Transcendental Etude No.4--Mazeppa by Franz Liszt - Courtesy of
Transcendental Etude No.4--"Mazeppa" by Franz Liszt. Courtesy of The Sheet Music Archive http://www.sheetmusicarchive.net.
A Performance Guide to Liszts 12 Transcendental Etudes S. 139
11 Liszt to Carl Czerny Weimar
Jason Hardink: Liszt Transcendental Etudes
28 Jan 2017 Hardink Jason
Untitled
Franz Liszt. Transcendental Etudes. 1. Preludio. 19. Piano zu 7 Oktaven. Piano à 7 octaves. Pianoforte of 7 Octaves 4 molto cresc. rinforz. e string.
Untitled
Transcendental Etude No.11: Harmonies de Soir. By Franz Liszt. Courtesy of. The Sheet Music Archive http://www.sheetmusicarchive.com.
[Sample Title Page]
8 May 2020 iv. Liszt's Piano Etudes . ... Transcendental Etude No. 11 “Harmonies du Soir” . ... 1–3 4. Example 3.1. Frederic Chopin Etude Op. 25 No.
An historical and analytical survey of the _Transcendental Etudes_
4. 1 Shifman Voprosy musykal'no-ispolnitel'skogo isskustva
Music Performance in Action: Mathematical Interpretation of Liszts
Liszt's Transcendental Études are arduous and complex musical studies inviting the twelve works by select twelve pianists from different eras [4].
Music Performance in Action: Mathematical Interpretation of Liszts
Liszt's Transcendental Études are arduous and complex musical studies inviting the twelve works by select twelve pianists from different eras [4].
FRANZ LISZT: A STUDY OF HIS LIFE AND PIANO MUSIC THESIS
Chapter III is devoted to an analysis of two of Liszt's definitive piano compositions--the Sonata in B minor and the. Transcendental Etudes. Chapter IV
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
far superior to the modern grand, with the string's shorter speaking length and clearer bass. 1 TheViennese pianos
Chopin and Liszt would have played in their younger years were also nothing like the modern grand or the Pleyel for that matter - and these pianos' action mechanisms allowed for an 1 On a Pleyel one could play Chopin's Op. 10 No. 1 for example, with the written pedaling (one change every two measures) while playing soft, without losing any clarity.3 extremely nimble technique, with lighter key weight, and faster repetition. It would only take another
decade or two for the pianos to be made with cast-iron frames, which increased their sound and projection.Even the recital itself grew from a parlor-sized intimate affair, to a grander - theater-sized public
event, and so the journey of the 18 th -century exercise into 19 th -century etude was propelled by demand as well as compositional intrigue for the composers.Definition
A great place to start when talking about the history of the etude, is to clarify the terminology. I'll let Dr. Peter Ganz do the heavy lifting here with a wonderful quote from his encyclopedic dissertation, about the difference between an exercise and an etude. "Etude denotes a complete composition with pedagogic intent and content that featu res at least one consistently recurring problem of physiological, technical, or musical difficulty which requires of the player not only mechanical application, but proper study and correct interpretation as well.In contrast, an exercise is a purely mec
hanical note pattern of undetermined length, usually repeated on each chromatic or diatonic scale degree, that will familiarize a player closely with a specific technical aspect of their instrument and will develop their own physiological faculties; it is never, strictly speaking, a complete musical composition." 2It wasn't until around 180
3 with the composer Johann Baptist Cramer, that the word 'etude' became generally accepted to designate a composition with pedagogical intent. 3Intrigue
Composers were attracted to the idea of writing succinct studies well before the aforementioneddefinitions were used. To get some context, let us look back to the earliest examples. Baroque keyboard
composers began by creating exercises for the harpsichord in the form of preludes, praeambulum, 2 Peter Ganz, The Development of the Etude for Pianoforte., Diss. (Northwestern University, 1960), 12. 3Ibid., 68.
4 intonatio, inventions, handstück, variations, toccatas, and miniature sonatas. One of the earliest examples
of the keyboard etude might beFrancois
Couperin's (1668-1733)
eight preludes from his treatiseL'art de
toucher le clavec in published in 1716. The presentation of these compositions are unique in that specific instructions on how to ornament, finger, and perform, come with the pieces. In 1738,Domenico Scarlatti
(1685-1757) began to compose Essercizi per gravicembalo (Exercises for Harpsichord); short binaryform sonatas which provided technical challenges at the same time as charming and beautiful keyboard-
centric writing. Some of the techniques honed in these two to three page sonatas were large leaps, hand
crossing, fast repeated notes, fast passagework, extended trills, and melodic voicing. One of the worthiest
predecessors to the etude is Johann Sebastian Bach's (1685-1750) Well-Tempered Clavier; forty eight preludes and fugues one for every key in two different volumes. The original cataloguing place theseworks in volumes called Clavier-Übung (Keyboard Practice), and the pattern-based preludes resemble the
compositional style of an exercise or etude (Example 2.1).Example
2.1. J. S. Bach's Prelude No. 2 from Das Wohltemperierte Klavier I BWV 847 No. 2, mm. 1-3 The etude genre as a form started off, much like exercises, as a monothematic short and succinct single section work. It would usually have the form of a sonata a llegro, or rondo, or at times the free style of a fantasy. Clementi championed the early classical etude; and epitomized its simplicity with onetexture per etude. In his Introduction to the Art of Playing the Piano from 1803 he features original pieces
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