Semantic Analysis of Musical and Artistic Content of F. Liszt’s "Transcendental Etudes" (Based on As-dur and f-moll Etudes)
Steyt Natalia Garievna
Saint-Petersburg State Conservatoire named after N. A. Rimsky-Korsakov
Submitted: 20.08.2021
Abstract. For more than a century and a half, Franz Liszt’s "Transcendental Etudes" have occupied one of the key places in pianists’ repertoire. The aim of the research is to reveal the main aspects of the artistic-figurative and symbolic content of this piano cycle by the example of two etudes - A-flat major and F-minor (№ 9-10) with the help of a complex musical-theoretical analysis. The scientific originality of the article lies in the author’s reference to the theme of motivational symbolism in the work under consideration: within the framework of semantic analysis, for the first time, special attention is paid to F. Liszt’s use of musical-rhetorical figures; the artistic connections of "Transcendental Etudes" with the works of other composers are analysed, and issues of semantics of tonalities are considered. As a result of the study of the analysed musical material and a systematic review of scientific and literary sources, Liszt revealed the sustainable use of characteristic techniques that reflect his conceptual representations in the formation of the semantic content of "Transcendental Etudes", which is of key importance for the interpretation of artistic and musical images of the cycle.
Key words and phrases: художественный музыкальный образ, музыкальная символика, риторические фигуры, семантика тональностей, романтический стиль, artistic musical image, musical symbolism, rhetorical figures, semantics of tonalities, romantic style
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