379 NSU Ms, 1071 THE LATE PIANO WORKS OP FRANZ LISZT, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OP MUSICAL ARTS By Raymond Marchionni, B. Mus., M. Mus, Denton, Texas August, 1976
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3 7 9
NSU Ms, 1071
THE LATE PIANO WORKS OP FRANZ LISZT, A LECTURE RECITAL,
TOGETHER WITH THREE RECITALS OF SELECTED WORKS
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OP MUSICAL ARTS
By
Raymond Marchionni, B. Mus., M. Mus,
Denton, Texas
August, 1976
i /rv
Marchionni, Raymond, The Late Piano Works of ffranz Liszt,
— lecture Recital, Together with Three Recitals. Doctor of
Musical Arts (Piano Performance), August, 1976, 21 pp.,
15 illustrations, bibliography, 41 titles.
The lecture recital was given April 2, 1973. A dis-
cussion of Liszt's late piano works included information
about specific compositional techniques and innovations
which influenced twentieth-century composers. Five selections
of the late works were performed by memory.
In addition to the lecture recital, three public solo
recitals were performed.
The first solo recital, performed on April 9> 1972,
consisted of works by Haydn, Beethoven, Ravel, and Chopin.
The second solo recital, performed on August 4, 1974,
included works by Beethoven, Debussy, and Brahms.
The final solo recital, performed on April 5» 1976,
consisted of works by Bach, Chopin, and Prokofieff.
All four programs were recorded on magnetic tape and
are filed, along with the written version of the lecture
recital, as part of the dissertation.
Tape recordings of all performances submitted as
dissertation requirements are on deposit in the North Texas
State University Library.
11
TABLE OF CONTENTS
PERFORMANCE PROGRAMS Page
First Solo Recital iv
Lecture Recital. The Late Piano Works
of Franz Liszt v
Second Solo Recital vi
Third Solo Recital vii
LIST OF ILLUSTRATIONS viii
THE LATE PIANO WORKS OF FRANZ LISZT 1
BIBLIOGRAPHY 19
111
North Tex'as State University School of A\usic
present!
Remo AWckionrti, Ftanist ma
Graduate Recital
Sunday, April % 1972 5:00 p.m. Recital Hall
Variations in FMinor (Hob.XVI1: 6 ) Haydn
Sonata in £ b Major, Op. 31 No. 3 Beethoven. Allegro
Scherzo: Allegretto vivace Menueiio: .Moderate e ^mztoso
Presto coniuoco
Intermission
Valses Nobles et Sentimentales Ravel Mode re — ires franc
Jkssez lent Modere
Kssez anime fresqm lent
\ ¥ Moins Vi'f
Epilogue - Lent
Berceuse, Op. 57
Barcarolle, Op. 60 Chopin
Presented in partial fulfillment of the requirements for the decree
Poctor of Musical Arts
North Testis State University School of Music
presents
Remo A^archionni. fWst m a
Lecture Eecitat
"The JLate Piano Works of Franz Liszt"
Monday, April 2,1975 5:00 p.m. Recital Hall
Kua es Gris (Gmy Clouds) 1881
Unstern (False Star) 1880-1886
EnReve (Dreaming) 1885-1886
JLa iu^ubre Gondola I (The Funeral Gondola!)... 1882
Third MephUto Waltz . 1881
Presented in partial fulfillment of the requirements for the decree
Doctor of Musical Arts
NORTH TEXAS STATE UNIVERSITY
School of Music
presents
REMO M A R C H I O N N I ill
G r a d u a t e Piano R e c i t a l
Sunday, August 4, 1974 4:00 p.m. Recital Hall
Sonata, Opus 109 Ludwig van Beethoven Vivace, ma non troppo Prestissimo Gesangvoll, mit iimigster Empfindung
Images, Book I Claude Debussy Reflets dans l'eau Hommage a Rameau Mouvement
INTERMISSION
Eight Piano Pieces, Opus 76 Johannes Brahms Capriccio Capriccio Intermezzo Intermezzo Capriccio Intermezzo Intermezzo Capriccio
Presented in partial fulfillment of requirements for the degree of Doctor of Musical Arts
VI
North Texas State University School ofiWusic
presents
Remo JVWcKionni, Pianist in a
Graduate Recital
Monday, April 5,1976 5'.00 p.m. Recital Hall
Toccata in C Minor J. S. Bach
Andante spianato and Grande l&lonaise brillante, Opus 2 2
Frederic Chopin
Intermission
Sonata Wo. 6, Opus 82 Ser^e Prokofieff
Adecjro modemto
Allegretto
Tempo di va.1ser lentissimo
Vivace
Presented in partial fulfillment of the requirements for ike decree
Doctor of Musical Arts
V l l
LIST OF ILLUSTRATIONS
Figure
1.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Franz Liszt, Les Jeux d'eaux a la Villa d'Este, mm. -nrr-: 7 7 T 7
Liszt, Les Jeux d'eaux a la Villa d'Este, mm. 88-95 . . 7 . . 7 . . .
Liszt, Les Jeux d'eaux a la Villa d'Este, mm. 40-43 . . . . . 7 . . .
Claude Debussy, L'isle .joyeuse, mm. 7-8 . . .
Liszt, Sursum Corda, mm. 66-71
Liszt, Czardas Obstine, mm. 1-21 . . . . . .
Liszt, Czardas Macabre, mm. 49-62
Liszt, En Reve, mm. 35-47
Liszt, Nuages Gris, mm. 46-48
Liszt, Petrarch Sonnet 104, mm. 78-80 . . . .
Liszt, Unstern, mm. 57-70
Liszt, Unstern, mm. 20-23
Liszt, La Lugubre Gondola II, mm. 152-168 . .
Liszt, third Mephisto Waltz, mm. 1-10 . . . .
Liszt, Bagatelle sans Tonalite, mm. 1-21 . .
Page
3
4
5
6
7
8
10
11
11
12
13
15
16
17
Vlll
THE LATE PIANO WORKS OP FRANZ LISZT
The artistic achievements of Franz Liszt have long been
considered an outgrowth of his unique piano virtuosity, con-
ducting, and orchestral experimentation. Acknowledged are
the brilliant piano works, the tone poems with their inno-
vative structure, and the essays on esthetics. The music
of Liszt's final years, however, remains almost totally
neglected and unknown.
Liszt's contemporaries have given us a picture of the
aging composer as an eccentric who produced works embarrassing
to his friends and pupils, and a source of amusement to his
enemies. The music of Liszt's old age drew the remark from
Edward Hanslick: "After Liszt, Mozart is like a soft spring
breeze penetrating a room reeking with fumes."1 Wagner's
criticisms of Liszt's late works were apparently in the same
view. Peter Raabe, one of the earliest reliable biographers
of Liszt and Director of the Liszt Museum at Weimar, explains:
Like all other musicians of sound judgment, Wagner had come to recognize that Liszt's creative genius was on the down grade. He was horrified by the things he saw and heard. However, he felt it im-possible to tell Liszt his real opinion of these senile compositions . . ."2
" Walker, Alan, editor, Franz Liszt: The Man and his Music (London, 1970), p. 350.
"Szabolsci, Bence, The Twilight of Liszt, translated by Andras Deak (Budapest7~T959), pp. 22-23.
Several of Liszt's most intimate pupils rejected the late
works with indignation, regarding them unworthy of the bril-
liant pianist and renowned composer. However, Liszt referred
to his musical "after-life" with confidence. In a letter to
Princess Wittgenstein he stated that "His only remaining
ambition was to hurl a lance as far as possible into the
boundless realm of the future."^ To August Stradal, a pupil,
the seventy-four year old Liszt remarked: "The time will yet
come when my works are appreciated. True, it will be late for
me because then I shall no longer be with you."^
His prediction was borne out when Bela Bartok, in his
lecture at the Academy of Sciences in Budapest in 1934»
pointed out the many novelties in the music of Liszt. He
called Liszt the most powerful force in stimulating and en-
riching the imagination of the new generation of composers.-*
Bartok further states in his autobiography:
The great artist's true significance was revealed to me at last. I came to recognize that, for the continued development of musical art, Liszt's com-positions were more important than either Wagner's or Strauss' . . . Courageous and prophetic gestures, things never said before, it was on account of these that Liszt rises to the height of the greatest com-posers . . ."6
^Walker, Franz Liszt: The Man and his Music, 350.
^Szabolsci, The Twilight of Liszt, 5.
5 Bence Szabolsci, "Liszt: The Composer," The Music
Magazine: Musical Courier. CLXIII (November, l"55T), 8-9. r
Szabolsci, The Twilight of Liszt, 75-77.
In Rome in 1884, the young Debussy heard Liszt play
several of his recently-published impressionistic pieces,
among them, Les .jeux d'eaux a la Villa d'Bste. The dominant
ninths at the outset of the piece (Fig. 1, p. 3), the de-
scending chain of secondary sevenths occurring in the main
body of the work (Fig. 2, p. 4), and an accompanimental fig-
ure (Fig. 3, p. 4), similar to one Debussy later used in
L'isle joyeuse (Fig. 4, p. 5), made a tremendous impact on
the younger composer.
Allegretto
t vtvac*
VrPed.
Fig. 1—Liszt, Les Jeux d*eaux a la Villa d'Este, mm. 1-3,
In his very last compositions Liszt avoided cliches,
virtuosity, and many other elements typical of his earlier
style, and he often spoke of the "strange oscillations" of
Allegretto 9 va _ .
6 T "It" I 0 dl a W a r p i a
sempre staccato
^Vlj. J # = £ i i -
r ^it.i.if"l(
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B A
i
rmmii J. J.
tr
i r 5*ig. 2—Liszt, Les Jeux d'eaux a la Villa d'Este,
mm. 88-95. ""
i Moderato
pp sempne
• v v v f j a Pig. 3—Liszt, Les Jeux d'eaux a la Villa d'Este,
Herring, Harriet T., "Liszt's Influence on Early Twentieth-Century Piano Music," The Radford Review, XXIII. no. } (Slimmer, 1969), 135-14X
Holcmann, Jan, "Liszt: Piano Records," The Music Magazine: Musical Courier, CLXIII (November, 1961), 14-16, 45.
Jacobson, Bernard, "Liszt on Records," HI PI, XVIII (April. 1968), 51-55.
Kammerer, Rafael, "Record Review," American Record Guide, XXXII (September, 1965), 58-59.
Lewenthal, Raymond, "In Search of the Real Franz Liszt," HI FI Stereo Review, XV (November, 1965), 65-69.
"Liszt—Bartok. Report of the Second International Musicological Conference, Budapest, 1961," papers edited by Q. Gardonyi and B. Szabolsci, Music and Letters, IV (1964), 393-95.
"Liszt: Early and Late Piano Works," (no author given) Music and Letters. XXXIV (January, 1953), 83-84.
Muranyi, R. A., "Unknown Liszt Relics," Studia Musicologica. IV (fascicle 2, 1963), 195-200.
Pisk, Paul A., "Elements of Impressionism and Atonality in Liszt's Last Piano Pieces," The Radford Review, XXIII. no. 3 (Summer, 1969), 171-1757
"Rediscovered Liszt," Music and Musicians, XVI (December, 1967), 34-36.
Searle, Humphry, "Liszt's Final Period, 1860-1886," The Royal Music Association Proceedings. LXXVIII (April, T552), <57-81.
Szabolsci, Bence, "Liszt: The Composer," The Music Magazine: Musical Courier, CLXIII (November, 19ST), 8-9.—
Vincej S., "The Apostle of Liszt," Musical Opinion, LXXV (January, 1952), 213-15. —
21
Waters, Edwin W., "Harvest of the Year: Selected Acquisitions of the Music Division," The Quarterly Journal of the library of Congress, XXLV (January, 1967), 5'l-57» 64, 71.
Yeomans, W., "The Late Piano Works of Liszt," Monthly Musical Record (February, 1949)•
Dictionary Articles
Searle, Humphry, "Franz Liszt," Grove's Dictionary of Music and Musicians, V, edited by Eric Blom, MacMillan & Co., rra., 1954.
Unpublished Articles
Goode, William Myrick, "The Late Piano Works of Franz Liszt and Their Influence on Some Aspects of Modern Piano Composition," unpublished Ph.D. dissertation, Indiana University, 1965.
Wiley, Larry Don, "Selected Piano Y/orks by Franz Liszt and Their Influence on the Impressionists," unpublished master's thesis, School of Music, North Texas State University, Denton, Texas, January, 1968.
Music
Debussy, Claude, Selected Works, New York, G. Schirmer, Inc., Vol. 1845.
Liszt, Franz, An Album for Piano Solo II, New York, Kalmus.
Liszt, Franz, Annees de Pelerinage 2m»e Annee "Italie," New York, G. Schirmer, Inc., Vol. 911.
Liszt, Franz, The Final Years, New York, G. Schirmer, Vol. 1845.
Newspapers
Searle, Humphry, "Later Liszt is More Austere," New York Times (November 20, I960) 110:13 Section 2.
Sitwell, Sacheverell, "Incomplete Image," New York Times (November 13, I960) 110:21 Section 2.
Straus, Noel, "New Light on Liszt," New York Times (January 20, 1952) 101:7 Section 2.