1Īnd in the Preface to Supplement 11, which contains symphonies 5-7, Liszt himself is quoted from a letter to the transcriptions' publisher: In the pieces, Liszt's original fingering is given everywhere. In particular, this quotation from the "General Preface" to the series: The edition is very strict in adhering to Liszt's original markings. The Neue Liszt-Ausgabe is a scholarly edition intended especially for musicologists studying Liszt's compositional process and style. Here is the passage given in OP "sample 1" from the Neue Liszt-Ausgabe edition (1993) (mvmt 4, mm. Why did Liszt put fingerings in his transcription of Beethoven's Ninth?įirst, it's important to establish whether the fingerings are given by Liszt, which they are. In the interest of keeping this post focused, I'll just address the specific question of. I wonder which of these theories is right, if any, and/or if there's other benefit to adding finger markings to virtuosic piano pieces.
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