DOCSLIB.ORG

Complete Hungarian Rhapsodies Ebook, Epub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Complete Hungarian Rhapsodies Ebook, Epub COMPLETE HUNGARIAN RHAPSODIES PDF, EPUB, EBOOK Franz Liszt | 224 pages | 01 Nov 1984 | Dover Publications Inc. | 9780486247441 | English | New York, NY, United States Complete Hungarian Rhapsodies PDF Book New York: The University Society , Music Scores Reg. Table of Contents "No. Disc will play perfectly. The lowest-priced item that has been used or worn previously. In Volume 29 there is a table listing the thematic connections between the various works. Plate A. About this product Product Information All 19 Rhapsodies reproduced directly from an authoritative Russian edition. Gutheil , n. Javascript is not enabled in your browser. Download as PDF Printable version. The site is also available in several languages. We do not know the origin of this theme, nor that of the succeeding Allegretto alla zingarese, which is itself alternated with yet another unknown theme—Allegro vivace. The eighth of the set is full of lavish ornamentation and effects simulating the cimbalom. This work was also later issued for orchestra and for piano duet. Performer Pages Martha Goldstein piano. Franz Liszt. As the music gathers momentum it moves to F sharp minor, with a hint of F sharp major. Leslie has played over 12 miles of music from 16, pages which we estimate totals something between 9 and 10 million notes! The Hungarian Rhapsodies remain undisputedly popular today after almost one hundred and fifty years. Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. Piano Method. Product Description Product Details Unrivaled as a virtuoso pianist in his own day — and perhaps still — Franz Liszt was a composer of daring originality. It is printed in the Neue Liszt-Ausgabe. Dover Publications. You may also like. Plate sc , pts. Arranger Jakub Kowalewski. Plate E. Buy It Now. Brand new: Lowest price The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. These files are part of the Orchestra Parts Project. In their original piano form, the Hungarian Rhapsodies are noted for their difficulty Liszt was a virtuoso pianist as well as a composer. Categories : Hungarian Rhapsodies by Franz Liszt compositions compositions compositions Compositions set in Hungary. According to musicologists, the fifth rhapsody is a free arrangement of a Hungarian dance by Jozsef Kossovits who was active around heard by itself, this "Heroic" Elegy Heroide-elegiaque is the printed subtitle is unlike the other rhapsodies. Add to cart. Liszt hat das Thema selbst notiert, ebenso im Jahr das Thema des kurzen zweiten Abschnitts, das allerdings schon in einer Volksliedsammlung erschienen war. Pre-owned: Lowest price The lowest-priced item that has been used or worn previously. Don't show me this message again. No 10 in E major "Preludio" Franz Liszt. Options as a Strategic Investment by Lawrence G. Very enjoyable. At the same time, Liszt incorporated a number of effects unique to the sound of Gypsy bands, especially the pianistic equivalent of the cimbalom. Many later editions change the numbering to correspond to the piano originals. Die Rapsodie hongroise XII ist wesentlich mehr als ein Potpourri, auch wenn sie mit acht deutlich unterscheidbaren Themen die motivisch reichste aller Rhapsodien ist. Complete Hungarian Rhapsodies Writer Rhapsodies ; For piano ; Scores featuring the piano ; For 1 player ; For orchestra arr ; Scores featuring the orchestra arr ; For wind band arr ; For orchestra without strings arr ; Scores featuring wind band arr ; For 4 clarinets arr ; Scores featuring the clarinet arr ; For 4 players arr ; For 2 violins, viola, cello arr ; Scores featuring the violin arr ; Scores featuring the viola arr ; Scores featuring the cello arr ; For violin, piano arr ; For 2 players arr ; Scores featuring the piano arr ; For 2 pianos arr ; For piano 4 hands arr ; Scores featuring the piano 4 hands arr ; For piano arr ; For 1 player arr. Performer Pages Simone Renzi piano. Any Condition Any Condition. Wir kennen den Ursprung dieses Themas nicht, auch nicht den des nachfolgenden Allegretto alla zingarese, das wiederum mit einem weiteren unbekannten Thema—Allegro vivace—abwechselt. Cadenzas by Liszt S. Material from the earlier set of twenty-two pieces is selected to form the present thirteen. Heater Fuel Filter F 4. It consists of an improvisatory slow introduction followed by a main section consisting of four folk-like themes and a recapitulation. No 16 in A minor. Works reprinted by Edwin F. See all 8 - All listings for this product. Das ruhig edle Werk kommt ohne schnellen Abschnitt aus. History, arrangements, etc. No 4 in E flat major. Romantic Sad Sentimental. Add to cart. Category Audio. Creative Commons Attribution-NonCommercial 3. Creative Commons Zero 1. As the music gathers momentum it moves to F sharp minor, with a hint of F sharp major. Franz Kafka Books. Skip to main content. Nothing is known of the titles or composers of any of the melodies, although there is a verbal tradition, passed to the present writer some 27 years ago by Maestro Guido Agosti, who had been told it by Ferruccio Busoni: the little theme first heard at bar 12 in the introduction, and later developed at length in five-bar phrases in the finale, represents a young girl impatient to dance with abandon, but constantly being restrained by her wise grandfather. Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. Most of his Hungarian Rhapsodies are in the sectional slow-fast form of the gypsy dance known as the csardas. Michele Campanella. No 17 in D minor Franz Liszt. Dover Music for Piano Ser. No 13 in A minor. Performers Brent Tucker piano. Unmasked by Andy Ngo , Hardcover No ratings or reviews yet. Appears to be missing the first page of the secondo part page 2. There was not a throb his pulse had ever felt that does not somewhere or other find expression in his music. The piece is all the better for the resultant brevity. This edition features English translations of all headings and footnotes that originally appeared in Russian. New York: E. Published in association with the American Liszt Society, this edition offers all the quality features musicians have long associated with Dover: clear reproduction of musical notation, ample space for analysis, notes, fingerings, etc. He left his native province at the age of nine for the more cosmopolitan cities of Vienna and Paris. Arranger Unknown. Unidentified Collection pp. It is the only one of the first fifteen rhapsodies not based on any earlier Liszt composition, and it is not known from where any of the themes originate. The partial MS of such a work exists, but it is also overlaid with plans for new musical constructions and suggestions for orchestration. In them, however, we find the same contradictions in origin and purpose, the same contrast between serious musicianship and virtuoso exhibitionism, which made Liszt himself so fascinating. No 17 in D minor. Complete Hungarian Rhapsodies Reviews This file is part of the Submission Project. Options as a Strategic Investment by Lawrence G. Stock photo. New other. Naxos Javascript not enabled. Namespaces Article Talk. About this product. In them, however, we find the same contradictions in origin and purpose, the same contrast between serious musicianship and virtuoso exhibitionism, which made Liszt himself so fascinating. New York: E. Editor First edition. Arranger Charles J. The first two were published in the year , nos. The friss theme is a particularly beguiling one, worked up in Liszt's typically virtuosic style. Heater Fuel Filter F 4. Liszt notated the theme himself, as he did the theme of the short second section in , although that theme appeared in a folk-song collection in Performers Jean Laforge piano. At some point he also wrote an extension to the fermata in bar The large scale structure of each was influenced by the verbunkos , a Hungarian dance in several parts, each with a different tempo. Die Rapsodie hongroise I wurde nicht vor begonnen und verwendet Material aus der dritten der Consolations in ihrer ersten Fassung siehe Teil Published in association with the American Liszt Society, this edition offers all the quality features musicians have long associated with Dover: clear reproduction of musical notation, ample space for analysis, notes, fingerings, etc. Paperback Books Franz Kafka. The second theme of this section, with its baroque ornaments, is also unknown outside this Rhapsody. Musical works Later works Transcriptions Lisztomania. Save on Nonfiction Trending price is based on prices over last 90 days. Musikalische Werke. Romantic Sad Sentimental. The first theme returns and the finale is ushered in with a short cadenza. Streams Videos All Posts. Hungarian Fantasy Piano Concerto No. It is printed in the Neue Liszt-Ausgabe. He miraculously recreated on the piano the characteristics of a gypsy band, with its solo violin and the compellingly soft, percussive effect of the cimbalom , the Hungarian zither. Music Scores Reg. The terminus ante quem of the Hungarian Rhapsodies III-XV must be after the abandonment of the Zigeuner-Epos , and so the probable period of composition of these Rhapsodies, which were all published in , is likely to be no earlier than No 3 in B flat major. Plate E. No 4 in E flat major. Complete Hungarian Rhapsodies Read Online The Hungarian Rhapsodies remain undisputedly popular today after almost one hundred and fifty years. No 4 in E flat major Franz Liszt. The last Rhapsody returns to the manner of the earlier ones in its use of published material.
Load more

Recommended publications
  • The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9!
    [Show full text]
  • September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
    September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below).
    [Show full text]
  • A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis.
    [Show full text]
  • Franz Liszt Die Orchesterwerke Im Originalklang
    Franz Liszt Die Orchesterwerke im Originalklang Orchester Wiener Akademie Martin Haselböck The Sound of Weimar Franz Liszt (1811–1886) The Sound of Weimar Liszts Orchesterwerke im Originalklang / The Authentic Sound of Liszt’s Orchestral Works I Eine Sinfonie nach Dantes Divina Commedia S 109 A Symphony to Dante’s Divina Commedia, S 109 1 Inferno 20:49 2 Purgatorio – 16:41 3 Magnifi cat 6:27 4 Evocation à la Chapelle Sixtine 15:09 (Violinsolo / Solo Violin: Ilia Korol) Frauen des Chorus sine nomine / Women of the Chorus sine nomine (Johannes Hiemetsberger Chorleiter / Choir Master) II Eine Faust-Symphonie in drei Charakterbildern S 108 A Faust Symphony in Three Character Sketches, S 108 1 I. Faust 26:59 2 II. Gretchen 17:36 2 3 III. Mephistopheles – IV. Chorus Mysticus 23:45 Steve Davislim Tenor / tenor Männer des Chorus sine nomine / Men of the Chorus sine nomine (Johannes Hiemetsberger Chorleiter / Choir Master) III 1 Les Préludes, S 97 15:35 Sinfonische Dichtung Nr. 3 / Symphonic Poem No. 3 2 Orpheus, S 98 10:27 Sinfonische Dichtung Nr. 4 / Symphonic Poem No. 4 3 „Ce qu’on entend sur la montagne“ (Berg-Symphonie), S 95 30:12 Sinfonische Dichtung Nr. 1 / Symphonic Poem No. 1 IV 1 Hunnenschlacht, S 105 16:25 Sinfonische Dichtung Nr. 11 / Symphonic Poem No. 11 2 Hungaria, S 103 23:07 Sinfonische Dichtung Nr. 9 / Symphonic Poem No. 9 3 Mazeppa, S 100 18:33 Sinfonische Dichtung Nr. 6 / Symphonic Poem No. 6 3 V 1 Tasso. Lamento e trionfo, S 96 20:41 Sinfonische Dichtung Nr.
    [Show full text]
  • Transformation of Themes, Controlled Pianistic Textures, And
    TRANSFORMATION OF THEMES, CONTROLLED PIANISTIC TEXTURES, AND COLORISTIC EFFECTS IN LISZT'S HUNGARIAN RHAPSODIES NOS. 6, 10, AND 12 Silvije Vidovic, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2012 APPROVED: Vladimir Viardo, Major Professor Steven Harlos, Minor Professor Deanna Bush, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies John Murphy, Interim Director of Graduate Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Vidovic, Silvije. Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects in Liszt's Hungarian Rhapsodies Nos. 6, 10, and 12. Doctor of Musical Arts (Performance), August 2012, 32 pp., 32 musical examples, bibliography, 35 titles. Liszt's Hungarian Rhapsodies are uniformly considered highly challenging in terms of technical execution. However, their artistic value is frequently questioned. This dissertation examines the compositional elements that are often overlooked in these virtuoso works, and provides a viewpoint into their interpretative characteristics. Furthermore, it pursues a claim that besides being excellent performance pieces, these works also make an intriguing contribution to Liszt scholarship, and deserve meaningful consideration in terms of their artistic quality. Following the Introduction (Chapter 1), Chapter 2 provides a brief historical perspective of the critical affirmation Liszt the composer encountered from the musical society. It also includes a short background on Liszt's Hungarian Rhapsodies, as well as the general reactions these works evoked from pianists, audiences, and scholars, during the time they were composed to the present day. As the main body of the dissertation, Chapter 3 investigates the three primary compositional concepts found in Rhapsodies Nos.
    [Show full text]
  • Elements of Style Hongrois Within Fantaisie Hongroise, Op. 65, No.1 By
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Elements of Style Hongrois within Fantaisie Hongroise, Op.65, No. 1 by J.K. Mertz Andrew Stroud Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ELEMENTS OF STYLE HONGROIS WITHIN FANTAISIE HONGROISE, OP. 65, NO.1 BY J.K. MERTZ By ANDREW STROUD A doctoral treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2012 Andrew Stroud defended this treatise on June 26th, 2012. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise James Mathes Outside Committee Member Melanie Punter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my wife, mother and father. Without whom, I would fail in life and laughter. iii ACKNOWLEDGEMENTS I would like to thank a few individuals for their support. Firstly, Bruce Holzman, for listening to the continued scratching of strings and never flagging. I must give many thanks to professors Mathes and Punter for agreeing to follow me on this project. I also received wonderful direction from Matanya Ophee and Richard Long, men unsurpassed in their scholarly contributions to the history of the guitar. I owe an unending debt of gratitude to Dr. Jonathan Bellman of the University of Northern Colorado, the country’s foremost scholar of style hongrois, and someone who supplied an absolutely priceless amount of help.
    [Show full text]
  • Cipc-2021-Program-Notes.Pdf
    PROGRAM NOTES First and Second Rounds Written by musicologists Marissa Glynias Moore, PhD, Executive Director of Piano Cleveland (MGM) and Anna M. O’Connell (AMO) Composer Index BACH 03 LISZT 51 BÁRTOK 07 MESSIAEN 57 BEACH 10 MONK 59 BEETHOVEN 12 MOZART 61 BRAHMS 18 RACHMANINOFF 64 CHOPIN 21 RAMEAU 69 CZERNY 29 RAVEL 71 DEBUSSY 31 PROKOFIEV 74 DOHNÁNYI 34 SAINT-SAËNS 77 FALLA 36 SCARLATTI 79 GRANADOS 38 SCHUBERT 82 GUARNIERI 40 SCRIABIN 84 HAMELIN 42 STRAVINSKY 87 HANDEL 44 TANEYEV 90 HAYDN 46 TCHAIKOVSKY/FEINBERG 92 LIEBERMANN 49 VINE 94 2 2021 CLEVELAND INTERNATIONAL PIANO COMPETITION / PROGRAM NOTES he German composer Johann Sebastian Bach was one of a massive musical family of Bachs whose musical prowess stretched over two Johann Thundred years. J.S. Bach became a musician, earning the coveted role as Thomaskantor (the cantor/music director) for the Lutheran church Sebastian of St. Thomas in Leipzig. At St. Thomas, Bach composed cantatas for just about every major church holiday, featuring a variety of different voice types Bach and instruments, and from which his famed chorales are sung to this day in churches and choral productions. As an organist, he was well known for his ability to improvise extensively on hymn (chorale) tunes, and for reharmonizing (1685-1750) older melodies to fit his Baroque aesthetic. Many of these tunes also remain recognizable in church hymnals. Just as his chorales serve as a basis in composition technique for young musicians today, his collection of keyboard works entitled The Well-Tempered Clavier serves even now as an introduction to preludes and fugues for students of the piano.
    [Show full text]
  • Liszt and Mahler in the Postmodern Filmic Visions of Ken Russell
    Interdisciplinary Studies in Musicology 13,2013 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2013 RYSZARD DANIEL GO LIANE K Department of Musicology, Adam Mickiewicz University, Poznań Liszt and Mahler in the postmodern filmic visions of Ken Russell ABSTRACT : The British film and television director Ken Russell is esteemed principally for creat­ ing filmic biographies of composers of classical music. In the 70s, he shot his most original films on musical subjects: fictionalised, highly individual composer biographies of Mahler (Mahler) and Liszt (Lisztomania), which are the subject of the article. Neither of the films is in the least a realistic docu­ mentary biography, since Russell’s principal intention was to place historical biographical facts in cultural contexts that were different from the times in which Mahler and Liszt lived and worked. This gave rise to a characteristically postmodern collision of different narrative and expressive categories. Russell’s pictures remain quite specific commercial works, exceptional tragifarces, in which the de­ piction of serious problems is at once accompanied by their subjection to grotesque deformation and the demonstration of their absurdities or denaturalisation. The approach proposed by this British director, in which serious issues are accompanied by elements of triteness, is a hallmark of his style. The director’s musical interests are reflected by the fundamental role of music in the structure of his cinematographic works. The choice of musical works also denotes a kind of aesthetic choice on the director’s part, especially when the composers’ biography comes into play. KEYWORDS: Ken Russell, Gustav Mahler, Franz Liszt, film, postmodern 1. Ken Russell - outline biography The British film and television director Ken Russell, who died on 27 November 2011 (b.
    [Show full text]
  • A Performance Guide to Liszt's 12 Transcendental Etudes, S
    A Performance Guide to Liszt’s 12 Transcendental Etudes, S. 139 By Han Wang Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Steven Spooner Michael Kirkendoll Steve Leisring Ketty Wong James Moreno Date Defended: August 30, 2018 The dissertation committee for Han Wang certifies that this is the approved version of the following dissertation: A Performance Guide to Liszt’s 12 Transcendental Etudes, S. 139 Chair: Steven Spooner Date Approved: August 30, 2018 ii Abstract Many of Franz Liszt’s piano works are popular and played frequently in concerts and competitions. Liszt’s 12 transcendental Etudes are among his most famous and representative piano creations, which greatly challenge pianists’ skills, physical strength and comprehensive understanding of the music. This document consists of three chapters: the first chapter describes the background of this cycle together with the background of Liszt and relevant composers, such as his teacher Carl Czerny and his admirer Sergei Lyapunov. The second chapter is the core of this document, in which each of the twelve etudes has been analyzed regarding compositionally and pedagogically, indicating what techniques Liszt used and how to solve technical difficulties. The third chapter contains two parts: a comparison of a couple of different recordings, so that readers will know the characteristics of each pianist I mentioned in the research and what they need to learn from their recordings, and at last, a brief summary at the end of this chapter is made, which restates the technical difficulties of the cycle and suggests a reasonable arrangement on practicing.
    [Show full text]
  • LISZT for TWO
    � DDD Absolutely Digital CDR 90000 052 LISZT for TWO HUNGARIAN RHAPSODIES FOR PIANO FOUR-HANDS 1 No. 1 in F Minor (11:24) 2 No. 2 in C# Minor (10:13) 3 No. 3 in D Major (8:02) 4 No. 4 in D Minor (9:53) 5 No. 5 in E Minor (8:46) 6 No. 6 in Eb Major, �Carnival at Pest� (11:02) 7 MEPHISTO WALTZ FOR TWO PIANOS (11:18) Georgia & Louise Mangos TT: (71:25) Cedille Records is a trademark of The Chicago Classical Recording Foun- dation, a not-for-profit foundation devoted to promoting the finest musi- cians and ensembles in the Chicago area. The Chicago Classical Record- ing Foundation�s activities are supported in part by contributions and grants from LISZT'S HUNGARIAN RHAPSODIES & MEPHISTO WALTZ notes by Henry Fogel When Franz Liszt composed the first of his their exceptional melodic invention, unique nineteen Hungarian Rhapsodies (for solo harmonic language, and shimmering colors. piano) in 1846, he was convinced that he The Rhapsodies are marked by their vari- was basing them on authentic Hungarian folk ety of moods, within each work, and from material as played to him by gypsies located piece to piece in the set. They are virtuoso in Hungary. The real truth became clear in showpieces; music that cannot succeed if the 1906, when Bart� and Kod ly published the performer lacks flair. But flair and technique results of their trips collecting genuine Hun- alone will not suffice. An understanding of garian folk music. What Liszt actually trans- keyboard color and (always with Liszt) its rela- formed in his Rhapsodies were commercial, tionship to orchestral color is key in perform- composed Hungarian light music that the gyp- ing these works, as is an understanding of sies had transformed into their own unique the architecture of each one.
    [Show full text]
  • The Mystery of the Seventeenth Hungarian Rhapsody
    City Research Online City, University of London Institutional Repository Citation: Loya, S. (2015). The Mystery of the Seventeenth Hungarian Rhapsody. Quaderni dell’Instituto Liszt, 15, pp. 107-146. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/14153/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Mystery of the Seventeenth Hungarian Rhapsody No. 17 of Liszt’s much celebrated and denigrated Rhapsodies hongroises is one of those works that has the dubious distinction of being hidden in plain sight. It was composed in 1884 and Liszt lived to see it published both in Paris (Le Figaro, 1885) and Budapest (Táborszky & Parsch, 1886). It was republished in several editions, including two respected critical ones (FLMW III/12, 1926 and NLA I/4, 1973). But the work itself received scant scholarly attention.
    [Show full text]
  • A Study of the Personality of Franz Liszt with Special
    · ~ I (; A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL REFERENCE TO THE CONTRADICTIONS IN HIS NATURE Submitted for the Degree of MASTER OF MUSIC Rhodes University by BERYL EILEEN ENSOR-SMITH January 1984 (ii} CONTENTS Chapter I Background Page 1 CAREER CONFLICTS Chapter II Pianist/Composer Page 17 Chapter III Showman/Serious Musician Page 33 PERSONALITY CONFLICTS Chapter IV Ambiguity in Liszt's Relationships - Personal and Spiritual Page 77 Chapter V Finally- Resignation ... Dogged Perseverance . .. Hopeful Optimism Page 116 ----oooOooo---- (iii) ILLUSTRATIONS Liszt, the Child At the end of Chapter I Liszt, the Young Man At the end of Chapter II Liszt, the performer At the end of Chapter III Liszt, Strength or Arrogance? At the end of Chapter IV L'Abbe Liszt Liszt, Growing Older Liszt, the Old Man At the end of Chapter V Liszt, from the last photographs Liszt . .. The End ----oooOooo---- A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL r~FERENCE TO THE CONTRADICTIONS IN HIS NATURE Chapter I BACKGROUND "The man who appears unable to find peace there can be no doubt that we have here to deal with the extraordinary, multiply-moved mind as well as with a mind influencing others. His own life is to be found in his music." (Robert Schumann 19.4) Even the birth of Franz Liszt was one of duality - he was a child of the borderline between Austria and Hungary. His birthplace, even though near Vienna, was on the confines of the civilized world and not far removed from the dominions of the Turk.
    [Show full text]