Note:This thesis is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of a recital of music related to the thesis topic.

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Title:Sigismond Thalberg's Twelve Etudes, Op. 26 and Fantasia on Beethoven's 7th Symphony, Op. 39: The aesthetics of performance
Author(s):Chien, Meng-Chun
Advisor(s):Kinderman, William
Contributor(s):Ehlen, Timothy; Herrera, Ricardo; Parisi, Susan
Department / Program:School of Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Subject(s):Sigismond Thalberg
Piano Etudes, Op. 26
Fantasia on Beethoven’s 7th Symphony, Op. 39
Romantic Piano Works
Abstract:Sigismond Thalberg (1812-1871), was a Swiss-born virtuoso pianist, one of the most famous keyboard artists of the nineteenth century. Often compared to Franz Liszt, Thalberg gave recitals in m any cities in various countries, ending his career in the American midwest, in Peoria, Illinois, in 1858. This thesis explores Thalberg’s Twelve Etudes Op. 26 and Fantasia on Beethoven’s 7th Symphony, a pairing of works sometimes made in his own concert programs. A focus on these works allows for investigation of the aesthetics of performance in Thalberg’s music. Chapter 1 outlines the background and motivation for the project, consider current state of research on Thalberg’s music, and offers a biographical sketch of Sigismond Thalberg’s life and career. In Chapter 2, the challenges of technique in the Twelve Etudes, Op. 26 are addressed with reference to Thalberg’s L’art du chant appliqué au piano, Op. 70. Chapter 3 offers detailed discussion of Thalberg’s Fantasia on Beethoven’s 7th Symphony, “Souvenir de Beethoven,” Op. 39, focusing on Thalberg’s development of themes from both Beethoven’s 5th and 7th symphonies. The analyses of both Op. 26 and Op. 39 will also evaluate Thalberg’s trademark “three-hand” technique, and its applications for the modern performer. I hope to encourage pianists to perform more of the musically rich repertoire embodied operatic transcriptions and paraphrases by nineteenth-century composers, including the transcriptions from French, Italian, and Wagnerian operas by Liszt, and particularly, the operatic paraphrases by Sigismond Thalberg, and also the unique paraphrase of Beethoven’s symphonies embodied in his Fantasia Op. 39. The Beethoven Fantasy is rich in dramatic conflict, ending with a plunge from the Berg into the Thal, from the triumphant peak into the shadowed valley of Beethoven’s processional march.
Issue Date:2019
Publisher:School of Music, College of Fine and Applied Arts, University of Illinois at Urbana-Champaign
Genre:Dissertation / Thesis
Type:Text
Image
Language:English
URI:http://hdl.handle.net/2142/103434
Rights Information:Copyright 2019 Meng-Chun Chien
Date Available in IDEALS:2019-04-11


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