A Performance Guide to Liszts 12 Transcendental Etudes S. 139
10 Franz Liszt to Carl Czerny Vienna
[Sample Title Page]
8 May 2020 Transcendental Etude No. ... Frederic Chopin Revolutionary Etude Op. 10 No. ... Franz Liszt
Jason Hardink: Liszt Transcendental Etudes
28 Jan 2017 Hardink Jason
Music Performance in Action: Mathematical Interpretation of Liszts
Liszt's Transcendental Études are arduous and complex musical studies inviting the theory
Virtuosity in piano works of Franz Liszt in the Weimar period : the
These pieces are the third version of Transcendental Etudes No. 10. Allegro agitato molto as studies; the second version of La Campanella Paganini Etudes.
An historical and analytical survey of the _Transcendental Etudes_
Liapunov uses Liszt's Transcendental Etude No. 10 in F Minor as a model. Both études share the tempo indicationAllegro agitato molto. The technical difficulty
University of Alberta
by Franz Liszt (1811–1886) and Clara Schumann (1819–1896). My analysis of Liszt's "Transcendental Etude No. 10” S.139 employs Freud's.
Music Performance in Action: Mathematical Interpretation of Liszts
Liszt's Transcendental Études are arduous and complex musical studies inviting the theory
FRANZ LISZT: A STUDY OF HIS LIFE AND PIANO MUSIC THESIS
The Transcendental Etudes. IV. THE IMPORTANT PREDECESSORS OF LISZT . Chopin Etude Op. 10 ... Op. 10 reflect the drama and heroic appeal of Liszt
Boston University Tanglewood Institute
Trois Concert Études No.3 S.144/3. F. Liszt. “Un Sospiro”. Yunheng Zhu. Transcendental Étude No.10 in F minor
THE RISE OF NINETEENTH CENTURY CONCERT ETUDES;
A COMPARA
TIVE ANALYSIS OF THREE ETUDES
byJustin G. P. Bird
Submitted to the faculty of the
Jacobs School of Music in partial fulfillment
of the requirements for the degree,Doctor of Music
Indiana University
May 2020
ii Accepted by the faculty of theIndiana University Jacobs School of Music,
in partial fulfillment of the requirements for the degreeDoctor of Music
Doctoral Committee
______________________________________André Watts, Chair
______________________________________David Cartledge
______________________________________Jean-Louis Haguenauer
May 8, 2020
iiiTable of Contents
Table of Contents ......................................................................................................................................... iii
List of Examples ........................................................................................................................................... v
List of Figures .............................................................................................................................................. vi
List of Tables .............................................................................................................................................. vii
List of Works ............................................................................................................................................. viii
Chapter 1 : Introduction ................................................................................................................................ 1
Chapter 2 : The Composition
al Intrigue of Etudes and their Pedagogical Benefit ....................................... 2Piano ................................................................................................................................................ 2
Definition ......................................................................................................................................... 3
Intrigue ............................................................................................................................................. 3
Benefit .............................................................................................................................................. 5
Rise .................................................................................................................................................. 6
Chapter 3 : Chopin's Revolution .................................................................................................................. 7
Biography ......................................................................................................................................... 7
Chopin's Piano Etudes ..................................................................................................................... 9
Etude Op. 10 No. 12 in C minor "Revolutionary" ......................................................................... 13
Analysis ......................................................................................................................................... 15
Chapter 4 : Liszt's Transcendentalism ........................................................................................................ 19
Biography ....................................................................................................................................... 19
iv Liszt's Piano Etudes ....................................................................................................................... 20
Transcendental Etude No. 11 "Harmonies du Soir" ...................................................................... 22
Analysis ......................................................................................................................................... 28
Chapter 5 : Alkan's Programaticism ........................................................................................................... 33
Biography ....................................................................................................................................... 33
Alkan's Piano Etudes ..................................................................................................................... 35
Etude Op. 35 No. 7 "L'incendie au village voisin" ........................................................................ 39
Analysis ......................................................................................................................................... 39
Chapter 6 : The Culmination of the Romantic Concert Etude .................................................................... 44
Bibliography ............................................................................................................................................... 47
vList of Examples
Example 2.1. J. S. Bach's Prelude No. 2 from
Das Wohltemperierte Klavier I BWV 847 No. 2, mm. 1-3 4Example 3.1.
Frederic
Chopin,
Etude Op. 25 No. 12
, (Peters, 1879), mm. 15 16. .................................... 10 Example 3.2. Frederic Chopin, Revolutionary Etude Op. 10 No. 12, (First Edition, Paris, Schlesinger,1833), mm. 25
27.............................................................................................................................. 16
Example 3.3. Frederic Chopin,
Revolutionary Etude Op. 10 No. 12
, (Peters), mm. 1718. ...................... 16
Example 3.4.
Frederic
Chopin,
Revolutionary Etude Op. 10 No. 12,
(Peters, 1879), mm. 69-71. ............ 17Example 4.1.
1910), mm. 1
3. ................................................................................................................................. 23
Example 4.2.
Frederick Chopin, Etude Op. 10 No. 11, (Paris, 1832), mm. 1 12. ...................................... 25Example 4.3. Franz Liszt, Harmonies du Soir Etude No. 11 from Études d'exécution transcendante, S.
Example 4.4. Franz Liszt, Harmonies du Soir Etude No. 11 from Études d'exécution transcendante, S.
96..................................................................................... 29
Example 4.5. Franz Liszt, Harmonies du Soir Etude No. 11 from Études d'exécution transcendante, S.
69.......................................... 30
Example 4.6.
Franz Liszt, Harmonies du Soir Etude No. 11 from Études d'exécution transcendante, S. mm. 98-100. .................................................................................. 31 Example 5.1. Stephen Heller, 30 Etudes Progressives Op 46. No. 12, mm. 13 ........................................ 36
Example 5.2. Charles Alkan, Etude Op. 39 No. 12, Paris, Dover, 1857. Final Variation, mm. 261-263 .. 38
Example 5.3. Charles Alkan, Etude Op. 35 No. 7, Paris, Costallat, 1898. mm. 30 34.............................. 40 Example 5.4. Charles Alkan, Etude Op. 35 No. 7, Paris, Costallat, 189
8, mm. 49
52.............................. 41 Example 5.5. Charles Alkan, Etude Op. 35 No. 7, Paris, Costallat, 1898, mm. 84 85
.............................. 41 Example 5.6. Charles Alkan, Etude Op. 35 No. 7, Paris, Costallat, 1898, mm. 108
110 .......................... 42
Example 5.7. Charles Alkan, Etude Op. 35 No. 7, Paris, Costallat, 1898, mm. 203207 .......................... 43
viList of Figures
Figure 1.
View from the Cardinal Apartments, at Villa d'Este. ................................................................ 28
viiList of Tables
Table 1. Frederic Chopin's Complete Etudes ............................................................................................. 12
Table 2. Franz Liszt's Etude Collections. ................................................................................................... 21
Table 3. Charles Valentin Alkan's Etude Collections. ............................................................................... 35
viiiList of Works
Chopin,
Frederic (1810-1849). Etude Op. 10 No. 12 RevolutionaryWritten: 1831
-32First Publication:
1833Leipzig: Probst-Kistner and Paris: Maurice Schlesinger
Dedication: Franz Liszt
Measures: 84
Liszt, Franz
(1811-1886). Transcendental Etudes S. 139, No. 10 Harmonies du soirWritten: 1851
-52First Publication:
1852Dedication: Carl Czerny
Measures: 155
First appearance of Harmonies du soir: in 1826, Étude en douze exercices S. 136, Second appearance of Harmonies du soir: in 1837, Douze Grandes Études S. 137 Alkan, Charles-Valentin (1813-1888). Etude Op. 35 No. 7 L'incendie au village voisinWritten: 1847
First Publication:
1847Paris: Brandus et Cie
Dedication: François-Joseph Fétis
Measures: 216
1Chapter 1: INTRODUCTION
Through the study of three prominent piano etudes during the 1830's to 1850's, this essay tracesthe growth of the etude, from its origins as an amateur exercise - to the status of a prized concert piece. In
comparing Frederick Chopin's Etude Op 10. No. 12 Revolutionary (1831-32), Franz Liszt's Transcendental Etude S. 139, No. 10 Harmonies du soir (1852), and Charles-Valentin Alkan's Etude Op.35 No. 7
L'incendie au village voisin
(1847) 1 we can plot the unfolding of a romantic aesthetic in music, and a compositional height of the etude genre. Not only do these three composers share similar birth dates (1810, 1811, and 1813), but they all spent time living in Paris and knew each other well. As there was no escaping each other's works, I believe they not only inspired each other with healthy competition, but - considering the slew ofdedications between the three - cross-pollinated each other with ideas towards an expansion of the etude
genre. While there is plenty of great literature written about the piano music and composers separately,
there are only a few dedicated to comparing different etudes of this era. 2 After some context of the genre in Chapter 2 - Chapters 3, 4, and 5 are structured the same to ensure the topics are covered similarly across the three composers and their works. Some of the commentary about these etudes has been both biographic and analytic, so strictly biographicalinformation is found earlier in each chapter, and analysis later towards the end. The second subchapters
are not a comprehensive report of the other etudes by the composer, but give general descriptions and
touch on highlights. 1The List of Works page found earlier in this document is an easy way of referring to this information.
2 There are dissertations by Hyo Kyoung Beth Nam, Ignaz Moscheles and the piano etude from Clementi toChopin
, 2013, and Peter Ganz, The Development of the Etude for Pianoforte, 1960. 2 Chapter 2: THE COMPOSITIONAL INTRIGUE OF ETUDES AND THEIRPEDAGOGICAL BENEFIT
Piano Short didactic keyboard pieces were common in the eighteenth century, and the early nineteenthcentury saw a rapid rise in their scope, including independent sets and illustrations for the many methods
that appeared. This was in response to the growing popularity of the piano with amateur musicians, yet I
doubtBach or Clementi could have foreseen the seismic
nineteenth-century changes ahead.One of the reasons
for this growth was the instrument itself, starting with Cristofori's newfortepiano around 1700. Once production accelerated, so did availability and affordability of the new
instrument, and playing the piano became more and more popular for the lower class. As demand increased, teachers and composers created courses of study, comprehensive methods, and wrote simple exercises that would hone specific skills an amateur needed to improve at the instrument. By the 1800's the pianoforte instrument reached a great height, bringing entertainment in theliving room - much like a stereo of today. The repertoire that was being written and performed expanded
the concept of performance.By 1789, instrument makers
were creating beyond five-octave keyboards, and by 1808 - just a few years before our three composers in question were born, the piano reached agrand six octaves (today's are just over seven). But even with its bigger range, it was still not the same
instrument as today's by any means. The resonance control on a Pleyel - Chopin's favorite piano - was
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