![]() Volume 4 (Hungarian Rhapsodies II) Editors: Zoltán Gárdonyi (1906-1986), István Szelényi (1904-1972) ![]() pp.3-116: Études d'exécution transcendante, S.139.For the most part, final versions appear in these volumes, but earlier versions that are significantly different from their final form appear here as well. Series I of the Neue Liszt-Ausgabe contains Franz Liszt's original solo piano works and transcriptions of his own compositions for solo piano. Vocal works with orchestra, or with several instruments (2019-) Works and arrangements for organ, and for organ and other instruments Works and arrangements for several instruments Works and arrangements for piano four hands and for two pianos (2022-) Free arrangements and transcriptions for piano solo (1986-2005) The Neue Liszt-Ausgabe is planned to comprise the following ten series: Imre Sulyok, László Martos (1949-) Series II: Volume 3.Imre Sulyok, Adrienne Kaczmarczyk (1963-) Series II: Volume 2, Supplements: Volumes 1-3.Antal Boronkay (1948-) Series I: Volume 5.From 1985, EMB continued to independently publish new volumes of the NLA. From 1970 to 1985, Bärenreiter-Verlag also published Series I in cooperation EMB. The edition has been published by Editio Musica Budapest since 1970. The complete edition is based on all the available manuscript and printed sources of Liszt's works. Neue Ausgabe sämtlicher Werke) is the second complete authentic edition of the music of Franz Liszt. THE CONNECTION – Totentanz has not appeared on the Utah Symphony Masterworks Series since 2002 when Sergio Tiempo was featured as soloist and Keri-Lynn Wilson conducted.Neue Liszt-Ausgabe (abbreviated as "NLA" full name, Franz Liszt. And the Salvation Army was founded in England. The Matterhorn was summated for the first time. The Civil War ended in America but President Lincoln was assassinated just days later. Berlioz had already used the theme in his Symphonie Fantastique and Rachmaninoff would employ it often years later. Liszt claimed a place among good company with the choice. ![]() The thematic basis for the music of Totentanz is the plainchant “Dies irae,” upon which several intense variations are set. Whatever the case, Mediaeval Europe was obsessed with everything related to death and Romantic Era Europe was obsessed with everything related to Mediaeval Europe so macabre source material like Holbein’s work and the Pisa fresco would have been abundant and of timely interest during Liszt’s day. It has also been posited that the he met his muse in a series of illustrations by Hans Holbein with the more pertinent title of The Dance of Death (or Totentanz). Some, including at least one biographer, claim that Liszt was motivated by a 14th century fresco he saw while visiting the city of Pisa, a work known as The Triumph of Death. ![]() There are contrasting versions of the story concerning Liszt’s inspiration for Totentanz. This long gestation period was not abnormal for Liszt and his two piano concerti endured a similarly drawn out process. Liszt had begun work on Totentanz as far back as 1838 and did not consider it “completed” until 1849, a date that lost some of its significance after at least two revisions by the composer in the late 1850s. THE MUSIC – The close timing of the premiere and the tonsure, though historically fascinating, was incidental. Intriguingly, his death-obsessed showpiece for piano and orchestra Totentanz had premiered just ten days earlier at The Hague. Though he never became a priest, he did officially enter the clergy’s lower orders on Apand was known as “Abbot” Liszt for the rest of his days. THE COMPOSER – FRANZ LISZT (1811-1886) – In the early 1860s, the crushing disappointments of Liszt’s personal life forced him to seriously consider the solace and rigor of monastic life. Instrumentation: 3 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, triangle, tam-tam, strings
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