UMWERTUNGEN IN LISZTS WASSER-MUSIK
Keywords:
Liszt’s life works, piano, “watery” theme, discover, antecedents and after life, musical toolbar, content attitude, formal solutionAbstract
The magnificence of The fountains of Villa d'Este - which advanced the impressionist music - launched the idea to found out what were the antecedents and maybe the after life of the attitude toward this theme in the Liszt’s life works concerning the music written for piano. My main goal was not to analyze some works, because anyway it exist a large literature about. I’ve clung into this theme as to a connecting thread which would help me to discover what kind of content attitude could be observed among some works and what kind of musical toolbar was born in the composer’s workshop. To make it simple, what was the meaning or how it happened that this “watery” theme came into the light and in what formal solution was this concluded.
References
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***, Zongoramuzsika kalauz (Klaviermusikführer), Musikverlag, Budapest, 1976.
Czigány, György, Három Liszt-motívum (Drei Liszt-Motive), http://dunatukor.fw.hu /022.htm
Hamburger, Klára, Liszt Ferenc zenéje (Franz Liszts Musik), Verlag Balassi, Budapest, 2010.
Kaczmarczyk, Adrienne, Liszt Ferenc: Gyászgondola I-II (Trauergondel I-II), A hét zeneműve – sorozat (Das Werk der Woches – Serie), 1997.
Molnár, Antal, Népszerű zeneesztétika (Volkstümliche Musikästhetik), Széchenyi Irodalmi és Művészeti RT, 1940.
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Tusa, Erzsébet, A Pianist’s Meditations on Liszt’s Late Work, Verlag Akkord, Budapest, 2000.
Walker, Alan, Liszt Ferenc (Franz Liszt), 2. Band, Musikverlag, Budapest, 1994.
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