0 0
EIL
SZO
LO
2
VINV
WSVI AO I1
ISH3
AIN
1I
UTAS Conservatorittni of Music
Virtuosity in Piano Works of Franz Liszt
in the Weimar Period:
The Final Versions of Transcendental and Paganini Studies
by
Seon Jeong Kang
Submitted in partial fulfilment of the requirements for the Degree of
Master of Music (by coursework)
University of Tasmania (November, 2005)
TABLE OF CONTENTS
I. INTRODUCTION 1
H. THE VIRTUOSITY AND THE PIANO IN THE NINETEENTH CENTURY
1. Virtuosity 3
2. Development of the Pianoforte 4
3. Piano technique 6
III. FRANZ LISZT 11
IV. LISZT'S PIANO MUSIC 16
1. Liszt's Musical Background 18
2. General musical features
3. Works of the Weimar Years 23
a. Transcendental Etudes
b. Paganini Etudes 35
V. CONCLUSION 38
BIBLIOGRAPHY 40
I. INTRODUCTION
Regardless of many styles, ideas, and trends in the history of music, which have existed
so far, only some composers and performers have been known world-wide and will
continue to be recognized by future generations. Franz Liszt is one of them and one of
the representative musicians, both as a pianist and a composer, of the Romantic Era.
Liszt was a true romantic. Liszt's music resembles his romantic and dramatic life' and he
was the most distinguished virtuoso pianist in the Romantic Era, as a composer, he left
many virtuosic works, especially for piano solo. There is no doubt that hundreds of his
piano compositions were written so that he could give performances by himself. Liszt
was the incomparable virtuoso of his time and is still regarded as a legend. However, not
all his compositions exhibit technically amazing or stunning showmanship as some critics
would Claim about his music. His works for solo piano include lyrical pieces with his
own particular style or in styles influenced by Chopin and other contemporaries. 2 He
developed a rich harmonic vocabulary, which was called for in his religious works as
well as in other works.
This thesis will examine Liszt's virtuosity focusing on selected compositions written
during his Weimar period, which make him the greatest master of piano music in the
'John Gillespie, Five Centuries of Keyboard Music: An Historical Survey of Music for Harpsichord and Piano (Belmont: Wadsworth Publish Co., 1965), 237. 'John Ogdon, "The Romantic Tradition." in Keyboard Music, ed. Denis Matthews (New York: Praeger Publishers, 1972).
Romantic Era, and, which remain even today, a controversial topic. It will begin with an
examination of the piano itself and virtuosity in the nineteenth century, in order to
provide a historical context for Liszt and his keyboard technique. It will then move on to
discuss Liszt's musicality and the background to his compositions. Finally, this thesis
will draw upon the information about Liszt's musical virtuosity and the historical
development of new piano techniques through analysis of key pieces from Liszt's
Weimar period. These pieces are the third version of Transcendental Etudes No. 10
Allegro agitato molto as studies; the second version of La Campanella, Paganini Etudes
No. 2 as studies and transcriptions. These pieces will be analysed firstly, to show that
Liszt's virtuosity and command of technique were unique and secondly that he was
successful in expressing the sound and texture of orchestral music through the medium of
the piano, which was one of his chief ambitions.
IL THE VIRTUOSITY AND THE PIANO IN THE NINETEENTH CENTURY
1. Virtuosity
First of all, it is important to know about the musical features, trends and virtuosity of the
nineteenth century. The aesthetic viewpoint of Romanticism placed emphasis on the
expression of the artists' own feelings and emotions. 3 Since the eighteenth century,
public performance has become more popular among musicians and they have placed
more value and effort on performance than on composition. The concert however, also
required uniqueness and virtuosity from musicians, as they sought to impress their
audiences and maintain their reputations. Therefore, much technically challenging and
virtuosic music was composed with the intention of conveying deep emotional expression
to audience. Famous items selected Irom opera and popular lieder were transcribed for
solo piano, some of these being simple and others beinL2, very elaborate and virtuosic.
Since highly advanced technical skills became an important element of playing,
musicians paid attention to piano teaching method and performance technique. A well-
known collection of studies entitled Grades ad Parnasszun (1817-1820) by Clementi and
many studies for the improvement of technique composed by Czerny and other
contemporaries were the fruit of this period. 4 Also, many studies which were actually
concert pieces were continuously introduced by Chopin and Liszt. In particular, the
3 Frank Eugene Kirby, A Short History of Keyboard Music (New York: The Free Press, 1966), 299.
4 299-301.
virtuosity of Liszt was reported as "not an outgrowth, but an indispensable element of
music."5
2. Development of the Pianoforte
The pianoforte has been developed since Cristofori's first model was invented in 1709.
Particularly in the first half of nineteenth century, there were several developments in the
construction of the pianoforte, including Broadwood's iron wire, Babcock's metal-frame
piano (1825) and Pape's felt hammers (1826) and these inventions led to the development
of a range of new technical and expressive possibilities. Liszt, in particular, was inspired
by Erard's 'double-escapement mechanism', invented in 1821. The 'double-escapement
mechanism'<Fig. 1> allowed the hammer of a piano to quickly return to the string when
a note was repeated. °
This made it possible to have quicker and subtler note repetitions, and produced a more
rapid sound, thus facilitating the spread of virtuosity in the nineteenth century by
virtuosos such as Thalberg and Liszt. The possibilities for virtuosity opened up by the
'double-escapement mechanism' inspired Liszt to compose and perform his
Transcendental Etudes] These Etudes contain fast passages, impressively showy and
5 Owen Jander, "Virtuoso." in The New Grove Dictionary of Music and Musicians, Second Edition, ed. Stanley Sadie (London: Macmillan Publishers Inc., 2001), vol.26, 789. 6 Kim Yong Hwan, "The Development of Piano Manufacture Technique and the Influence," Music and Korea, Winter 2003, 365-392, available from <http://www.musicology.co.kr.>(accessed 25 September 2005). 7 Gillespie, 13.
4
rapid lingering, and require the pianist to have a high standard of practical experience and
performance technique.<Ex. 1> Thus, the development of the piano was influenced by
performance technique, and the perforthers needed more advanced techniques as new
piano mechanism appeared and as audience expectations increased.
<Fig. 1> Erard's double escapement action of 1822 8
1 Key 2 Intermediate lever 3 Repetition lever 4 Hopper or escapement 5 Hopper spur 6 Escapement button 7 Hammer butt 8 Hammer head 9 Check
10 Shank of hammer check
11 Hammer rest 12 Hammer rail 13 'T' of the double-escapement 14 Screw to regulate the double-
escapement 15 Screw to regulate the arc des-
cribed by the hammer 16 String 17 Damper 18 Pedal spring
s Ernest Closson. History of the Piano. Edited and revised by Robin Golding (London: Elek Books Ltd., 1974), 136.
<Ex. 1>
a. Transcendental Etudes No. 4, "Mazeppa" (1851) mm. 82- 84
II canto espressivo ed a
assionato assai I I
AIMPAIIIMMIIM•111100•MINIMM IMIMMIM •M1.111•IMPMEAMIII.M.IMI•MB V .1111171■■•■• MINIIIMMIMMSYMIMIMMEW MIIMP211=MIIMBNIMAM.M .M.MollMMIN I f.1_—
1
••■•
ENV AIIIP■MP JIMMIIIIINIM111•11111.■ ow l■ Wirt ill■ ,MI um me Imo ■ IIN ■ INNE■ ■I ira EMNII• AM =EMMEN MI IMINNIIIMINIC72 , mol........ #
NIAMMOMIM 1.:1•11111.111• ■■■■=111111•1•111.MMIN NM VI•11111111MINIM ■11•■ •1111111111111•1 1:17 MR•NIPMPI■11111UP•••■•••• MIMMAMIMMI:4111...r.K.INL.M_M_Mr. V. VI
. .L.W_ 1111.4■47".1•_.MAIIIL.M.C.W...CMWME_. vallIal.11/P.M.M.111.MM.41M4ii•MINIM. • P . ,
• . , , ,
*
*
b. 'Transcendental Etudes No. 5, "Feux follets" (1851) mm. 32 - 34
V .11111VIIMM..M.N.M•IVEI J■ A.M.,■••MrIMMM■MIM"V•010.1.1M.IMM.V1111 118..I.MIMIIMrAMMIrll' MM /111111.MIM.MM ft.,2•M■1MMIIIIIMIIIIMIIMM111111111111111111MIMMEMIMIII••••••• ■••■•■■■ 111-7 MEI" MMIINIMM.11•1111111V
MI MM AM M=M.M•1■1M.MIMANIIIMINIMMIBMININIMIIIIIMI NNIMMINI■=111•VAMMI■111111=11111 ----IIII
_ _11111•11MMINIII — — —M. _ _MI -- --M
• III 1:I•1
141 V poco apoco 0m8.
v_ Mr1.1411101■ 111 ■IMMIiill
1•14■■■ II 1171111•C MIL LI" /11.11111 II SwF (2•UNMMII■ JIM NIV■71111 IIII.M. EMI
INUMM M.MINI 111•11•1•111M•f.MMAMMEILIM.G.M.g/..7.LAIN
M.MIIPM111MM115 M2MNI IMMINOMM.M., /7„,./. 11.--.-- MP' V.I■P MIN
3. Piano technique
Until Liszt's time, the pure finger action was normally required for keyboard technique.
<Ex. 2> This technique upholds the classical keyboard technique for performance on the
clavichord and the harpsichord. In principle this technique aims to minimize movement
5 4
3 2 5
.1
1 3 ----- ww•■•■•••■ CP' MOM. ammus..... fw.mrogamva. =MENOMONIE APP., •
///•■•11111M /, • /ANIM IIMMINNIIIIMMILIMMIELAMM.1 /■1=111111LIANINIIPT MNSINC1 'MINIMS) I
11111
8
■■•■ ••11111
1111M11=1/
1/^ '
3
g=or
41
031111%111•71111M1RIAIEta 11111.t widmum race
5 2 •1 1J A.MINNO
12
6 1 . 2
3 2 3 5 4
• 2 •
4 1 3 1 2 1 2 :i 1 5 2 3 1 3
2 4 1 3 2 5 2
of the hands and to play the keyboard only with 'fingers and wrists. 9 A number of
composers such as Muzio Clementi (1752-1837), Johann Baptist Cramer (1771-1858),
Johann Nepomuk Hummel (1778-1857) Friedrich Kalkbrenner (1785-1849) and Carl
Czemy (1791-1857) contributed to establish this technique. i°
<Ex. 7>
a. Muzio Clementi's Gradus ad Parnassinn: Ex. 68. (1817-1820) mm. 1 - 4
EMINIMI1 WM! AllIllaMIMIIIIMIMMIIIIMIMEMSIN=NmomMINIII ■•••■—•MIS■MmIMM I EMMEIIMINIIIIIIIMMMIMIIAIMMINCIIIIMINIMICIIIIIMINIIC:/mM 1/.1111111KOIM INAII■LAIMINIMMIIIIIIIIIIIMINNIMIIMICIMIIIIIIIMMINIMMINININIMIN ILIMININIMMENIIIIIIMIMMENSMIIM 1111 0111S .0.El .N.M1 WIL•=11 I suidillillIII4414Piim■ lir-w ....-. Air-. 1■.......luma■......1.-. sum MIP."/ .MSW SIVW .M..NIMM J16..IW Alb.aVE /WM= MIT MISAMIMIIIMAIIMININWIMIC•IIIIIMIWNIII/A SIN.f AVMS AIP•Nt AWN 11311MCIAINIM•MC1111.4111 MINNE/11111110. ■111
Ex. G8.
-0"
"Al OrMISM ILMIC:111M umvomm IlmN!
•CMCIIMININEW-1•11 11r1IINC/"IMI WACNIII= ■■••IM ARAN! 1116./M ASAMVMS iummOMMUNMSNMINONII/AMMI IIMMINIMMN■-imm
. AININI.111111 MolIV MAI" AC
IN ISM •MW MOM AMC MAINIMI =WA=
b. Czemy's School of11w Virtuoso., Op. 365. mm.1 - 3
Allegro. (J = 92.)
- 3
Play each repeat 12 times.
_ .. 111111r/ny111 44 . 11111111W411.al Mal I .11•117 ' saw. a 1111111111111MINNO II /••1112111/ Em Ammummi..3 WM
• I •11111•1111-4:1•181-MMIIIIMILfil.411■1, 111111111INIMM=IMB 111114MIIIIIMMIIMI I IIIM:INIR:INIMW•MIM=INMIll..A1=1 =11P1IIIIMMINNWSNM/111V.11•1•=1=1111 I corionsim.mmolim■Emmuumfir /11•4111•MInINIMINNIMS A.MM1111,11111M
-----11CAMIIIIITIE4 111•mwon.
•
A•ANIIP.MIIIIIM.:4 iLawir-
, mum IOW MIME. •Al/ A= _,_ imILWILIII•AMIPIII EN ■•■•=1/71171.-~C"C ASSMINIM..■111M-1 AVM f-MNI tet:me. :1•1••■11111M•011•10=1".111=1111111=MA LIMIMMALANTI ///MMEIMISCIMN` - AMIN •11111111111—__IIINAt Ar■11•••1111111CIIMINIIMIIIIMMILAINIPMP7111MIK.AIMIM /V 111..ThINIMIll V /••MM/
UMW ANNINNIM 111111•11•11M
IMIVAINIMIIIIIMINIMMIIIIMIP=MIMMV...- ••
_ MI :4 /AM 11^ SMIIIMMIMINIINCOW J•MENIIN,IIIIM
•
29.
3 2 4 . • ToT 4 3 4.
1 32 4 2
9 Son, Jeon, Ee, Piano Playing and Teaching (Seoul: Eumag Chunchu Publishing Co., 1986), 65. 1() Gillespie, 248-256, ; Kirby, 301.
7
The evolution of the piano, which led to its greater strength, bigger sound and wider
dynamic range, allowed a richer variety of pianistic textures." Therefore, new
techniques were required. In the early nineteenth century, a number of great composers
such as Chopin, Schumann, Mendelssohn were born. The foundations of piano technique
were laid by these pioneers whose studies are still essential today. I2 Liszt did more to
develop piano technique than any of his predecessors or contemporaries, with the
possible exception of his teacher Carl Czerny." The contribution of Chopin is also
considered vital for the establishment of the new piano technique especially with the
extreme pianism to be found in his etudes. However, Liszt's contribution to the
development of piano technique is immense.
Liszt's compositions abound in the more obvious technical devices, such as octave
passml.es or scales in thirds. His devices are used to emphasize melodic line, to
accompany melody or simply to add bravura. F . 3> Chromatic progressions by octaves
and massive chords appear prominently along with trills, double trills. and all kinds of
ornamentation." Also. in order. to achieve an orchestral sound from the piano. Liszt
expanded the range of dynamics and there was no restriction to the use of arms and even
body. Liszt opened up the modern piano technique through his unique technique, which
was to relax the shoulders, to place to the hands quite far from the keyboard and to allow
II Alan Walker, "Liszt, Franz." in The New Grove Dictionary of Music and Musicians, Second Edition, ed. Stanley Sadie (London: Macmillan Publishers Inc., 2001), vol.14, 765 12 Peter Cooper, Style in Piano Playing (London: John Calder Ltd., 1975), 126.
Gillespie, 238. ; The studies by Czerny are still regarded as one of the important method to achieve keyboard technique. 14 Ibid.
4 2
2 2 2 2 2 22 2 4 4 4 4 4 4 4 44
the arms to remain flexible. I) - It is a completely different technique from "the fetters of
the quiet hand, stiff linger school." I6
<Ex. 3>
a. Valse de Popera Faust de Gottnod (1861) mm. 381 - 386
• I
,m:114•Caisa EN iMiaii 432
MII■1■I•11•1=6=Wirii■m■ 432 --
AwiltUrnaMMr Moi Gi■ammaariir■ ranil lmor asini■ /NW /1111111•4111
m' ai AV MW Ea.... A JIIMIIIIIIIIIIII■ANIMI•1111111■111.101.dinassm.w . .
.
um.71I
"MEI MO
0 • i .
• 4)...ntrir.'■•""... .....=....- .1••••111 —-11■... ■MIIIIMMIErMINIIrl■ MI1111111111•1111•1.1
AM.
T. 3
3 T.
b. Grandes Eludes de Paganini No. 6. Var. 6 ( 1 8 5 I) mm. 1 - 4
15 Park Young Soo, The Great Pianists and Their Technique (Jaesoon Publishing Co., 1995), 259.
' 6 Reginald R. Gerig, Famous Pianists and Their Technique (Washington: Robert B. Luce, Inc., 1974), 180.
8 " 41-
1
•
" - women. bliMMENIBIN W llt; ...111111111=all If-7W
"NM ••••1111•=1••••1111•111•MHIBP!, .01MUIN • MOW 101111PPII•MIIIMI■IMIN MUNI IMI•1/•••1111/P•
accelerando' 6 5 1
1 c. Hungarian Rhapsody No. 2 (1847) mm. 82.- 84
(octave id lib.)
414 41-4404 4 • ,
NW
NW WAINI•IM:
Ariont: Nommesimaimommismi ummalmmi Wr1MEIN= __no _____ • •■.1111,W•MENRI•1•111111•n•IIWMIMINM••11 ••=1•11511 1111= 1212•4=1= =11=MIMINIMIS MMMMMM •111•111 1•111111M•IMM__
•1•WIINSM ===== IMI•MIIIMMEMPIMIMIENFINIIONIMM
1111116161M1111111111111111111111MilitiMI um miniMilli
IIIIIIIIMETINMEW IIIIMP""' - • . :-.7 r2,14w,
= 1:::._
— pulp PEPPIPPII - Les`'''
1
1 0
FRANZ LISZT
Franz Liszt was born in 1811 in Raiding; Hungary. Liszt's father Adam Liszt was a clerk
of Prince Esterhazy and an amateur cellist. Adam gave his son Franz the first piano
lessons. Franz gave his first public performance at the age of nine and this gifted young
child had financial support from Counts Amaden and Zapary for his further study. The
Liszt family moved to Vienna in 1821. Adam looked for the best teachers for his son and
eventually Franz studied piano with Czerny and composition with Salieri. By the
following year he had already mastered keyboard technique and had given his -firq-4
concert. He also had the chance to publish his first composition, as one of the fifty
variations on a theme of Diabelli commissioned by the composer, who was also the
publisher.<E.x. 4>
<Ex:4> 1/(111(11 %OH 017 a waltz h Diabelli (1822)
a. The original theme. mm . 1 - 16
Vivace
r, ,■ NIMMMON• MNIMINIMIIMMON•1••••■•■ ••••••••■•••■■•
1■1.■1" OM. —IT 'EMI! 1115 111 11211MI r
16
111.ffaram NIP Al wiEwsw■malm mmo Amon Noment■ .mmim
immmium
b. Liszt's variation (Variation 24 from Diabelli's "Patriotic Antnthology") mm. 1 - 16
The Liszt family moved to Paris in 18 -23 and until 1827, before Adam's death, Franz
travelled Europe as a concert pianist. During the tour he also composed some music such
as variations or bravuras, which showed Off his brilliant technique. But the compositions
in this period are hardly performed or even mentioned because most of them focus on
finger movement reminiscent of Czerny exercises so that adolescent Liszt could show off
his prodigious piano technique.<Ex. 5> For a few years after Adam Liszt's death, Franz
Liszt was not active as a performer or composer; instead, he taught pupils and
I 2
1 1
1 I t
I 1 1
1 1
1
strengthened his mind by becoming absorbed in literature, such as the writings of Sainte-
Beuve, Hugo and Balzac.
<Ex. 5> Allegro di bravura (1824) mm. 8 - 19
IL3 3P17P11111111111KOMPACIIII 1.1111.111111111. Anil . F........••••• f..1.4•MY411119. / 0NV MUM •.0.11111•1111111QINIMMINIII ........-............... -
----u
ow:
' F. 1 ..■11-WM•7•1
_ • im
con do
LI_ • -el-
e
_ 6 ... ..
-.P- 'I
if lore ii
NU io,MININVA IMO NIIININE •. IINIMI -WIWI EMPIINT‘l •4110/11•11 • •,4!
, IIII=I• .11, • InAll■IIIMII.M/
..11■1■-•■•■ MO
1111119119911 =Mr.
MN IMMINO119= 91•11111111119111 11==9111111•11FIN Mr111111^111111•IIMUIMIONI=MINIIIIIIIIIIIII .9' YOIM11.41M...11119•9 sir mosims• wow EMMY .4•1119111•111 :.,9m999.
v
Living in Paris. which was a cultural centre at that time, greatly affected Liszt. He
became acquainted with many musicians. writers and poets, including Hector Berlioz
(1803-1869). Frederic Chopin (1810-1849). Alkan (Charles Henri Valentin IVIorhan ,, e,.
1813-1888), Alphonse de Lamartine(1790-1869), Victor Hugo(1802-1885), Heinrich
Heine (1797-1856). The most important musicians who influenced Liszt were Nicol°
Paganini (1782-1840), Berlioz and Chopin. In particular, Paganini gave the young Liszt
desire to be "Paganini of the piano" and Liszt became so. Even Liszt influenced the
course of musical history more than Paganini had done. Liszt's masterpieces, the
Transcendental Etudes and Paganini Etudes are strongly inspired by Paganini and his
virtuosity. Although the first version of the Transcendental Etudes were already
tr-
composed before Liszt heard of Paganini. Liszt revised them to very virtuosic. But they
were nearly unplayable at that time. Many of the virtuosic passages which predominate
in his works date from that period.
Liszt spent the years from 1839 to 1847 as an active concert pianist. Even though he
was very busy to travel over the Europe to give performances, "the king of the piano" did
not stop to compose and he made sketches of the works which were to be completed later
and wrote many transcriptions, mainly fantasias based on opertic works. Unfortunately,
most of them have been forgotten. I7 Because they were mostly to show off his brilliant.'
pianism. Meanwhile, he became to be concerned about Hungarian music and gypsy
music, his native country in this period, he left Ungarische Nalionahnelodien and though
he did not complete in that time, but he began to Write Hungarian Rhapsodies.
However, in the be;__,!inninii, of the "Ganzzeit". Liszt brought sensational innovation in the
performance-stage. Until his time, the music concerts were usually given by a number of
performers, who play with music. But his magnetic personality and dynamic pianism
established the precedent of the solo performer in a way that has not been emulated
since.' 8 In 1840 at a London concert, Liszt appeared himself alone in the concert,
without music. That was the first time to use this term "recital" by Liszt himself. He
became an innovetor of stage manner as the first performer to play entirely from memory
and to make solo repertoire in a concert.
17 Gillespie, 237-8. Cooper, 41.
14
Liszt gave his last recital in Elizabetgrad in 1847 at the zenith of his fame. He continued
to give performances after the official retirement but he did not accept payment for
them. ° He settled down in Weimar and worked as a musical director and a conductor.
He did not need to travel everywhere, so he could focus on producting music. Liszt left
many of master pieces in this period. In 1861, Liszt became Abbe Liszt. Since he took
miner orders, Ile merely worked as a musician. But after 1869 until his death in 1866, he
came back to the music career, and continued to teach and compose. The works in this
period are mostly religious and pre-Impressionism character pieces, which are simple and
the musical depth are preferred than virtuosity.
iv Kirby, 302.
t 2) 11) -Kllegro vivace (quasi presto )
(1) (21 (:e 14)
712 ----
--- --- -- - AO' Mr"0•••■■•••111111"1■11:7:TEEMPrilr, 1.1110^=•• 4074.114'' :et 11P
1
IV. LISZT'S PIANO MUSIC
Liszt composed about four hundred pieces of piano solo music including original works
and arrangements. These works can be divided into three parts; first, technical and
demanding virtuosic works, second, lyrical and harmonic character pieces, and third,
arrangements such as paraphrases, operatic and instrumental transcriptions.<Ex. 6>
<Ex. 6>
a. Mephisto Waltz No. I (1859-60) mm. 1 - 29
A i
L-_7-_-_,1/4----..17.7-2•0\77-4.1d----- 'Air a -----„, 1
.. .
...smorumumormi
ti '
P .............x= IMINIE=Ifa=1111W1.1 a IIIIr71
MININIIIIIIINIM
ti lt
=WW1
1; A
•
ma, -fr. .11 1 it-0 " III- A i
._ g 1 1
am :FA= 411L ppl -----0 A 40 =dm w-w-mm-..-mr-mor-wrop-m■-=c6=1 ........ ......6.................. _ • NO or. ..... 1.-
1
A I A,
Un poco pill mosso I m■ -iff-imir:
BY X/ 1...A= ••ILIdOW .
.- .. _ VIM MMEP.111•11r WM •■•• F./T=1W 101■9•1=111.•Mr W•
.- MEI NNW" Mir IFV"
M In i -.111
• 10.111111 I MUM V/1/Y MI DT WI 2.
• 11■111r-W■ MAW •Wi.
° cantando espressivo -dr .!------- _ _ _ \ _
....... It
.11R. — It
II
.- 1-
..._
41-it .....
MM. / •11•1=1M111•013 W-.•••••••••11111211W MINIM NO • Mir/W.%/MW•1••• NM &I=
WAI011W 1"•=1 WI•3 a I' jrg ‘ 'lli lr WFANNiamr: a or -..1 I■ -•W II Mr.7.01• •II-.111=
IIM110•1111•• IINNIIIIIII/ IMMUNE=
* *
/112:7•1.1•■=1:1J/NNEWMIANI MI•■••••"--..01•1•1•1•111■0••• ■•••••=1 Sul r Mummonsrupr sar-nau_mmammIE NE AIMICNOr
•F••••Jil :31■•• I ■=1/MINIU W." .MMI W.7••••i01 .■1 11MI• I •110■1011■4:••■ W71 10601MIM .•M•WIEMMIIMIIMAN00■—
\ ■••.-.•• *
MEM h = .. - ---.. imiT' .
1:--gr r---f- • mm or- _
ar an
0 IL
2 ... — = —
1 0
A TIM
2 • 413 i ■
■■,___________ ... ,-,t.. 0 ..0111■W Mr
_TT- _r7-- *
Schmerz, do meine Welt, in ti er inh le - - he, mein Him n - ieel
. ".
-1;t1,- --4a- • L • - -i—i741, ' -I' --- --v. -j,-„ '..1 -1 -11P
9:_& -4,- ■ r, •------ — ----' - - - -r--- - - — -----/ -'1— ;71 ni— -----.— :it,
1.-,__ # ,,_ . ,
,,...i....1- 4 rd ,
01> Cr.
b. Consolations No. 2. Un poco pin MOSSO (1849-50) mm. 1 - 9
c. Schumann's Widantng transcribed by Liszt (1848) mm. 3 - 8
accentual° assai il canto Du mei-ne See - le, du mein Herz, du meine Won - - • -no, du mein
The virtuosic music made Liszt the greatest virtuoso of the era. His character pieces
influenced the music of the next generations, and numerous transcriptions were also an
important part of his career. In order to examine Liszt's virtuosity, the Transcendental
17
Etudes as representative virtuosic works and the Paganini Eludes, some of his important
compositions, will be discussed in this exegesis.
1. Liszt's Musical Background
When the Liszt family arrived in Vienna in1821, Czerny was only thirty years old, but
already a well-known pianist, a pupil of Beethoven and a famous teacher. Adam Liszt
chose this musician as his son's teacher. Franz was a child prodigy but Czemy made him
a disciplined pianist. 2° Franz Liszt learned from Czerny only for eighteen months, but
Czerny's contribution to drill Liszt to master the piano technique was enormous. He
became an incomparable virtuoso in that period and left a great deal of technically.
demandinL; pieces for the piano. In particular his early works show Czemy's influence. •
Liszt moved to Paris in 1823, because Adam was concerned about his son's composition
study. 21 In Paris, Franz met important figures in his life and career - Paganini, Berlioz
and Chopin.
Paganini was the foremost virtuoso in the Romantic Era. Liszt heard Paganini for the
first time in 1831. Paganini's "technical wizardry on the violin" motivated Liszt to
develop the piano technique. 22 In fact, respect for Paganini came from a number of
musicians of that era: not only Liszt, but also Mendelssohn, Chopin, Schumann and so
20 Alan Walker, ed., "Liszt's Musical Background." In Franz Liszt: the Man and His Music (New York: Taplinger Publishing Company, 1970), 37. 21 Ibid., 40.
Gerig, 172.
Is
on. 23 Liszt was the most outstanding composer who succeeded in transferring Paganini's
virtuosity into his piano music.
Berlioz's impressive orchestral works inspired Liszt to make arrangements. Particularly
the success of Liszt's arrangement of Symphonic. Fanlastique by Berlioz (1833) led Liszt
to compose piano arrangements from orchestral works. 24 Liszt's music often had
programmatic titles, especially in French, such as 111117jeS de Pelerinage, Harmonies
poeliques el religieuses. This fact shows a strong strain of French literary Romanticism,
with its ideal of the program music of Berlioz. 25
Liszt met Berlioz and Chopin in 1833. He formed a friendship . with Chopin, and his
observation of Chopin's playing brought more Romanticism into his own playing. -
Chopin was .entirely the opposite to Liszt but the in IlLICI1CC Or C1101)111 on Liszt WaS
huge: Chopin's elements of pianisism, such as his poeticism, lyricism, harmonic
innovations and rubato technique, affected Liszt's music. 27 Liszt wrote a number of
works inspired by Chopin - two Ballades. two Polonaises, a Berceuse in two different
versions, a Mazurka Brillante, and a few shorter works such as his earlier Waltzes. 28
23 Harold Day, ed., Secret Life of Paganini: Journals and Jotting,s . etc. (Hobart: Hobart Press, 2002), v. 24 Carl F. Weizmann. A History of Pianoforte-plaving and Pianoforte-literature (New York: Da Capo Press, 1969), 183. Is Donald J. Grout and Claude V. Palisca. A History of Wetern Music. 6 111 ed. (New York: W.W. Norton and Company, Inc., 2001), 582. 26 Sitwell, 2 4. 27 Grout, 582.
Humphrey Searle. The Music of Franz Liszt. 2" d ed. (New York: Dover Publications, Inc., 1966), 56.
19
<Ex. 7> Ballade No. 2 (1853) mm. 1 -4
Allegro moderato
sempre leg-alo 21 2
Immeummilme morrimr•ww-rim r •
•ff •
col Fed. ar
125 121
2. General musical features
As mentioned in the section above, Liszt was an eclectic artist. 29 He accepted the styles
and ideas of Paganini, Berlioz, Chopin and the idea of extra-musical element, French
literature. However, Liszt was born for for the piano and his aim was to introduce the
orchestra into the piano. Liszt said;
"My piano is to me what his boat is to the seaman, what his horse is to the Arab: nay even more, it has been till now my eyes, my speech, my life. ... I hold the piano very high. In my view it takes the first place in the hierarchy of instruments. . . . In the circumference of its seven octaves it embraces the whole circumference of an orchestra; and a man's ten fingers are enough to render the harmonies which in an orchestra are .r ,e
only brought out by the combination of hundreds of musicians.
By transferring orchestral idioms to the piano. Liszt freed the role of the pianoforte. For
example, tremolos and chromatic scales in the low register are to express
orchestrakstring) colourint4.<Lx. 7>
29 Grout, loC.cit. 3 ` ) Oscar Bie. A Hisiory °law Piano/brie and Pianglinle Players, Translated by Ernest E. Kellett and Edward W. Naylor. (New York: Da Capo Press, 1966), 281-2.
En classic piano music, piano music can be regarded as "dualistic" music, consisting of
roles played by the right and the left hands. But Liszt wanted an orchestral sound, so the
piano music required another element, that is the intermediate part between the song and
the bass parts. 31 The intermediate part appears across wide range in left-hand passage or
passages shared by both hands.<Ex. 8>
<Ex. 8> . Transcendental Eludes No. 4, "Mazeppa" (1851) mm. 8 - 11
Allegro. (M. td. .1= 1.12-t16)
serapre fortissimo e con strepito — --ic-4 4 4
22 2 ;a , = 4..
41 =*3 IM/V2ZIMMIMPIII■M il 2r all "MM. ...r■ mu 4.:■•=w-rw asiV=IVAIfft4===== 1
.." J'Arri -MUM INi il airrig3eagliii:-..---- =11.2F4 NoauFr= N!. = ........N.r= NN = ----MMPI1114 1M MI /11 ----WWI MI •M Mil 2
4 4' 2 2 4 4
2 2_— . AO —
4 4 M. d j 78. 8. 4 4 in. S.
1
Tab.
M .MMINW / MI
Mr, BM, MM. SW Mr
II G. SILMIM LW
NM
VI 1=r1;2 MR. Wi■ "1.72 J.,
I/ 7ONMUMIMEM f.. . IIMM■MM/ ir 4, ...*M.,O ......~.../ NT g" SIMM/I. ---- 2 2 4 4
. I
•10/, M . ....... " ___ MIP. . .11/ MI' a -- ill ----
ri Ilie LIMOIS MAE:714 IIIMILVIIMall
1 Liszt had some physical advantage as a pianist; his hands were long and narrow; there
was a lack of webbing between the fingers, and he also possessed unusually long and
' I Camille Saint-Saens. "Liszt, the Pianist." Translated by Fred Rothwell. The Musical Times, Vol. 62, No. 943 (September I, 1921), 623. available from <http://www.jstor.org > (accessed 28 September 2005).
1
flexible fourth fingers, so that he could play fast, complicated, difficult passages, wider
intervals than an octave at once, and so on. And this physical advantage was a means of
presenting orchestral sound and virtuosity. Consequently, Liszt, as a pianist-composer,
wrote compositions which often have these passages, which make them hard for other
pianists to perform.
However, sometimes we find that Liszt's passage-work is easier to perform than
Chopin - s works or the works of other composers, even though it may sound more
difficult. That is because of the symmetry of Liszt's ornamentation. 32 Liszt was a well-
displined pianist, and he also had a certain sense of the "topography" of the piano. Liszt
understood the performance technique while the musical process is considered. Therefore
the passages that seem difficult, can be play with economic fingerings ; for instance, in a
cadenza-like passaue in his Ballade No.?. 1:x. 9> many passaL!,es can be played more
easily without many difficulties, once the pianist has become familiar with the fingering.
<Ex. 9> Ballade No. 2 (1853) mm. 731 - 7 32
24 3 2 1. • 3
-
-411•1 1=11... MM.
- delicalamen „AI
/411:14/1/ .0,7■111N9 1.11//7-31%. . 11111#/1/:..a111•11_,Nt Ilr 1//aEllitiWpINIIMAV•■••1•1111111rw-W.
.mestegINIIIIM111111•IPare..6 MIE11111/1■111INIMM,
43 2 143 2 1
If Ler .1pilif Mr=111111/VIM==111111=1211 ew nreirat turnmernmus.
.14rpriarr
2
.
/...11•4111111111
Alan Walker. "Liszt and the Keyboard." The Musical Times, Vol. 118, No. 1615 (September 1977),,720. available from <http://www.jstor.org >(accessed 28 September 2005).
1 1
Because Liszt composed such a vast amount of music, the quality of the compositions is
often uneven. 33 This has led to criticism that Liszt could not compose consistently to a
high standard. However, the same could be said of other composers with a very large
output of compositions. The problem was made worse for Liszt due to his alternative
career as concert pianist, which required him to travel extensively and did not allow him
as much time to compose as he might have wished. Therefore, Liszt's role as a concert
performer and pianist had a great impact on his compositional work- firstly, it allowed
him to write extremely difficult and technically demanding music which he could still
performed with relative ease; and secondly the consistency and quality of his output was
affected by the effort of touring Europe to perform piano concerts, as well as the reduced
amount of time he was able to use for.composing while on tour.
3. \Yorks of the \Velma'. Years
In middle age. 1848, the great pianist. retired from the public concert -stage and settled in
. Weimar as Court Kapellmeister. While he held this position, from 1 848 to 1861. Liszt
wrote most of the compositions that established his reputation as a major composer - not
only the chief piano works such as sonatas, revisions of earlier pieces and transcriptions,
but symphonic poems, songs and so on. Because he did not give as many as performance
in previous years, he came to compose more mature music rather than technically
demanding music.
33 Gillespie, 239.
2 3
a. Transcendental Etudes
Liszt's studies are considered as the most important compositions among his whole
repertoires. Because they portrait the ''picture of Liszt's pianistic personality in seed, in
growth and finally in self-clarification." 34 Liszt also put these etudes on the head on his
autograph catalogue. They are composed and revised from Liszt childhood to manhood,
1826 to 1863 and there are several sets of studies: Twelve Transcendental Eludes have
three versions of 1826, 1838, and 1851, Six Paganini Etudes, which have 1838 and 1851
versions, Trois Etudes de Concert (1848), Ab lrato (1852), and Two Concert Studies
(1862-3).
The Transcendental Etudes exist in .three versions but the last version is the one that
usually used for performance. Generally the degree of difficulty is increase in each
version. Liszt's virtuosity - its extremes and varieties, the most difficult elements of his
piano technique are contained in these eludes.: ) And each piece contains various
technical exercises, not like general studies composed by other composers. <Ex. 10>
But, not all studies attached weight to "virtuosity - . there are romantic and lyrical pieces
such as Paysage, Ricordanza, Harmonies cht soir.
Ferruccio Busoni. The Essence of Music and Other Papers. Translated by Rosamond Ley (London: The Rockliff Publishing Corporation, 1957), 154. 35 Kirby, 304.
/ — 1.■ ......_ =1••■••■11MI.IMMAINII.V a.a WV 17 .117.•■•■••■•••--.M...■—•11.1....IMM—M1N.al 1.I WIr NM WalINTIIIIMIC,M1M11111■11•MIIIISAIII.11•• Bal 1.• /41111rEIMMMIMIIIIM ISI..01=MM, IIIIMININIIIIMMIMMIMIMIMM.••••• ., .momm....--..mwmalwwW•MMIM... Yr., W.■MPOM W.mmmwsw•mwommWMO—mww•mwM
— .111:MMM1M/WWWIMMwM--IMW--- inn , •.1111•111•■•■ aga •••■ MO. 011111.AOMMIIIMMImmIM--11 0111/MMINW}/11=1/.111MMIIIMINIINIMI.MVO -- -- /2•••=Mr•MINIIIMM=MIMII,A=11//11•11 ■MMIIIIIMIIIIMIN. •KM•allai 1,11 ILI I"! 11,1101,0MIMINIMINMMIM ■=1.-1•■•■■••■----111= 11.1M -...11WIMP--;./.: .../ ..pg ....... mon......_son■•■■■I 1,0 NM, 1,••••••11•ar•MialalaMM• r- -.- •••••■•■• MN •-•--,WPalaIlW., a/ •
..-.... 40 •
INYMWAI,1••■••• •■■-- /.111111M•s■ r• ,111•711011M•111•11110I 1111111•MVI allalMo====a1MaiMal••••••• ■ •• =MIM■ la/ 11.1 A/ a.u.W•IIIIUMIN•aal•aaltd Pt MYMIIIII■Mr /WWII MMMMM 1911•1••••=1.1111MIN•11111•11=WINIIIMMI.W1 AIPO=MMWT /EWE,
m•101•■•••■■■•■11r IN•of KV, 1.••• 1:•, INV! Aar •I I Immeo, -
• - ...- - - - araNNA17-■ Altendrd.ziad....16.7.1a■Miarag =111•11111114.11111 1•11:::=41■101•1111 : W.1■■••••■•■=MIN — .LNAIMIIMIIIMINIIIMMIMMOMM--1/.11111W.M.-,INI NM= ■..7••••••=11•• ■••••1.1•--=•••••••••I &oil a LI I..- -MI Aar • -- .1 al •.I a OW 1,1•••aMMIN•••••••, - -.W. •••
a ..!
<Ex. 10> Chopin's Piano Etude Op. 25, No. 10 (1829-36) mm. 9— 13
55 6 a 5 3 4 r• 4 6 5 _4 5 5 rie MIR Mr • NM ma 'VP =IP .
111:■■■•=•11 W.=1.,.._,•111■11111 111,1/ .•.11.111111•060, .11r1=1/./. inci••• (Er-. MIMMETWIM WMISIMMM■IIIMM swoomousamplEms,..• Sia.1TV WW/1.■MOMNIMMIMIIIK,
IIPPMWIMMMMIWWW/wo. MAW W/MMIMMOMMIIIMINWIMP• EMT INP .MIMMIWMIMW-wm...-jr-im as!M WW.MMMIWWWIPMMIMIIMIPPEWWIWICTMEMIMMININ
, 5
gam= MN EMI =mem MIN NMI ax.1111
1.1111Ti all DI • gim mr-mnr• •• Lame mi..0( _wow-. WWII./ --,E• • miniumS.F. Ma Ala
W WLIMIMAW orlow-N Mt. /1.a.. NMI.= W1/111111MIMIMMIIMIWI
MIMPOIMM7WIM IMIMMIWWWIEM 111-MMIL.W.M KIIIIIMOMWspolmar orausima■mmomoni•mmonnomminainmp....1....,
■PIMM-.1 SMW111111MMEWPAMr....--- 1E=Zir- • OMM1V1IMMIM■^MIWN1 /.. 1.-a 11.4.1■1111 A'S.",• M .S.i1INIIM
WP 0I 1.11.0 6 6 b 14a 5 I, * 5 45 4 6 6
8 6 6 4
.aor am=
..•=114.11Molf.■•••-•• ■ 1 WWII/ AMM• 11.4W.M. MIMMIIIMIMMI MWM:w.MMIIIIIIMIMIMIMMIWIMMMWmp■MVINOMMI
111 IMMEILMF MI.M.WMWM•MMIW.MWM.IWMWWMMM "MI'
•EC - 4116,6 ...ws IN air! pc rpm IN, NW aar.M. .1•.■
••,-.1 =Elam •I• wan,
■ 1 MMIMMEM 1WWWZAMMIIIM.-.11111111M..,MI.M11
5 4 6
5 6
CTESC. -
.11 P MIMPM.P.M■ w/MNIMMIWWW.
1•M /MOWN.
•
Ta.
if -- Ellin III. MEM= .■
MAIMV/AMM.W.M.111111 WWW W INEW■"11WP1WOMMIIIIMMIMWMWMINWMIMMMUM:
WMIWWW,W.M. WM.11 Wir MM/WIPMWV 1111‘..aM MeV WV:W.ml WM= M1,1•11 1P ..■ ImM1M,s1W - ZMIMIIMILMIMM MS MANN .1111131MW/M.M.IIMIM~.1M-M1 Lail/
•ea PI
5 11 # 5 48
4 454 Tz.
The First version is a Czerm—like exercise the .second version became more virtuosic;
and the third version's studies are musically more mature and most of them have
programmatic titles. <Ex. 11>
<Ex. 11>
a. The original version of Liszt's TrallSCCMIC111(11 Elude No. 10 (1826) mm. 1 - 9
Moderato. Id .).96
15
MEW/ MiEMBNIII■AuM4 •••
111114ffai
• ,11M-AN
iN =IMF MIMI NOMM■■=11=11r1■1■1=11== 11b/ XMIONE■AME •MIIM CA/ MM. m•ww =1.=.■■■■■■■=mgor -.N•ionw 11••■ /MOW MIMM1
=1..=
b. The second version in '24 Grand Etudes' (1838) mm. 1 - 9
Presto molto agitato.
3 •
— -- IM7.M.M.71■1■---- IMII,IIM=11 ont7.memmarT. ...1•-mommorme..... ■..■...w .,,,,,.. ..../■••
'NW ■ 11.1.1•1•411•I . IMEMINIMMII.■MMEIlf .41 l'ILM,■1 1=4, AMR ■i .110- OMMMIWINIM Inu.■= ■,..m.t....■...... Immo m.. ■10.9........ ...
_ I 21 ) 4, \--■-..,
appassionato ,
FLI3M11=14 1 r,SMIIMM ON/Wil■MON•1"11 ■11 EZIPAI^W .MMT f 1 JIM ■V MOW .•••••■■•■ =111 1•■4
Wil lfflOM ilW AM M., 1=1 11141.... .11.
11.1■101•1100••••••••••Mli ItIMINMWM,■I,II • 1■Er NMI MM IMIIMIl MINENEJMui ilaMW MMINV
MINNIr=1M.■=11.•■••••••.G•0101 M1Nff l'
.•=1 ■•=4 .
V
,of m•ImmucT■•-■.■■••■ .■ — --= L4,...=w MAMM.MMENI 41■• IMM• IMMMMINEW.INIMM■ MVIIIMINWFM1/11111,1-- MI Tr11.-T=,'''"r■M'WMZ
■■•■• V 0•14•111M71•111M1■■ WIM.71M17.11■13= AMIN! .1■, oN4=711=.••• m=1.NVMEMM
..- I LTA I Mill Mill I __ V. ya...,■-■.....■....m.■-■-■..., ■■...-mm..wowem■rvymmow...,■=,,a ON LMPAIn•••■ MI MNIM MEMIOr■r1 1•••••■■■•••••■■••1 YIN./ .1171■V .4 Pr. SW .IMJ ma. a WIEN.11.■ ■,,.. INIM■ ONINI..,■.1■6.1!■"C■M NI,LUI■ILMBI.INO/f7=IMMI MEMEMO■AP ■/ AlmlanM MM. i■.■••■=1• 1•41M.
MVAMIPAI -- — --1•11 I /IWO M.I'.11•1■•••■••=1•11[1•111■=4,IMENIMIII IM 1/.../..1•11K-M111 IMP=1-.10/•••■,Il 1M==_!•IF
Ms ....11•■••■=11 Nimm ■ NM M.■ MIMI ••ParIM•1•11110f I'M IIINIM,11•1■111W7•1=1•1011•7•■•=711/
IM..1.,■•• =CV/1W .,••..1•5•11MM ■It■■■=-,■■■sm,..........mmiamm...... !MR 811•ANC=M11-.111CIF .1..M110•211 MN
WM •• Mar■MINM...1■M' In..■1=If 1■■••1111•=11 .....
NM
4, ■-.. --o• _..., ..._
sempre pia' eresc. ed agitato
, --, noldil WEIS
IliTMINAIMIIIM7/11MINIIMP 11■1111111W. ..ars..• ./r-r■woca.■ ....ers....m.. 1.1
.....= AMINIMIMEN A W I& 44••■■• 114. LOWAIMNI.MI IR, 1■141•0■142.1,
••■•••=.■ NI'S_ ■■114110.0 IIIIMILMKIMMINUMIMI■■■■•
ANIVAWIENda•• • I I 1 JO NO MOW 114171•11 111•011■011M
MIIMAII MU /01••=1
MP LIS,■..-- I
C. Thc li nal crsion ( 1 85 1 ) 111111. I - 6
Aflero a !tato mono. (J. (o.) 6 9 4 2 2 ten. ten.
2 1=1,417. MM=. MI= ■••• AIM W .1•• 1■17.71 /I / ILMIP
MEN
■•■•
NIMMIE MON
■M. •••■••1 7==la.'
Mr 7...■• M...: MO
..11 MM/'"."' 011•IMMIE -8 lialmm
Air
-...• — — 3.-------=—
-ANEW ■ inl■ woMM ,......w MAP .•■•■■•■••••
AIM/ MI■wAINIES..■Nom, •■6. Ana.
E; MMINWIIM,111■1 I.vININO,■••.■■■■••••••71•11 4.0.0■■■11M, dO am, Nom it■AMIN111..11■71■1!- .•01•112/.." /BM M.f SIEN• WM/ M.1•11
--__ //1•M• 7=1•■•• .■ dmi■ 4 4 54
J. 4 4 6 2
26
The first version of the Transcendental studies was Elude en 48 exereices clans boas les
tons ma/curs ci mineurs composed in 1826 ; when Liszt was fifteen years old. Liszt
intended to write pieces in every major and minor keys like Bach's Well-Tempered
Clavier but only twelve studies were written. 36 This harmonic order is retained in the
later versions, which consist of descending circle of fifth and each of their minors,
leaving the circle half finished. 37<Fig.
<Fig. 2> The harmonic order
Preludio C major 7 Untitled, Molto yivace A minor 3 Paysage F major 4 M a ze ppa D minor 5 Feux Follets 13 major 6 Vision 0 'Minor 7 Eroica E- flat major 8 Wild .1a(nd C minor 9 k i cordanza A-ilat major 10 Untitled..Allew -o Ligitato molto IT minor II Harmonies du soir D-flat major 12 Chasse-Neige B-flat minor
Liszt wanted to create for the piano the same kind of diabolic, virtuosic effects that
Pai;anini had done for the violin after he has been impressed by Paganini's concert
ml 831. Several years later he revised his early etudes which were like lingering exercises
in 1.838, and he also composed the first versions of Paganini. The 24 Grandes Etudes,
the first version of the Transcendental Etudes consists of only twelve pieces, originally
from the former version. But they were considerably revised, which were regarded as
M' Searle, 14. 37 •Louis . Kentner. "Solo Piano Music (1827-61)." in Franz Liszt: the Man and His Music. Ed. Alan Walker (New York: Taplinger, 1970), 105.
27
unplayable music because of its difficulty and complexity. Berlioz wrote about this
music, "Unfortunately one cannot hope to hear music of this kind often; Liszt created if
for himself, and no one else in this wOrld could flatter himself that he could approach
being able to perform it." 38
The 1830s to the 1840s were a period of great virtuosity for Liszt. There is no doubt that
the 24 Grandes Eludes, though made up by twelve pieces, are more virtuosic and more
technically demanding. However, it was so virtuosic and demanding that only Liszt
himself was considered capable of performing it satisfactorily at the time. So Liszt
realised the extreme technical difficult of these pieces, therefore he revised again, lastly
in 1851, thus reducing their technical difficulty. However, it does not mean that the
pieces are simply easier to play. According to Busoni's opinion, the improvements in
this version are to he find in - *a greater ease and smooth plavahteness and corresponding
amount of impressive effect and character." 39
Transcendental Etudes„Yo.10 F 11711101 is one of dramatic pieces. It is often compared
with Chopin's F minor Study Op.25-, no.2 and Beethoven's Appassionata Sonata.
Because musically and emotionally they have something in common.<Ex. 12>
Searle, 15. 39 Busoni, 161.
25
•NNIG Mr. :room - 'la Mr AMIIIIIII•111111161/110. jr.
t4)-
42171/11.1111111111= 111 Imo NEIN/
1111111114111M11--
101116 WENW.=1 II■Lr
MIIMIIIILTMEINC hart AM 1■•111•111MIMIMINW /111111111■Nr 7••■•=.1111
/1111111=1111M MI
•dir •1111 6-
-7•0
NIN ••
"rumor ■iii■Iii&-doim zw■Imm..ar .
ffalow■II•res_isgammommE,„-acriss■szclwm.■:•=..mono
wompr7.---"
40.1111 111•11■•■ 4111
- - - NMI I I NIM■IIIM 10 11111•11111111111111•MINNOIN r.
MIIEWA
i'1111111■11
<Ex. 12>
a. Chopin's Etude Op. 10, No. 9 mm. 1 - 4
ALLEGAO VIOLTO AGITATO.
........r.■ AIN■laNIO■r
a Wi lMr•Nilt-■ MOM= .1/1111■ ■-■■• ..■
ft clear.rarrw■ ■ Immr ....■ •■■••■■ me. ■Immr. m■r. A.m.. dEMS■ ..■=1■ J■l■ Aliall■ /MOM am, .mt■ ■Imaw ■IMI ■ mama AM= /maw ..maINV
1■1■1
. • • Proll. Prd
4 'r
Prif
P., 1.
b. Liszt's Transcendental Etude No. 10 mm. 6 — 9
The - interlocking scales' in the beLtinning<Ex. I I . c> are one of . Liszt's i nven ti ve
techniques. This technique is also used in simple scale passages and octave ones.<Ex.
13>
<Ex. 13>
a. Paganini Etude. No. 3, La Campanella m. 77
b. Paganini Etude No. ? m. 62
1 The low part is 'made up with broken chords across wide register, meanwhile on the right
hand, a lyricism of octave passages is required.<Ex. 14>
<Ex. 14> Tron.svendental Elude No. 10 mm. 31 — 34
6 6 1
k A.......2 )_____/, f f • 5 2 3 1
I
[„„, 2 523 1 5 4 1 2 1 0
MI M•111•1•P'
I
• 2 5 2 3 I I 4 a 1■11111 WIMI 41t1 '1 MY.% 41:11■11■.0711•■=f 1■:111. ■or JITIIIIT iMIIM/ ■//•■•71100; CIWAIIIIMMINII
■IMINMAIIIr/ al • r MI
.1111111•111111111111■ ANINN/1/111111111==JIIIMINIMI. (n1=11.r .1741MI■ LEW
10■11•Ld.■ .MM MIIII•
Ix IIIIIIII31MIMIMIIAIIIIIIIIIIII IIIIMAMMIII J11111111=111 JIG■110/ .MM=MM114:1=1:71/91•111 IIIIIMMIIIIIEW MIME MINIIIIIIIIIIIIIMM-4 21■:14 ,/ AMIN
Pi MINN MI=
IMINtiaMOMNIIIIIIII 111111111 1117
Teb
The strintzendo dynamics in short or long passages, and sudden-stops are also elements of
.extreme showing off.<Ex. 15>
1 1
1
• '1114MVIrMIINAMFIWWW.1
11=1 WI■1•0
IM1111.1.1111112.11/
1
2
1 8 80 1
;BWUrVISW:1•1•WIEW~Wl Wes-vween:F.W.■•■ WM NI 111M.•■11WW•Wirn
dIrWW•=1.1.1■11•••••••UWWWWW1WWWWWWW. ==M 1■111M II 1.411.MWENIMMIONIWNWIMMILI•■■•••••11MWI 1..a1M,==fl11•11■7 WW11==1111WMIWWW.
NIMIIIMMINIYMI:1 1.111••
Z,
I403MINUNICWVIIMININIME.P9,411 .1....1. 10 2111,1114=.1.■LU.b •=1IM ■111■11■116=0 II Araff111113 : N WWW
wrIMIIILAIMEINMr.easawznwer ow r.arnw. simaiw■Inuw■Vaimmov MIII1WWWWWV,11 •MII
1 • .
F
pin rinforz._ 47=AWI■IS- •IMIS
.4C9WM.1 -TM .1=If -1.■WWWIMIV /BMW
8 simile 1111/Ma•VW•MIWS W..•■•■••• 11111•111W •V .■1.3.1111WW■l1111
WIRIMAIIW-711114111WWWW171 /11•1./M11■1•11L7'111,71117WWF711WEINV 11..11•WVIMOMM•1 AWIN,A1M-1.41111•11
11111111.111111.01 allaMMIN
V113•1/ MO M ft !IMMINENT NW CWWWWWWWWFAPILAW MMMMMM OWNWEIV PINVAIIITI.: WANSWW■11=6.7111.■•••••••■•••■••111 111: 1-611.:1J1111W=
W MIMIWN IWIFAIMMIMMIW vilimalum..... III : •
&or a If.rwmimmmiaiU 1=MWANINIIMPLI m••• ■1791:1.MIMP.WMIWIWWWWWWWWWW WIIIWW=WWINIUMMINMILIAINNIMMIS•MIMIMMWWWW W
, A=M111•11 W‘WVII■lir /111.11WW MIMMENI •
• •
<Ex. 15>
a. mm. 141 - 146
b. mm. 66 — 75
31
<Ex. 16> mm. 79 — 85, 159
79
cresc. molto _
INN :1••••••11111 NMI X MIPVINI MEI •■ :1111lP• an
III1L7TOW MCV/M/LAINMPT INI/W/Hr1•1111r .M.711111.1n116161101111CRUIT7 . =FMMANNt.W.INII,N=MII1.1111•MIGIMII , w INIIMMEL:16■111■MIIMMIUJ
1•111=71* ■11111rt.l:1011ffb MP' INII •••• • simile ••■••
7 _ 17•Pa_711 .110.■
4•17a L,P711r ~MMIIIIMMIP MEMMTMTWILIP71•11 aMMINMM. Luusitsow mEmarocirm■corwme•ftur =NM
1111 0/MAW:MCAINI.t.AMMVA:If •IM JINNI "MN.' mug - 1/6.4MINP ,1 !A:. room twelallMCMIN:awfm.1 /MCIMOMNINaic■••=olmunow• saissrunium..■ .• mostssitscashra ,mosos uro
t.ouwawsww■calim SIML,14■•■••11•111111■111
MOP
'
c. m. 77, 135
76
1
The widen register and the chord that consists of as many notes as one can play are also
from an orchestral idiom. <Ex. 16>
32
Stretta
• IN•1■11•0111=111= MEMEMIMIll ' JI•IMIU MIMI IMINIP•M• • M...■1=
BS 011•11, Z1•1111C•111MIIIMIUMIINNUMMINOWNIMMINICNIONANCir .M.MICEMIMMILMINIML•1•91, 1111Mpl■CLE11410 ozwalmaamwrimmimi.dmiorur .=
Wlfara OF.M.II M/M71••• AZ11.111* 11111•11 laiallaAll JILIV.11=11:11111•1•141111:1• JIMMIIMLIIIP9111111WIAIIM inammINI/ML■MOIMMIA11 - alll• .0,1
mu NA OOP ..... ....... ME MN ..... ...... 11 Elt■IIM
=Mill' i IMINCIANIIIKM=MMENI•alIMEIIIIIMMINWP--
111. aNrJrNior
gal 511111..1111=‘.11111111
8 ___________________________ 8- stacc.
8
/59 •le II •r 11111 1MIPIN. =trim*" si-In■ Amenarm seam ilflor. wasamos■memuip.'m w lormwari.:I■ .www .111liski..1■311ZIISal•IIMMIMETM/i:1-111135•111W BM IiiinallIMZSAINEJS.7 If Miti•IMCNI.M11.7.9=7.11111111:111a1•/ /MEW /1.3./1111311111MIMM■aM1111 1 10311 IMF AllaldirE Siff 11.1111111in■lblai ili-iimmi
rallOMMNNIIRMITIMMI:f=1Wil:MINEPWL AILOO•1 lb • 011a JR IIIIIIINIMMIL4.4•1111111111 r dEMIIIMMINLIWININW MIIIIMPOINI0111=4111101" 11114 1 I ....•10.1114.31Mla 1111r.r Maionsorm F( valtANNIEWMIL Mal....EIMIL' alICALMI■WiiMigM1111111,7=1•1111=4■1111LE111111.7.1:1. "Masan IIIMP =Ill AM& .11/F•71111•1 "1./11=•01 NAGE:1•7111:1 M
i • • r all
A A
Liszt liked to use the strained, fast and radiant ending. This piece also finishes with
Sire/ía. His Hungarian Rhapsody No. 2 also has an exciting Presiissiino close.<Ex. 17>
<Ex. 17>
a. The ending ofTran.s.cendenial Elude No. 10 num. 160 - 169
PIIIIMI
am
3 3
—fl- . na -mi mr.mmahow:m • MN slInns
IL111//■n I
trgiar:motenw musimer-aws., wwwraimi rerm., asuamm
8 .1=11
/1111071 -=16.1111■111nle mann /I NMI
piu cresc.
In=1 =Sm.= ih1.■1= = X= mon= AM
."I=1 Pnl=nin Innl mlili:4 1=nm/nni
MM. OnnI1W."
WnnIP. WIEWW
_reit _CFI mil= ■
=MI ••■ /MMs"n= /■ ...= -1111•1.111= ■
IL-M.
b. The ending of Hungarian Rhapsody No.2 mm. 421 — 448
Prestissimo.
woo,
GZE
DAIL MOW= ==f W.11=0We1nalW .W.Wn= •
/..linlii===!11.. Win '11.0=111 1 sin= =IN
—
6.
l=r 1111111., Inn
117 * *
WWM:./1%st:allo W AMUR =NM PM=
1110 MAI
miii11111—
mom
a o /111'11:= W41111111•111=WI
W =1111It e WW/i11■1' Ma 111 /..1=s1•111=INWINImg■WWW/IIII MMI■1== 11.linnInnsI■WYM1=11711min ii. in NW LW 04.E.1111•1=WM=1•11 WI= NYINIMM.11.!1■1•1=
1•111=11 111=•■•
..■■••■••■remarir•or_r .wommis".■ar- ml=111.10.1= W OW •WW.11111111G...• r•www•mism ■rmor /•11 11=11111•=mninsw MAW 11 ellslimann •0,=/111 WWI IIIM■1■1•11116.1111111YIPA•MIMS. =1=1•111111111r Inn1=1 I
nal =111111W.1111011=1/1=.4=411====1 4r.stris•n. = inliMIWINIAP JAW W=li = ling' AM 1111=MPUmnr-SE ININNOINVel /Mr .M=11111MINIMIlla.V 1 ■r.1•1
1==n MAIMPA W =NW
Presto. *)sostenuto 8
A A A
b. Paganini Etudes
Liszt made numerous arrangements for piano from his own and other composers' music
such as works for other instruments, songs, orchestral and operatic works. Many of
Liszt's transcriptions belong to his early days, because transcription is normally an
exercise in virtuosity. 40 Because of the technical demands of many of his transcriptions,
they can be criticized as being "short in musical value."' But Liszt wrote arrangements
so that he could draw an orchestral effect from the piano, which widened its potential and
range of expression. 42 Liszt also introduced to audiences original works that were
transformed by his virtuosity.'
Liszt's piano transcriptions of orchestral works prove that he had an uncanny ability for
ereatin2 orchestral Ulric at the keyboard. On the other hand. technical aspects outshine
the musical substance in much of his music. However. Liszt composed transcriptions to
display his phenomenal technique and he was very successful. 44 Liszt transcribed many
instrumental works for piano solo: Beethoven's nine symphonies. the major works by
Berlioz, overtures by Weber, the organ worksof Bach. He made keyboard arrangements
of songs by Schubert, Rossini, Schumann and others as well. -Liszt's arrangements are no
4° Cooper, 165. 4 1 Searle, 16.
Ibid. 41 Grout, 583. 44 Gillespie, 238.
mere transcription; there are poetical re-settings, seen through the medium of the piano,
also, Liszt's own genre of his virtuosity. 45
Paganini Etudes outdo the wizardry of the original violin pieces, and today remain
essential studies for the pianist. 46 These are piano transcriptions of Paganini's caprices
for solos violin and with the finale of the B minor violin Concert. Even though there is a
technical difference between performing violin and piano, but Liszt transferred
successfully. The studies display the virtuoso in his element as well as his
Transcendental Etudes. The first version of the Paganini Etudes (Etudes d'execution
Ironscendante d'apres Paganini) composed in 1838 had a technical problem in
performance; they are extremely difficult because the etudes were composed with the
inspiration by the virtuoso Pai4anini. Therefore Liszt revised so that can be performed in
1851. Liszt dedicated the etudes to Clara Schumann.
The third piece of Gram/es Etudes de Paganini (the 1851 version), La companella is a
fascinatinu, study in shimmering bell effect. like the title. also in the width of the stretches
and leaps, the persistent intricacy of the decorative passages. 47 The repeated notes and
chromatique scales by 'interlocking' techniques or even one hand and jumping octaves or
chords are the elements of Liszt's virtuosity. The beginning was in light mood but it
finishes with a joius carillon chiming. <Ex. 18>
Bie, ?90. Cooper, 165.
47 Dale, 194.
8. . Allegretto • . ar:nunalw "91111•1•1■1,711M71■111MILINVP./111•FLIIIINMIN
N ■MALAN:PAN•IIMINII■1171WWIlrallJ11111■11111.1•11 •11 ■11WLINNU-7111 .11111INCJIPINLIINANNNI.41111MAINNIF I Maal•Lat■1111•1•111111N•■INAINNIMIIIINNININIMMII•MNIIIIII■ININIIMNIMINMI■1■/1■MNIN=LIANNIINNININIIMIN=MAN=
IN= 1mi
ma sempre ben mareatoll tema
II k vacm.atwoartairmow-m-rw ........9.... more mew re mgo ji/MkAANIAVIALANL•111.111111 111Anilllard•Irol lUNP INNINIMA •NAIII JIIIMAN/17 ■IIMMIIIIIMMIIII■ IIII■1■11I NW INIIW■ IIIII■•
I I 0 I
* CeR * a
15.
es. *
/I • A
a . s _ I t k wit :z1 k 11 •■■INNIIIIININIMIMII •INNEININ■"1/MIA ZNIMN.11 tINIIIINNIL11■1•11M•11 .11111=11•MIIIINNIA1 II AINIMAINILIVINI!"./ININNIN ANINIIIILIMAIIIINNINS1=1 • IN■IJM IrMAM AAMINNP".•11111/.111111NM LIMNILIN=11111
• 13 .111•011LNALI■6 AN■/.11 ANIMA I NII NINIVA ■ A NN=ININIMINII III INJNIIIM.A111=, A■1■"/MNIIINIMIA WA ■IsIl■
.....:.r AAIIMJNINIII■NININNAMININI■=1 —..-----Im....■■•■ re- Ar BANINIJNI
--..—....- MM.
MIMI.=
EN MEDIU. • • AMIII‘AN:ZIWIPAUIIIMII.LINN IMINNI N MAMA _''..=1•Mr7.MMINA•
/...111•1.•11411MIL.■ INNILT" LAIN MAW NNW IIAMII■• 0ffl.~=m0.a■ri■•
s
*
57"i
= = . ,0.~- ■••-•0-....-..~-■-••-•w,..........0.0.0-■•■ ,...... ......00•-■•
ri zg... ,....ww....-- ......ew—..m.g...................,..m...... .4...... .,..... ...—........ •
>
<Ex. 18> La Campanella
a. mm. 1 — 7
b. The ending
Animat o
8 --... • ma/ =Ai •INLAIMIIM •••■••■■■•■... ■•• .11■LAILMNICANIMM..6 ■ 111AMIEF■1•1
CON111.01J•11•101.= ...■116■ MINV 011..1■1■.. 1111r =MLA. .IN,11111111•1■, INLMEMAIMIN■Ilf .11011=1
• AMMIM■ 11■ 1•11•11111111 •11011■1 IMMMIIIMINUAIM.%111■1=1•M INIIIMMIMMINILM1111•■■
1.■•=i%, =0,71,111.7117.,7711111•7,1•11. .■••■•1 1111•11.1MMIIIMMolf 51••=1■ImMIMIM
.11••••11,11••■11.111.11•0111n11,717. .71••■••■•■ 1■.■=1•1=0..■ MM.M.
.1,11■41.w - I .■ 111•1..= !I"
1••■■•■. 011.1=1 ,016.. ■=.10..■••• 011..m..1■SIM
MM . //..MMI■Nr••• al••••••••=h-mr ■••■•••••••
lip P 11111111.111E1 . RIM= TIM .. . * a ,
37
CONCLUSION
Liszt's virtuosity and talent allowed him to push the boundaries of performance and
piano playing. He was responsible for the creation of innovative piano techniques and
came up with a unique new format for the piano concert, which focused on a solo
performer and which still is the standard for concert performance today. 48 His virtuosity
in music was sometimes criticised as a 'circus show' because of its extremely demanding
technique. However, the impact of his music and the legacy of his compositions have
meant that his compositions are still popular and are still being performed everywhere.
Critics have said that Liszt's compositions and music were technically brilliant and
innovative but lacking in depth and musicality. His compositions have been described as
examples of "vulgarity, showmanship, charlatanry, and Liszt, as a mixture of priest and
circus rider:49
However, when we examine pieces such as the Sonata in B Minor, Consolations, and the
Dante Sonata; and when we consider the fact that Liszt single-handedly invented the idea
of the symphonic poem, it is easy to recognise that Liszt was intellectual and had a
profound and deep knowledge of literature and music. He chose to express the inner,
more profound essence of his subject matter. 50 These characteristics mark Liszt out as
being a serious composer. Because of Liszt, the piano was developed and refined as an
instrument, as he advised piano-makers to alter their instruments to accommodate the
" Gillespie, 238. 49 Walker, preface 13 and Sitwell, 2 in Franz Liszt: the Man and His Music. 50 www.d-vista.com/OTHER/franzliszt.html
38
demands of his own virtuosity. Liszt treated the piano as an orchestra, allowing it to
produce a wide range of sound and expression through this instrument, revolutionising
the way that musicians and the public perceived it - thus opening up new musical
possibilities for the piano as an instrument. And his career, as a virtuoso, was not just for
him to show off himself but to leave to pianists after him useful instructions, the
footprints of attained advancement. 51 As Liszt had desired, his work contributed to the
future not only of pianists but also of other musicians and his music strongly influenced
the twentieth century as well as the late nineteenth century.
Bie, 282.
39
BIBLIOGRAPHY
Ripin, Edwin M. et al. "Pianoforte." In The New Grove Dictionary of Music and Musicians, 2'' ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 19, 655 - 95.
Ferguson, Howard. "Study." In The New Grove Dictionary of Music and Musicians, 2 nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 24, 622 - 3.
Jander, Owen. "Virtuoso." In The New Grove Dictionary of Music and Musicians, 2 nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 26, 789.
Neill Edward. "Paganini, Nicole." In The New Grove Dictionary of Music and Musicians, 2 nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 18, 887 - 893.
Walker, Alan. "Liszt, Franz." In The New Grove Dictionary of Music and Musicians, 2 nd ed. Edited by Stanley Sadie. New York and London: Macmillan Publishers Inc., 2001. Vol. 14, 755 -
Apel, Willi. Master of the Keyboard: a brief survey of pianoforte music. Cambridge: Harvard University Press, 1947.
Bernstein, Susan. Virtuosity of the Nineteenth Century: Perlin-ming Mak' and Language in Heine, Liszt and Baudelaire. Stanford: Stanford University Press, 1998.
Bie, Oscar. A History of the Pianoforte and Pianoforte Players, Translated by Ernest F. Kellett and Edward W. Naylor. New York: Da Capo Press, 1966.
Busoni, Ferruccio. The Essence of Music and Other Papers. Translated by Rosamond Ley. London: The Rockliff Publishing Corporation, 1957.
Closson, Ernest. History of the Piano. Translated by Delano Ames, Edited and revised by Robin Golding. London: Elek Books Ltd., 1974.
Cooper, Peter. Style in Piano Playing. London: John Calder Ltd., 1975.
Dale, Kathleen. The Nineteenth-Century Piano Music: A Handbook for Pianists. London: Oxford University Press, 1954.
Day, Harold. ed., Secret Life of Paganini: Journals and Jottings etc. Hobart: Hobart Press, 2002.
40
Fay, Amy. Music-study in Germany, From the Home Correspondence. New York: Dover Publications, Inc., 1965..
Gerig, Reginald R. Famous Pianists & Their Technique. Washington: Robert B. Luce, Inc., 1974.
Gillespie, John. Five Centuries of Keyboard Music: An Historical Survey of Music for Harpsichord and Piano. New York: Dover Publications, Inc., 1965.
Grey, Cecil. Contingencies and Other Essays. Freeport: Books for Libraries Press, 1971.
Grout, Donald J. and Claude V. Palisca. A History of Western Music. 6 th ed. New York: W.W. Norton and Company, Inc., 2001. 582 - 584
Hanslick, Eduard. On the Musically Beautiful: A Contribution towards the Revision of the Aesthetic of Music. Translated by Geoffrey Payzant, Indianapolis: Hackett Publishing Company, 1986.
Horowitz, Joseph. Arrau on Music and Performance. Mineola: Dover Publications, Inc., 1999.
Kim, Yong Hwan. "The Development of Piano Manufacture Technique and the Influence," Music and Korea, Winter 2003, 365-392, available from <http://www.musicology.co.kr .>(accessed 25 September 2005).
Kirby, Frank E. A Short History of Keyboard Music. New York: The Free Press, 1966.
Longyear, Rey M. Nineteenth-Century Romanticism in A/lusic. 2"d ed. Englewood Cliffs: Prentice-Hall, Inc., 1973.
Moon, Jin Hee. "A Comparative Study on the Technique of Scale." (M.Mus. Pusan National University, 2002).
Newman, Earnest. The Man Liszt: A Study of the Tragicomedy of a Soul Divided against Itself. New York: Taplinger Publishing Co. Inc., 1970.
Ogdon, John. "The Romantic Tradition." In Keyboard Music, Edited by Denis Matthews, New York: Praeger Publishers, 1972.
Park, Young Soo. The Great Pianists and Their Technique. Seoul: Jaesoon Publishing Co., 1995.
Pincherle, Marc. The World of the Virtuoso. Translated by Lucile H. Brockway. New York: W. W. Norton and Company, Inc., 1963.
Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press, 1995.
41
Saint-Saens, Camille. "Liszt, the Pianist." Translated by Fred Rothwell. The Musical Times, Vol. 62, No. 943 (September 1, 1921), 623. available from <http://www.jstor.org>(accessed 28 September 2005).
Searle, Humphrey. The Music of Franz Liszt. 2 nd ed. New York: Dover Publications, Inc., 1966.
Sitwell, Sacheverell. Liszt. New York: Dover Publications, Inc., 1967.
Song, Jeong Ee, Piano Playing and Teaching. Seoul: Eumag Chunchu Publishing Co., 1986.
Walker, Alan. "Liszt and the Keyboard." The Musical Times, Vol. 118, No. 1615 (September 1977), 717+719-21. available from <http://www.jstor.org >(accessed 28 September 2005).
Walker, Alna. ed. Franz Liszt: The Man and His Music. New York: Taplinger Publishing Company, 1970.
Weitzmann, Carl F. A Histou of Pianoforte-playing and Piangforie-lnerainre. New York: Da Capo.Press, 1969.
<www.d-vista.com/OTHER/franzliszt.htmNaccessed 10 September 2005).
• 42
