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Franz Liszt and the Harp: an Examination of His Lifelong Interactions with Harpists and Transcriptions of Four Solo Piano Compositions for Harp

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Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp Item Type text; Dissertation-Reproduction (electronic) Authors Sheldon, Vanessa Renee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 17:41:47 Link to Item http://hdl.handle.net/10150/282893 FRANZ LISZT AND THE HARP; .4N EXAMINATION OF HIS LIFELONG INTERACTIONS WITH HARPISTS AND TRANSCRIPTIONS OF FOUR SOLO PIANO COMPOSITIONS FOR HARP by Vanessa Renee Sheldon Copyright © Vanessa Renee Sheldon 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTORATE OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNI\'ERSITY OF ARIZONA 2005 UMI Number: 3177532 Copyright 2005 by Sheldon, Vanessa Renee All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3177532 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Vanessa Renee Sheldon Franz Liszt and the Harp: An Examination of His Lifelong entitled Interactions with Harpists and Transcriptions of Four Solo Piano Compositions for Harp and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts / or 'cari;^9l McL^gRlin Date ^ il''\ 1'^ Date ( - HoHfe-Mea Xiao Date lUlML Jay Rosenblatt Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.'I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Carrol McLaughlin Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. Signed 4 TABLE OF CONTENTS LIST OF IVIUSICAL EXAMPLES 6 ABSTRACT., 8 CHAPTER 1 INTRODUCTION A BRIEF BIOGRAPHY OF FRANZ LISZT.,. 9 CH.WER2 EARLY INFLUENCES 14 The Erard Family 14 Erard Harp Manufacture 14 Association with Liszt 17 Harpists Encountered During the Young Liszt's Concert Tours 19 Theodore Labarre 19 The "Infant Lyra" 21 Variations, Op. /" .23 History of Composition 23 Transcription for Harp 28 CHAPTERS VIRTUOSO TIES 34 Elias Parish-Alvars 34 Biography 34 Association with Liszt and the "Three-Handed Technique" 37 John Orlando Parry 41 ''Grande Etude de Paganini No. 4" • 44 History of Composition 44 Transcription for Harp. 48 CHAPTER 4 WEIMAR AND ORCHESTRAL INFLUENCES 54 Jeanne Pohl 54 Biography and Association with Liszt 54 Influence on Liszt's Orchestral Compositions 56 RosaUe Spohr 61 Biography 61 Association with Liszt 63 ''Sonetto 104 del Petrarca " 65 History of Composition 65 Transcription for Harp 73 CHAPTER 5 LATER CONNECTIONS ... 81 Wilhelm Posse 81 Biography 81 Association with Liszt 82 5 TABLE OF CONTENTS - Continued "Valse Oubliee No. i" 87 History of Composition .87 Transcription for Harp 92 CHAPTER 6 CONCLUSION 98 APPENDIX A HARP TRANSCRIPTION OF •'Huit Variations, Op. P.. 101 APPENDIX B HARP TRANSCRIPTION OF ''Grande Etude de Paganini No. ¥"117 APPENDIX C HARP TRANSCRIPTION OF ''Sonetto 104 del Petrarca " 121 APPENDIX D HARP TR.4NSCRIPTI0N OF 'Talse Oubliee No. F 130 REFERENCES 140 6 LIST OF MUSICAL EXAMPLES Example 1: Hiiit Variations, theme 24 Example 2: Variation 3, excerpt. 26 Example 3; Repeated notes, variation 8 27 Example 4: Modulation from A-flat to E major, variation 8 27 Example 5: Ending harmonies, Variation 8. 28 Example 6a: Opening measures of Variation 2, piano original 29 Example 6b: Opening measures of Variation 2, harp transcription 29 Example 7a: Variation 2, m. 15, piano original 29 Example 7b: Variation 2, m. 15, harp transcription 30 Example 8a: Variation 2, m. 5, piano original 30 Example 8b: Variation 2, m. 5, harp transcription 30 Example 9a: Variation 3, m. 20, piano original 31 Example 9b: Variation 3, m. 20, harp transcription 31 Example 10a: Variation 6, m. 9, piano original 32 Example 10b: Variation 6, m. 9, harp transcription 32 Example 11a: Variation 8, mm.12-17, piano original 33 Example lib: Variation 8, mm. 12-17, harp transcription 33 Example 12: Grande Fantaisie on Rossini'sMowe, Op. 58 39 Example 13: Gran Studio adimitazione delMandolino, Op. 84 39 Example 14: Fantasy on Rossini'sMos^ inEgitto 40 Example 15: Concert Study No. 3:Un Sospiro 40 Example 16: Reminiscences de Lucia de Lammermoor. 41 Example 17: Opening measures of first 1840 edition 45 Example 18: Elaboration of triple stop chords, first 1840 edition 45 Example 19: Opening measures of second 1840 edition 46 Example 20: Added melody, second 1840 edition. 47 Example 21: Interrupted final cadence, second 1840 edition 47 Example 22a: Opening measures of 1851 piano edition 49 Example 22b: Opening measures of harp transcription 49 Example 23a: 1851 piano edition, m. 47 50 Example 23b: Harp transcription, m. 47 50 Example 24a: 1851 piano edition, mm. 60-61 50 Example 24b: Harp transcription, mm. 60-61 51 Example 25: 1851 piano edition, mm. 9-10 51 Example 26a: 1851 piano edition, mm. 42-46. 52 Example 26b: Harp transcription, mm. 42-46 52 Example 27a: 1851 piano edition, mm. 72-76 53 Example 27b: Harp transcription, mm. 72-76 53 Example 28: Harp glissando from Mephisto Waltz No. 1 57 Example 29: Harp arpeggios from Les Preludes 58 Example 30: Opening arpeggios from Orpheus 59 Example 31: Contrasting rhythms in Orpheus 59 7 LIST OF MUSICAL EXAMPLES- Continued Example 32: Harp/horn excerpt from the Dante Symphony 60 Example 33: 1847 song version, m. 90 67 Example 34: 1846 piano version, first verse 68 Example 35: 1846 piano version, m, 59 69 Example 36a: 1846 piano version, introduction (excerpt) 69 Example 36b: 1858 piano version, introduction (complete) 70 Example 37: 1858 piano version, final measures 71 Example 38a: 1847 song version, '"In questo statd" 71 Example 38b; 1883 song version, "fn questo statcf 72 Example 39a; 1858 piano version, m. 35 74 Example 39b: Harp transcription, m, 35 74 Example 40a: 1858 piano version, m. 40 74 Example 40b: 1858 piano version, m. 40 75 Example 41a; 1858 piano version, mm. 44-45 75 Example 41b; 1858 piano version, mm. 44-45 76 Example 42a; 1858 piano version, m. 53 76 Example 42b; Harp transcription, m. 53 76 Example 43a: 1858 piano version, mm. 62-63 77 Example 43b: Harp transcription, mm. 62-63 77 Example 44a; 1858 piano version, opening measures 79 Example 44b; Harp transcription, opening measures 79 Example 45a; 1858 piano version, mm. 54-57. 79 Example 45b: Harp transcription, mm. 54-57 80 Example 46; Opening measures of Valse Oubliee No. 1 89 Example 47; Waltz theme, Valse Oubliee No. 1 90 Example 48; Scherzando non legato, Valse Oubliee No. I. 90 Example 49; Octave theme, Valse Oubliee No. 1 91 Example 50: Octave theme transformed, Valse Oubliee No. 1 91 Example 51; Final measures, Valse Oubliee No. 1 92 Example 52a; Opening measures, piano original 92 Example 52b: Opening measures, harp transcription 93 Example 53a; Measures 51-53, piano original 93 Example 53b; Measures 51-53, harp transcription 93 Example 54a: Measures 17-20, harp transcription 94 Example 54b: Measures 124-128, harp transcription 94 Example 55a: Measures 89-91, piano original 95 Example 55b; Meaures 89-91, harp transcription 95 Example 56a: Final measures, piano original 96 Example 56b; Final measures, harp transcription 96 8 ABSTRACT The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the author also offers four of her own transcriptions of Liszt's solo piano compositions, corresponding from each of the four life stages, explaining why these are idiomatic for performance on the harp. This document also examines and explains any changes made from the original to the transcription with the inclusion of musical examples.
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  • Current Review

    Current Review

    Current Review Franz Liszt: Sardanapalo - Mazeppa aud 97.764 EAN: 4022143977649 4022143977649 www.musicweb-international.com (Jim Westhead - 2019.03.28) source: http://www.musicweb-international.com/cl... Has any great composer been so vilified in the half century after his death as Franz Liszt? Ernest Newman’s 1934 biography: The Man Liszt: A Study of the Tragi-Comedy of a Soul Divided Against Itself, says it all in its title. The book itself must establish a world record in anti-hagiography. I have read widely on the life and music of Liszt, and for anyone interested in a thoroughly readable, gripping biography, it is difficult to do better than Alan Walker’s three volume set, published in 1983,1989 and 1996. In it we learn of Liszt the composer, pianist, music teacher, music arranger, organist, philanthropist, author and traveller as well as of his relations with his children, contemporaries (musical and otherwise) and his lovers. However, in it you will not find any discussion of Liszt’s incomplete opera Sardanapolo. This is unsurprising, since Liszt left over one hundred and fifty works and/or components of works unfinished. His finished total amounts to over seven hundred, and very many of these are multi-part works. Pieces by him are still being discovered to this day, as anyone who followed Hyperion’s Complete Piano Music series would know, as supplementary ‘New Discoveries’ discs were added quite soon after the official termination. Now we have an opera, or to be accurate, part of one, and original opera is a genre with which Liszt is not usually associated.