A study on performing the Hungarian Rhapsodies in the Liszt tradition

Franz Liszt’s Hungarian Rhapsodies (1851, 1853) have long been among the most popular collections of piano music. They have also long garnered a reputation for “superficial brilliance and effect” which seems to have influenced the way that famous pianists play the works in public. But would a performer immersed in the Liszt tradition have approached them differently? This dissertation aims to promote a re-evaluation of the Hungarian Rhapsodies from this perspective: considering Liszt’s own ideas on music and performance, the writings and recordings of his pupils, and Liszt’s book Des Bohémiens et de leur musique en Hongrie (1859).

Grantor dc:publisher

Edith Cowan University, Research Online, Perth, Western Australia

Year dc:date

2020

Author dc:creator

• Williams, Nicholas Mark

• Franz Liszt
• Hungarian Rhapsodies
• Des Bohémiens et de leur musique en Hongrie
• Style hongrois
• Performance practice
• performance style
• historical performance
• piano performance
• historically informed performance
• early recordings
• piano rolls
• Arthur Friedheim
• Arthur de Greef
• Alfred Reisenauer
• Emil von Sauer
• Eugen d’Albert
• Alexander Siloti
• Bernhard Stavenhagen
• Josef Weiss
• Richard Burmeister
• Vera Timanova
• Georg Liebling
• Moriz Rosenthal
• Music Performance
• Performance Studies

Repository record dc:identifier

https://ro.ecu.edu.au/theses/2360

OAI identifier oai:identifier

oai:ro.ecu.edu.au:theses-3362