The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt

 

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dc.contributor.advisor Hofmeyr, Hendrik en_ZA
dc.contributor.advisor Herbst, Anri en_ZA
dc.contributor.author Low, Michael Meow Yin en_ZA
dc.date.accessioned 2014-10-08T09:38:55Z
dc.date.available 2014-10-08T09:38:55Z
dc.date.issued 2009 en_ZA
dc.identifier.citation Low, M. 2009. The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt. University of Cape Town. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/8254
dc.description.abstract This thesis sets out to investigate the musical and Romantic ideas that may have influenced Liszt during the composition of the three versions of the 'Transcendental' Etudes in relation to the pianistic and musical evolution of the work. The musical and pianistic content of the juvenile etude pour le piano en douze exercices (1827) takes after the didactic exercises of Karl Czerny. The intermediate version, known as the Grandes Ãtudes (1839), was conceived at the height of Liszt's performing career and develops the principal thematic ideas of its predecessor whilst incorporating the virtuoso piano technique developed by Liszt's contemporaries, Thalberg and Chopin, as well as the advanced chromaticism characteristics of the latter's music. Crucial to the realisation of the intermediate version with its almost superhuman technical demands is also the influence of Paganini. The final version entitled etudes d'execution trancendente (1852) features a facilitation of some of the technically most demanding passages, as well as the addition of programmatic titles to ten of the twelve etudes. The relationship between programmatic intention and changes to the musical content is not as direct a one as may be supposed, since the vast majority of the radical changes to the musical content did not occur with the (explicit) addition of programmatic/descriptive intention in 1852, but rather in the 1839 version. This poses the question of whether the intermediate version was already implicitly programmatic/descriptive in intention, or whether the titles of the 1852 version were mere 'afterthoughts', added to works that had been transformed for other reasons. The balance of evidence gathered by the author supports the former view. en_ZA
dc.language.iso eng en_ZA
dc.subject.other Music en_ZA
dc.title The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt en_ZA
dc.type Doctoral Thesis
uct.type.publication Research en_ZA
uct.type.resource Thesis en_ZA
dc.publisher.institution University of Cape Town
dc.publisher.faculty Faculty of Humanities en_ZA
dc.publisher.department College of Music en_ZA
dc.type.qualificationlevel Doctoral
dc.type.qualificationname PhD en_ZA
uct.type.filetype Text
uct.type.filetype Image
dc.identifier.apacitation Low, M. M. Y. (2009). <i>The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,College of Music. Retrieved from http://hdl.handle.net/11427/8254 en_ZA
dc.identifier.chicagocitation Low, Michael Meow Yin. <i>"The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt."</i> Thesis., University of Cape Town ,Faculty of Humanities ,College of Music, 2009. http://hdl.handle.net/11427/8254 en_ZA
dc.identifier.vancouvercitation Low MMY. The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt. [Thesis]. University of Cape Town ,Faculty of Humanities ,College of Music, 2009 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/8254 en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Low, Michael Meow Yin AB - This thesis sets out to investigate the musical and Romantic ideas that may have influenced Liszt during the composition of the three versions of the 'Transcendental' Etudes in relation to the pianistic and musical evolution of the work. The musical and pianistic content of the juvenile etude pour le piano en douze exercices (1827) takes after the didactic exercises of Karl Czerny. The intermediate version, known as the Grandes &amp;amp;Atilde;tudes (1839), was conceived at the height of Liszt's performing career and develops the principal thematic ideas of its predecessor whilst incorporating the virtuoso piano technique developed by Liszt's contemporaries, Thalberg and Chopin, as well as the advanced chromaticism characteristics of the latter's music. Crucial to the realisation of the intermediate version with its almost superhuman technical demands is also the influence of Paganini. The final version entitled etudes d'execution trancendente (1852) features a facilitation of some of the technically most demanding passages, as well as the addition of programmatic titles to ten of the twelve etudes. The relationship between programmatic intention and changes to the musical content is not as direct a one as may be supposed, since the vast majority of the radical changes to the musical content did not occur with the (explicit) addition of programmatic/descriptive intention in 1852, but rather in the 1839 version. This poses the question of whether the intermediate version was already implicitly programmatic/descriptive in intention, or whether the titles of the 1852 version were mere 'afterthoughts', added to works that had been transformed for other reasons. The balance of evidence gathered by the author supports the former view. DA - 2009 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2009 T1 - The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt TI - The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt UR - http://hdl.handle.net/11427/8254 ER - en_ZA


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