Transcription, Paraphrase, Creed in Franz Liszt’s 'Variations on „Weinen, Klagen, Sorgen, Zagen”'

Authors

  • Boglárka Eszter OLÁH “Gheorghe Dima” National Music Academy, Ion I.C.Brătianu 25, Cluj-Napoca, email: boglarkaeszter@yahoo.com

DOI:

https://doi.org/10.24193/subbmusica.2023.2.25

Keywords:

Liszt, Bach, Transcription, Paraphrase, Creed.

Abstract

Franz Liszt created a new tradition by playing transcriptions and paraphrasing the most well-known operas and works of his time on his fabulous concerts. This habit created new genres like Transcriptions (Reminiscences de Norma S. 394, Grandes études de Paganini S. 141) and Paraphrases (The Rigoletto Paraphrase S.434, The Ernani Paraphrase S. 432). The Variations on „Weinen Klagen Sorgen Zagen” fits into both categories: On the one hand Liszt paraphrases J.S.Bach’s Crucifixus and the 12th Cantata. On the other hand, he transcribes with a great craftsmanship his piano work for organ. The historical and private background of this work testifies to an extraordinary faith.

Author Biography

Boglárka Eszter OLÁH, “Gheorghe Dima” National Music Academy, Ion I.C.Brătianu 25, Cluj-Napoca, email: boglarkaeszter@yahoo.com

Boglárka Eszter OLÁH. In 2010 she entered the “Gheorghe Dima” Music Academy – Cluj-Napoca, where she benefited from the guidance and support of prof. Silvia Sbârciu, prof. Erich Türk and prof. Vera Negreanu. During her studies, she obtained two Erasmus scholarships: 2012-2013 in the piano performance class of prof. Rohmann Imre in Mozarteum-Salzburg, 2016 in the piano performance class of prof. Martin Hughes and the harpsichord class of prof. Gordon Murray at the University for Music and Performing Arts in Vienna. A very important role in her artistic development played her taking part in many workshops and masterclasses held by renowned musicians (Robert Levin, Sontraud Speidel, Diana Ketler, Jean-François Antonioli, Bertrand Cuiller). Between 2016-2020 she is a Ph.D. Student at the Gheorghe Dima Music Academy – Cluj-Napoca, defending her thesis with Summa Cum Laude. From 2018 she is a teaching assistant at the same institution. A very passionate chamber musician, in several years she became a scholar of the SoNoRo-Interferenţe Chamber Music project. She forms a cello-piano duo with her brother, Oláh Mátyás and a piano-duo with the pianist Ioana Vețean, winning with both ensembles several prizes on national and international competitions, and being invited to play several recitals. She has also collaborated with many Romanian orchestras, such as the Philharmonic Orchestras of Cluj-Napoca and Timișoara, the orchestra “Camerata Academica” and the orchestra „Agile”.

References

*** Dicţionar de termeni muzicali (Dictionary of musical terms), Ed. Ştiinţifică și Enciclopedică, Bucureşti, 1984.

*** Dictionnaire de musique, Christophe Ballard, Paris, 1703

*** Die Musik in Geschichte und Gegenwart (Friedrich Blume), Bärenreiter Verlag, Basel-Kassel, 1965.

*** The New Grove Dictionary of Music & Musicians, Macmillan Publishers Limited, London, 2001.

Brendel, Alfred. Alfred Brendel on music: collected essays. Ed. Robson books, London, 2001.

Gardiner, John Eliot. Johann Sebastian Bach (1685-1750) / Cantatas Nos 12, 103, 108, 117, 146 & 166. Ed. Hyperion Records, London, 2019.

Hamburger, Klára. Liszt. Ed. Gondolat, Budapest, 1980.

Liszt, Franz. „Variationen über ein Motiv (basso ostinato) aus der Kantate “Weinen, Klagen, Sorgen, Zagen”, und dem “Crucifixus”, der h-Moll Messe von J. S. Bach”. In Neue Liszt-Ausgabe, Serie 2, Band 12, Editio Musica, Budapest, 1993.

Michels, Ulrich. Music-Atlas. Ed. Athenaeum, Budapest, 2000.

Walker, Allan. Franz Liszt, The Virtuoso years. Cornell University Press, New York, 1987.

Walker, Allan. Franz Liszt, The Weimar years. Cornell University Press, New York, 1987.

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https://www.biblegateway.com

STUDIA UBB MUSICA, Volume 68 (LXVIII), No. 2, December 2023

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Published

2023-12-30

How to Cite

OLÁH, B. E. (2023). Transcription, Paraphrase, Creed in Franz Liszt’s ’Variations on „Weinen, Klagen, Sorgen, Zagen”’. Studia Universitatis Babeș-Bolyai Musica, 68(2), 341–352. https://doi.org/10.24193/subbmusica.2023.2.25

Issue

Volume 68, No. 2, December 2023

Section

Articles

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

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