Studies on the Three Versions of Liszt’s Transcendental Etudes

• Main Authors: Yue-Chwen Lin, 林玉淳
• Other Authors: 徐頌仁
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/hnh2n7

博士 === 國立臺北藝術大學 === 音樂學系博士班 === 97 === Abstract The technical breakthrough Liszt achieved during the first half of the 19th century was without precedent in the history of the piano. No doubt, Liszt was the most influential performer and composer of this era who changed the piano into a tremendous instrument and gave the first piano solo recital in music history. Among his works, “Etudes d’exécution transcendant” is by far the most symbolic of piano technique during the Romantic Period. “Etudes d’exécution transcendant”, the one that is now used, was the version accomplished in 1851 in Weimar. The first version, dated in 1826, “Etudes pour le piano en douze exercices”, contained the germ of the later versions. As the earliest piano works composed by Liszt, they were still boyhood works based on classical piano technique. The second version, dated in 1837, “12 Grandes Etudes”, was virtually unplayable except by Liszt himself. Liszt was totally dedicated toward exploring all the possible piano techniques while the amazingly difficulties within each piece depicts the dramatic and surprising transformation of his composing. The third version was written after Liszt shed off his virtuoso identity and began revising his old works. He retained most of the structure from the second version and eased the techniques that were too difficult. After adjusting the structure, balancing the contents, and adding titles, the work finally completed and became the definitive version. The three versions of Liszt’s Transcendental Etudes are the best materials for doing the research on piano technique from the early 19th century. This study not only gives a brief description of their background and contents, but also provides an in-depth review and comparison of the three versions, discussing the changes and effect on piano technique as well as their influence on piano tone color and piano performance. The study investigates and concludes how Liszt’s composing was affected and transformed by the general environment of that time. It also looks into the background behind the development of these three versions and their impact on the passage of piano etudes in order to understand how the new piano techniques were formed and why certain techniques were kept or dropped. Finally, this study talks about Liszt’s position in history and the value of his work along with his importance and distinctive creativity in piano music.