The 19th century in Europe was an age in which psychological states went mainstream in the arts, becoming a particularly powerful stimulus for musical expression. No 19th-century composer went further in marshalling the resources of musical expression into direct and compelling proxies for emotional experience than Richard Wagner. And none of his operas exhibit a more focused concentration on one single emotion, romantic love, than Tristan and Isolde Wagner vividly brings to life the insistent quality of the emotion of love through his use of the same phrases, repeated over and over again in a continuous chain of chromatic harmonies which seem to open up new vistas of experience with each occurrence.
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Posing just such a problem is an important lost source. We assume as a rule that the first edition — as described above — represents the ultimate state, especially since Liszt would have reviewed it and authorised it.
We must therefore beware of privileging the autograph as purportedly the more authentic source and of possibly reverting in the process to an obsolescent state. The most important change in our Urtext edition versus the first edition pertains to measures 54— The first edition and, to this day all later editions, show here a curious inconsistency in the placement of the arpeggio signs in the right hand: the arpeggio is no longer, as in the preceding measures, always on the 3 rd eighth of every half of the measure, but on the 1 st eighth, thus on a chord, part of which is tied!
Sometimes it is missing altogether, whereas in the first half of m. Does that make any sense at all…? A glance at the autograph shows, on the other hand, a completely coherent notation: the arpeggios in mm. As a result, one or the other pianist who has studied the piece from the old edition will at first stumble over these changed passages. But we hope that our argument is convincing enough that the original version of the autograph can prevail. Your email address will not be published.
Your email:. Skip to content. On the first of the three posthumous piano pieces Impromptus D by Franz Schubert. Posted on August 5, by Dominik Rahmer. Bookmark the permalink. Leave a Reply Cancel reply Your email address will not be published. Search Search for:. Henle Publishers 27 genesis 10 harmonics 2 Instrumentation 1 measure numbering 2 new source 5 notation 27 ornamentation 3 pitch range 2 revision 8 rhythm 1 tempo 1 transcription 6 Urtext 46 variant reading 28 versions Violin Concerto in a minor op.
Mozart 1 Fantasy op. Bach 1 Flute Sonata Wq C. Mozart 1 Piano Concerto op. Piano Sonata K. Mozart 2. Impressum Privacy. Henle Blog. Proudly powered by WordPress.
“Liebestod” revisited – yet more problems in Franz Liszt’s transcription of Wagner
But some transcriptions were almost verbatim adaptations for piano, and this is one of them. There are important counter-melodies to project, and chords to be voiced judiciously. The music gradually builds in a series of ever-impassioned sequences until a shattering, ecstatic climax engulfs us all, both the performer and audience. Slowly and gradually the music subsides into blissful exaltation as Isolde slips away to join her lover in death. Dare I point out, dear Liszt, that the final D sharp of the oboes in the penultimate bar really should be heard as a tie with all other instruments lifting briefly, as per the orchestral score? Try releasing all notes except a treble clef D sharp momentarily in between the final two bars, re-pedal, then play the last chord. Just a thought.
Wagner-Liszt Album (Liszt, Franz)