The evolution of Liszt's compositional style as reflected in the three versions of the Transcendental études
| dc.contributor.author | Hall, Helen | en_US |
| dc.date.accessioned | 2024-08-14T16:41:53Z | |
| dc.date.available | 2024-08-14T16:41:53Z | |
| dc.date.copyright | 1983 | en_US |
| dc.date.issued | 1983 | |
| dc.degree.department | Department of Music | |
| dc.degree.department | School of Music | |
| dc.degree.level | Master of Arts M.A. | en |
| dc.description.abstract | The present study is an investigation of the development of Liszt's musical style through an examination of the three compositional versions of the Transcendental Etudes. In a sense, Liszt treats the earliest published version of the etudes from 1826 as no more than a compositional sketch for the second set of 1839. As a result, a comparison of these two versions provides an opportunity to assess the new compositional techniques which the maturing composer acquired during these years. Since the thematic material from the first set is consistently retained, however transformed, the subsequent versions offer an insight into Liszt's self-critical evaluation of his own music. Chapter I explores the relationship between the first two versions, while Chapter II focuses on the final version, completed by 1852. Here the changes are more refinement than transformation, and consequently less radical in nature . Nevertheless, they are significant for the light they shed on Liszt's changing approach to composition· up to the early Weimar years. | |
| dc.format.extent | 145 pages | |
| dc.identifier.uri | https://hdl.handle.net/1828/18019 | |
| dc.rights | Available to the World Wide Web | en_US |
| dc.title | The evolution of Liszt's compositional style as reflected in the three versions of the Transcendental études | en_US |
| dc.type | Thesis | en_US |
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