This document addresses a gap in the scholarly study of Franz Liszt. It argues that Liszt is currently viewed primarily as a composer who exhibits German traits. His works, therefore, that fit the German stereotype, i.e. orchestral and piano works, receive the bulk of academic attention. This document argues that while this contemporary view is largely valid, Liszt's Italian songs do not fit the German view. The modern view of Liszt is analyzed, as well as the implications of this view. Evidence is reviewed that supports the notion of a strong Italian character to the vocal writing in Liszt's Italian songs, including historical evidence, similarity to the works of bel canto composers, and how the changes between his first and second verses of the Petrarch Sonnets reflect a change from an Italian character in the first versions to a more German character in the revisions.
|School:||University of Cincinnati|
|School Location:||United States -- Ohio|
|Source:||DAI-A 70/03, Dissertation Abstracts International|
|Keywords:||Hungary, Italian songs, Liszt, Franz, National influence, Petrarch Sonnets, Tre sonetti di Petrarca|
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