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.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
