THE “GOLDEN AGE” OF PIANISM: AN ANALYTICAL STUDY OF MORIZ ROSENTHAL’S PIANO PARAPHRASES OF JOHANN STRAUSS II’S WALTZES

Abstract

During the “Golden Age” of pianism (1880-1930), virtuosic transcriptions were popular repertoire in concerts. As the waltz became the rage in Vienna, the waltzes of Johann Strauss were the prime subjects for piano transcriptions. One of the greatest pianists of the era was Moriz Rosenthal, who was recognized by his breathtaking virtuosity and musical depth. His own two Strauss transcriptions, Carnaval de Vienne and Fantasie um Johann Strauss, represent the highest pinnacle in this genre: virtuosity, Viennese identity and wit. The first chapter introduces the background information on the Viennese Waltz in the nineteenth century, and Chapter II presents biography of Rosenthal as a performer and composer. Chapters III and IV offer detailed analyses of Rosenthal’s transcriptional technique in Carnaval de Vienne and Fantasie um Johann Strauss. The analysis showcases the complicated contrapuntal texture and technical demands Rosenthal incorporated in his transcriptions. Chapter V compares Rosenthal’s transcriptions with similar Strauss transcriptions by his contemporaries, Alfred Grünfeld, Adolf Shulz-Evler, and Leopold Godowsky. Chapter VI considers some performance issues and offers some practical suggestions on how to overcome the technical difficulties, as well as addresses issues of the characteristics of Viennese waltzes. The Appendix compiles a list of eighty-nine piano transcriptions of Strauss pieces by Rosenthal and his contemporaries.