symbols, such as an inspiring moment of blossoming, the moon and stars, dreaming, nightingales singing, and tears of joy. Eichendorff used all of these romantic devices to comfort himself with the love the poem’s protagonist so desired but never attained. Although this song lacks an extended coda, Schumann concluded the song with materials pervasive in the body of the song. The descending stepwise scale is a main

57 Elain Brody and Robert Fowkes, The German Lied and Its Poetry (New York: New York University Press, 1971), 157.

motive of the piano prelude, and the ascending triadic broken chords are taken from the voice’s melody in the second measure.

Über’m Garten durch die Lüfte Over the garden through the night air Hört’ ich Wandervögel ziehn, I heard the birds come flying in Das bedeutet Frühlingsdüfte, That meant spring scents soon, Unten fängt’s schon an zu blühn. And already the blossoming is beginning in the garden

Jauchzen möcht’ ich, möchte weinen, I feel joy and tears together Ist mir’s doch, als könnt’s nicht sein! as if it could only be a dream. Alte Wunder wieder scheinen All the old miracles come thronging back Mit dem Mondenglanz herein. bright in the moonlight.

Und der Mond, die Sterne sagen’s, And the moon and the stars say, Und im Traume rauscht’s der Hain, and the dreaming woods whisper, Und die Nachtigallen schlagen’s: and the nightingales sing: Sie ist deine! Sie ist dein! ‘She is yours, she is yours!’58

Following the structure of the poem, Schumann composed “Frühlingsnacht” in ternary form, A-B-A’. The third part containing the first part’s motive was further developed to conclude the song. In arranging this song, Liszt expanded it to a six-part structure, A-B-A’-A-B-A’, in which the last three parts constitute a free arrangement of the original. Thus, the arrangement follows the “accompaniment variation” among George’s classifications.

The opening part is a literal transcription in that Liszt did not even shift the range of the melody, since the melody and the piano line do not infringe upon each other’s register. Liszt’s elongated introduction at the beginning creates the image of birds chirping by the use of sixteenth-triplet notes (Ex. 11). This part sounds more buoyant when shared by the two hands, instead of them playing the same chords at the same time (Ex. 12).

58 Eric Sams, The Songs of Robert Schumann, with a foreword by Gerald Moore (Bloomington: Indiana University Press, 1993), 105.

Example 11. Liszt, “Frühlingsnacht,” mm.1–2

Example 12. Schumann, “Frühlingsnacht,” mm.1–2

The “bird” figure is played mainly by the right hand in the first part, while the melody is played by the left hand with some additions to enhance the harmony.

Subsequently, Liszt places the melody in the arpeggio figure and gives the “bird” figure its own musical line (Ex. 13). The indirect presentation of the melody, decorated by the arpeggios and rolling chords, sounds appropriate for the romantic symbols presented here, e.g. the moon, the stars, dreaming woods, and nightingales.

Example 13. Liszt, “Frühlingsnacht,” mm. 20–23

As stated earlier, Liszt freely arranges the original in the second half of the work. He adds a trill-like figure above the melody line, enforced with triadic chords in the left hand. The trill figure provides a more delicate and lighthearted mood. Instead of completely finishing the melodic phrase, Liszt adds a rallentando and a fermata (Ex.14), which is followed by extended virtuosic passages from mm. 36 through 42. In these passages, while the trill figure is continuously played on top, Liszt inserts a chromatic line in the middle voice; the left hand plays triplet chords with leaping bass notes, making the texture more complicated (Ex. 15). The passage fades out with the elongated trill figure alternating between both hands (Ex. 16).

Example 14. Liszt, “Frühlingsnacht,” mm. 32–33

Example 15. Liszt, “Frühlingsnacht,” mm. 36–39

Example 16. Liszt, “Frühlingsnacht,” mm. 41–42

As the arrangement proceeds, Liszt turns his attention to the correct interpretation of the poem. Even though the poem is full of romantic connotations, it should not be interpreted too melancholically or sweetly because, ultimately the poet sought to express his ecstasy for his beloved. Liszt describes the blossoming emotions with the sixteenth-triplet arpeggios. His indication, appassionato on the score with the text “Und die Nachtigallen schlagen’s: Sie ist deine! Sie ist dein! / and the nightingales sing: She is yours, she is yours!” seems a proper way to render the poet’s yearning. In addition, unlike the original, which concludes the song with a calming piano postlude, Liszt’s arrangement finishes the piece with triumphant gestures, emphatically gushing triadic triplets that accelerate in ecstasy (Ex. 17).

Example 17. Liszt, “Frühlingsnacht,” mm. 61–65

4. “Widmung”

This song was composed in 1840, the year Robert and Clara were married, so it is no wonder that it expresses Schumann’s passion, joy, suffering from their separation, and hopes for their life together. As noted earlier, Schumann integrated the voice and piano so that his piano

accompaniment often became a part of the vocal line, sometimes even anticipating it or serving as a concluding motive. “Widmung” is well known for its pervasive rhythmic accompaniment figure. Both opening and concluding sections, based on the first stanza, seem to describe passionate as well as complex emotions by the rising and falling of the accompaniment part (Ex.

18).

Example 18. Schumann, “Widmung,” mm. 2–4

In addition, Schumann used repeated chords in a moderate or slow tempo, a hallmark of nineteenth-century salon style. This figure is effective in expressing sincerity, warmth, and tenderness.59 Schumann sings a hymn to his loved one in the central section of the piece beginning with the line, “Du bist die Ruh.”60 Utilizing chordal accompaniment as in a hymn, this text uses words of Christian imagery; but this song remains a secular love song.61

59 Susan Youens, “Robert Schumann: The Poet Sings,” in German Lieder in the Nineteenth Century, ed. Rufus Hallmark, 108.

60 Fischer-Dieskau, Robert Schumann Words and Music, 51.

61 Sams, The Songs of Robert Schumann, 51.

Du meine Seele, du mein Herz, You are my heart and soul, Du meine Wonn’, o du mein Schmerz, you my bliss, o you my pain; Du meine Welt, in der ich lebe, you are the world I live in, Mein Himmel du, darein ich schwebe, the heaven I aspire to, O du mein Grab, in das hinab the tomb, where Ich ewig meinen Kummer gab. I have laid my sorrow to rest forever.

Du bist die Ruh, du bist der Frieden, You are repose and peace, Du bist vom Himmel mir beschieden. you are my share of heaven; Daß du mich liebst, macht mich mir wert, your love justifies me, Dein Blick hat mich vor mir verklärt, your gaze transfigures me, Du hebst mich liebend über mich, lovingly you raise me to new heights, 62 Mein guter Geist, mein beßres Ich! my good angel, my better self!

According to George’s classification, this song falls under the heading of

“accompaniment intensification.” Except for the repetition of the first part with harmonic enhancement in a different register in mm. 16–31, Liszt only consolidates the singer’s melody and the accompaniment into one musical line (Ex. 19) until the phrase, “Du hebst mich liebend

über mich, Mein guter Geist, mein beßres Ich! / you raise me lovingly above myself, my good spirit, my better self!” From this point on, he elaborates the accompaniment with a more splendid arpeggio figure. Liszt presents two different versions: one in a decorative, virtuosic manner, and the other in the manner of literal transcription (ossia). It seems that Liszt made great efforts in writing the former, since the use of arpeggios and their ascending movement clearly reflect the text’s imagery of ascent, even weightlessness.

Liszt also writes numerous directions, such as una corda and dolce armonioso, which help evoke a dream-like atmosphere. After a short bridge at mm. 47–48, the accompaniment figure expands to cover more than three octaves (Ex. 20). It is not only the climactic point of the

62 Ibid.

entire piano piece, but it is also entirely in line with the metaphor of the poetic text. In addition,

Liszt intuits the poet’s heartfelt emotions and expresses them with flowery passagework. He puts the melody in the low register with triadic chords and virtuosic arpeggios in the right hand, creating a dignified sonority. The melody is shared by two hands only if the thumbs are needed to connect the vocal line in the middle register, as in Ex. 20.

An extended coda begins at m. 58, which exploits the passion of the text by blending rich sonorities and a dignified bass progression. The concluding passage takes its motive from the postlude of the original, which, common to Schumann’s mature song practice, had not appeared previously in the song.

Example 19. Liszt, Widmung,” mm. 4–7

Example 20. Liszt, “Widmung,” mm. 51–52

B. Thalberg’s Song Arrangements

Thalberg’s Trois mélodies de Franz Schubert transcrites, tirées de “Winterreise” et de

“Schöne Müllerin” includes “L’Illusion” (“Täuschung”) and “La poste” (“Die Post”) in

Winterreise, and “La curieuse” (“Der Neugierige”) in Die schöne Müllerin. He also arranged

“Der Müller und der Bach” from Die schöne Müllerin and Beethoven’s “Adelaide.” Except for

“Adelaide,” his arrangements were written in a conservative manner in which Thalberg made few alterations to the original. Most of the time, he condensed the melody and the accompaniment into one unit. His “L’Illusion” and “Adelaide” will serve as examples of

Thalberg’s arranging style, which encompass George’s categories of literal transcription and free arrangement, respectively.

1. “L’Illusion” (“Täuschung”)

“Täuschung” belongs to Schubert’s song cycle Winterreise. The imaginary light depicted in this poem was achieved by irregular three-bar melodic phrases and the piano’s echoing after the melody at the end of each line (Ex. 21).63

Ein Licht tanzt freundlich vor mir her, A friendly light dances before me, Ich folg’ ihm nach die Kreuz und Quer I followed it this way and that; Ich folg’ ihm gern und seh’s ihm an, I follow it eagerly and watch its course Daß es verlockt den Wandersmann. As it lures the wanderer onward.

Ach! wer wie ich so elend ist, Ah! one that is wretched as I Gibt gern sich hin der bunten List, Yields himself gladly to such cunning, Die hinter Eis und Nacht und Graus That portrays, beyond ice, night, and horror, Ihm weist ein helles, warmes Haus. A bright warm house. Und eine liebe Seele drin. - And inside, a loving soul. - 64 Nur Täuschung ist für mich Gewinn! Ah, my only victory is in delusion!

63 Fischer-Dieskau, Schubert’s Songs, 263.

64 http://www.recmusic.org/lieder/get_text.html?TextId=11892 (accessed March 8, 2011).

Thalberg’s arrangement of this piece is an exact reproduction of the original, with no significant changes. It is relatively easy to merge melody and accompaniment, since the register of each part is not crowded. He places the melody in the middle register and keeps intact the harmony as well as the rhythmic figure of the accompaniment part (Ex. 22). Thalberg distinguishes the melody with large noteheads, while he writes the accompaniment in cue-sized notes.

Example 21. Schubert, “Täuschung,” mm. 5–10

Example 22. Thalberg, “Täuschung,” mm. 6–11

2. “Adelaide”

The protagonist of the poem is desperate for his lover, Adelaide. When he is in the spring garden, or when he sees the landscape, he thinks of “Adelaide”. Beethoven’s intuitive interpretation of the poem prompted him to write the name of “Adelaide” fourteen times, while the poem uses it only four times, at the end of each stanza.

In the original song, Beethoven sought a “symphonic” sound from the piano, by writing the accompaniment part with thick textures and instrumental interludes.65 He also repeated the text, which is not indicated in the poem, but he did not use the same music for the repeated part.

A notable change in Thalberg’s “Adelaide” is an added figure of sextuplets. Basically, the original song has the figure in the accompaniment, but Thalberg’s doubling of sextuplets gives a richer sonority. This arrangement is literally transcribed except for the strengthened harmonies.

Thalberg demonstrates his “three-hand technique” in the opening, where the melody is placed in the middle register (Ex. 23).

Example 23. Thalberg, “Adelaide,” mm. 6–8

In mm. 17–19, Thalberg alters the rhythmic value of the melody by entering two beats earlier and expanding the length of the note B-flat (Ex. 24-a, b).

65 Chia-Yin Lin, “The Liszt Transcription for Piano of Songs by Beethoven, Chopin, and Mendelssohn: Inspiration, Process and Intention” (DMA diss., University of Washington, 2003), 146.

Example 24-a. Beethoven, “Adelaide,” mm. 16–18

Example 24-b. Thalberg, “Adelaide,” mm. 16–19

In the second part, Allegro, he moves the melody to the middle when the original accompaniment doubles the melody line in the same register. Thalberg facilitates the arpeggios or broken chords to help make it more playable (Ex. 25).

Example 25. Thalberg, “Adelaide,” mm. 82–91

C. Heller’s Arrangements

1. “Das Wandern”

Heller’s arrangement of “Das Wandern” transforms the strophic Lied into a set of variations. The original contains five stanzas, but Heller only wrote three variations. Since he did not place the text appropriately throughout the score, his intention for the choice of the stanza was not revealed. It can thus be regarded as a “newly-composed” piano piece, based on a theme of Schubert’s song “Das Wandern,” rather than an arrangement.

In the first part, Heller adopts a perpetual sixteenth-note figure, enhancing conspicuous movement to the accompaniment part of the original song. The two hands share the figure, while the right hand also plays the melody line in the original register (Ex. 26). This part is quite true to the original song in terms of the rhythmic figure and the unaltered vocal melody (Ex. 27).

Throughout the first part, Heller eliminates the bottom note from the octaves, resulting in a lighter atmosphere.

Example 26. Heller, “Das Wandern,” mm. 5–8

Example 27. Schubert, “Das Wandern,” mm. 1–10

Heller’s second variation shows a lilting melody elaborated with dotted figures and thirty-second-note ornamentation (Ex. 28). Now the accompaniment plays chords in the leaping bass. In the original, the prelude returns as interludes and postlude. After the first part, Heller takes a shape from the prelude for the interlude but the interlude between the second and third variations is omitted, except for two bars of broken chords in tonic key.

Example 28. Heller, “Das Wandern,” mm. 25–27

The third variation changes its time signature to 6/8, augmenting the rhythm. In this variation, the vocal line is altered rhythmically as well as melodically. Hints of the melody are still found, while the exact line is not heard anymore. In the original song, like “Täuschung,” the melodic phrase is composed of three-bar vocal lines with a one-bar piano conclusion. This model is intact for the first two variations, but the piano’s one-bar ending is then replaced by the fermata on the last note of the vocal line. The melody is reinforced with octaves in the second phrase, and moves to the low register at m. 50. By this point, pinpointing the melody is almost impossible; rhythmic transformation has become the center of attention (Ex. 29-a, b).

Example 29-a. Schubert, “Das Wandern,” mm. 17–20

Example 29-b. Heller, “Das Wandern,” mm. 59–61

2. “Die junge Nonne”

Schubert’s use of piano accompaniment as a means of onomatopoeia is notable in this song. The depiction of the “stormy night” in the accompanying part is clear for the listeners to imagine the scene. The dark storm-motive reflects the emotions of a young nun who had passed through a “dark, stormy state of mind.” The tolling bell from the tower is mingled with the stormy motive. In addition to the storm-motive, the tremolo effectively portrays her religious frenzy, which ends with a whispered, repeated “Alleluia.” It must be played precisely on the beat, in that rubato is not allowed.66 The open, exultant ending reveals her heavenly marriage as the bride of Christ. The song has clear distinctions in register and texture for the vocal melody and piano accompaniment, which makes the transcription literal to the original.

The vocal melody in Heller’s transcription is placed in the same register as that originally composed by Schubert. The tremolo in the accompaniment part now moves to the left hand.

Starting at m. 22, while the melody and the octave in the left hand are kept intact, Heller inserted the “bells” into the texture, taking the note from the lower note of the tremolo (Ex. 30-a, b)

66 Fischer-Dieskau, Schubert’s Songs, 169.

Example 30-a. Schubert, “Die junge Nonne,” mm. 21–24

Example 30-b. Heller, “Die junge Nonne,” mm. 21–24

Heller interjects another “bell” sound at m. 31 by condensing the vocal melody in the right hand.

In this case he writes accent marks on the “bells” (Ex. 31).

Example 31. Heller, “Die junge Nonne,” mm. 31

Beginning at m. 36, the focus in the poem shifts from the thunder and storm to the young nun’s emotional state. Heller replaces the tremolo figure with arpeggios to depict the impetuous transition of her emotions. Even though the relationship between the text and the music is not usually clear in his song arrangements on account of the absence of a printed text in the score, here it is reasonable to assume that Heller keeps the following words in mind: “Es brauste das

Leben, wie jetzo der Sturm, Es bebten die Glieder, wie jetzo das Haus / My life roared like the storm now, my limbs trembled like the house now.”

In the rest of the piece, Heller makes subtle compositional changes to facilitate the demands of keyboard performance, such as transposition of the chords.

3. “Wohin?”

Heller’s “Wohin?” is one of his free arrangements, under the title of La Fontaine de

Schubert, Caprice brilliant. The humble song from Die schöne Müllerin became significantly more brilliant in Heller’s hands. In the arrangements so far examined, the melody has been kept in its original form, but in this arrangement, Heller even elaborated the melody by adding neighbor tones or grace notes, filling out the gap between the notes, and truncating the melody.

Among his treatments of the melody, the use of fragments is noticeable. The fragments of motives are as follows (Ex. 32):

Example 32. Heller’s motives in “Wohin?”

Over arpeggios with larger intervals than the original, the melody begins at m. 3, in which a few additions, such as grace notes and neighbor tones, are found. As the music proceeds, the melody is embellished with thirty-second note fillings and chromatic scales (Ex. 33). There is a change of tempo at m. 32, and the 2/4 time signature also changes to 6/8. In this passage, the fragment of melody “d” appears in octaves in the low register (Ex. 34).

Example 33. Heller, “Wohin?” mm. 19–23

Example 34. Heller, “Wohin?” mm. 32–35

The passages are reinforced by virtuosic techniques, such as running arpeggios, octave leaps, and arpeggios of different intervals in both hands. At m. 69, Heller changes the tempo again and the first half of the melody “c” is played by the right hand (Ex. 35).

Example 35. Heller, “Wohin?” mm. 73–76

Melody “a” is presented again an octave higher with a further transformation occurring at m. 99. Heller varies the melody in many different ways, so that the same shape of melody is never re-introduced. After a cadenza of nineteen bars, the main melody “a” is presented, shared by two hands, while brilliant arpeggios hover above (Ex. 36).

Example 36. Heller, “Wohin?” mm. 145–148

At m. 153, melody “b,” transformed, appears in the left hand, embellished with appoggiaturas

(Ex. 37). As examined above, the arrangement of “Wohin?” by Heller is a liberal transference of the song, in which he exploits its main melody in order to create a virtuosic rendition of

Schubert’s song and assert himself as a serious interpreter of Lieder at the keyboard.

Example 37. Heller, “Wohin?” mm. 153–156

Liszt, Thalberg, and Heller had different arranging styles. Liszt utilized various techniques to express the text, which at times could take him far from his model. Thalberg was faithful to the original, preferring literal transcription. Heller established his unique style by using and altering the fragments of the original. The following chapter will consider these different approaches to the same song by comparing their arrangements.

CHAPTER 4

Comparative Analysis

As contemporaries, Liszt, Thalberg, and Heller shared much common ground. For example, they all were hailed as virtuosi in their time and were open to “new” music, as seen in

Liszt’s tone poems, Thalberg’s preeminence among the dilettantes, and Heller’s role as a correspondent for the Neue Zeitschrift für Musik. On the other hand, they demonstrated different styles of – and attitudes toward – composition and arrangement. In this chapter, comparative analysis based on the features of each composer stated in the previous chapter will be examined.

A. “Adelaide” by Liszt and Thalberg

While Liszt’s version is more vertical with chordal progressions, Thalberg’s version of

“Adelaide” shows the linear flow of music by using sextuplet arpeggios. Both Liszt and Thalberg thicken the texture to strengthen the harmony. Liszt’s “Adelaide” is highly elaborated with virtuosic technique to demonstrate the piano’s potential, and his personal interpretation of the poem is noticeable. Liszt often moves the melody to the lower register when specifically romantic ideas are expressed. For example, at m. 33, he places the melody in the low register with the text, “Im Gefilde der Sterne strahlt dein Bildnis / in the fields of stars, your image shines,” as well as adding the performance directions p subito and espressivo, describing the faint light in the distance (Ex. 38).

Example 38. Liszt, “Adelaide,” mm. 33–35

Subsequently, the “evening whisper” at m. 42 and the “nightingale” at m. 50 are also played one octave lower in the vocal melody line. On the other hand, the melody is placed an octave higher at m. 46 to describe the “bell” sound. He also adds articulations, for example, such as rolling and dotted-slurs to maximize the “bell” effect.

The most significant difference between Liszt’s version and that of Thalberg is the cadenza, which Liszt develops from m. 69 through 123. It is based on the motives that have already appeared in previous passages. First, Liszt uses the same sighing figure (Ex. 39-a, b) which Beethoven used in his piano accompaniment. Then Liszt utilizes the fragment of mm. 42–

45 (Ex. 40-a, b).

Example 39-a, Beethoven, “Adelaide,” m. 65

Example 39-b, Liszt, “Adelaide,” mm. 70–73

Example 40-a, Beethoven, “Adelaide,” mm. 41–46

Example 40-b. Liszt, “Adelaide,” mm. 81–84

He continues to transform the theme in subsequent passages. The cadenza is a combination of virtuosic techniques as well as devices designed to produce orchestral sound effects, which

culminate in mm.107–114, projecting the vocal line in full chords and with chordal arpeggios in the left hand.

In the second part, Liszt inserts an independent staff for the canto. The melody should be taken by both hands. It resembles another scoring for voice and piano, but is, in fact, played only by the piano. For “Adelaide,” upon whom Beethoven fixates in his song, both Liszt and Thalberg elaborate the melody with rolled chords to give a rich sonority (Ex. 41-a, b).

Example 41-a. Thalberg, “Adelaide,” mm. 104–105

Example 41-b. Liszt, “Adelaide,” mm. 158–159

In Liszt’s version, arranged more liberally than that of Thalberg, the last “Adelaide”s are written in trillo and arpeggios building up to the highest point at m. 232, from which the chromatic scale resolves the phrase; however both, Thalberg and Liszt sought ways to make their passages more

effective by the frequent use of various technical devices, such as arpeggio doublings, octaves, and melody embellishments.

B. “Auf dem Wasser zu singen” by Liszt and Heller

Schubert’s song “Auf dem Wasser zu singen” was arranged in a similar style by both

Liszt and Heller, except for Liszt’s more personalized extended conclusion. There are three verses in the original song (Ex. 42) and both composers adopted “registral variation” in this arrangement. In this procedure, the texture usually accumulates in activity and force toward the conclusion.67

Example 42. Schubert, “Auf dem Wasser zu singen,” mm. 1–3

The most significant characteristic of Liszt’s arrangement is thirty-three measures of an extended postlude. Liszt literally transcribed the opening verse; there are no structural changes and no significant additions of newly-composed material except for a few insertions of added harmony. The vocal line is placed one octave below and the featured accompaniment part is played by the right hand (Ex. 43). Heller takes a similar approach for the first verse (Ex. 44).

67 George, “Franz Liszt’s Transcription of Schubert Songs for Solo Pianoforte: A Study of Transcribing and Keyboard Technique,” 82.

Example 43. Liszt, “Auf dem Wasser zu singen,” mm. 9–12

Example 44. Heller, “Auf dem Wasser zu singen,” mm. 9–10

In the second and third verses, Liszt places the melodic line in the middle voice, then moves it to the top voice (Ex. 45).

Example 45. Liszt, “Auf dem Wasser zu singen,” mm. 61–66

Despite the registral variations and the accumulation of texture, Liszt’s arrangement is very faithful to the original. Heller, in the second verse, also puts the melodic line an octave higher than the opening with a slight change in the sixteenth-note accompaniment figure (Ex. 46).

Example 46. Heller, “Auf dem Wasser zu singen,” mm. 45–50

In the third verse, Heller applies a more liberal interpretation of the accompaniment, while placing the melody on the top. Unlike Liszt, Heller gives the descending repeated-note accompaniment figure to the right hand, so the melody and the accompaniment together create sixths with harmonic chords in the left hand (Ex. 47).

Example 47. Heller, “Auf dem Wasser zu singen,” mm. 61–64

He ends the arrangement the same way as the original—unlike Liszt, who concluded with his own “fourth verse.” Liszt’s treatment of the postlude results in an intensification of the original material. Through his use of various technical devices, not employed in the original, such as arpeggios, intervallic leaps, doublings, and broken chords, the dramatic aspect of the work is made even more brilliant.

The comparative analysis of Liszt, Thalberg, and Heller’s song arrangements shows their similarities as well as differences. Liszt excelled in using various virtuosic devices to elaborate the original song. While arranging “Adelaide,” he found himself adding significantly to the original work by inserting sweeping cadenzas and choice timbral effects. Thalberg, on the other hand, was true to the original, allowing with few changes. In “Auf dem Wasser zu singen,” Liszt and Heller had similar ideas on their arrangements of the song. Both arranged the song by shifting the register of the melody, although each approached the details somewhat differently, ultimately producing two sophisticated readings of Schubert’s song.

CONCLUSION

Less than a generation after Franz Schubert revolutionized the Lied, Liszt, Heller, and

Thalberg began arranging art songs for the piano. The main focus of this document has been to examine ways in which these three pianists brought their unique compositional and performance styles to bear on the song literature of the day. Of the three, Liszt was careful to treat the text as a part of his arrangement, by placing it above the music in the score and by supporting his interpretation of the poem with his virtuosic writing. Thalberg, a rival of Liszt, made great efforts to arrange famous opera arias rather than art songs. His arrangements are regarded as literal transcriptions because he rarely changed the original and only condensed the vocal melody into the accompaniment. While transferring the song to the solo piano, Heller embellished the vocal melody with grace notes and neighbor tones; also significant is his use of melodic fragments.

Comparative analysis of selected song arrangements by these composers not only contributed to a better understanding of their styles, but also the diverse needs of the nineteenth-century marketplace, the growing reputation of Schubert, and the tension between virtuosity and his art.

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