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LISZT' S TECHNICAL STUDIES:

A METHODOLOGY FOR THE ATTAINMENT OF


PIANISTIC VIRTUOSITY

BY
NEIL GOODCHILD

THESIS SUBMITTED IN PARTIAL FULFILLMENT


OF THE DEGREE OF MASTER OF MUSIC (RESEARCH)

THE SCHOOL OF ENGLISH, MEDIA AND PERFORMING ARTS


MUSIC AND MUSIC EDUCATION

UNIVERSITY OF NEW SOUTH WALES


OCTOBER 2007
ABSTRACT

In 1970, the Hungarian publishing firm Editio Musica Budapest began a long
term project, ending in 2005, that endeavored to compile and publish all Liszt's works in
a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm,
Liszt' s Technical Studies were published in the way that he had originally intended for
the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated
that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever
uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his
definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being
fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the
nature of its trajectory is generally unknown.

Through an examination of the didactic instruction Liszt supplied in the Preface


of the autograph manuscript to the Technical Studies and specific technical commentaries
written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical
Studies are built on six artistic and mechanical principles, exemplified by Liszt in the
exercises, written to help the pianist acquire technical virtuosity. The methodical
divisions of the work into sections that deal with specific mechanical objectives are
illustrated with musical examples and their technical trajectory defined.

ii
ACKNOWLEDGEMENTS

There never will be anyone who deserves more thanks than my father;
a friend and companion who has encouraged me, pushed me
and has never allowed me to stop.

Thanks to Mini for the company on those late nights while writing this Thesis.

My sincerest thanks to my supervisor Dr. Christine Logan


for giving me the space to learn at my own tempo, the encouragement, consistent advice
and finally, guidance through the editorial process.

Permission to use musical examples from Liszt' s three volumes of Technical Studies
by Istvan Homolya and published by Editio Musica Budapest is gratefully acknowledged.

Permission to use musical examples from Schmitt's Five Finger Exercises for the Piano,
Op.l6 by Arif Chowndry and published by EMI Allans Music Australia Pty Limited
is gratefully acknowledged.

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ORIGINALITY STATEMENT

I hereby declare that this submission is my own work and to the best of my
knowledge it contains no materials previously published or written by another person, or
substantial proportions of material which have been accepted for the award of any other
degree or diploma at UNSW or any other educational institution, except where due
acknowledgement is made in the Thesis. Any contribution made to the research by
others, with whom I have worked with at UNSW or elsewhere, is explicitly
acknowledged in the Thesis. I also declare that the intellectual content of this Thesis is
the product of my own work, except to the extent that assistance from others in the
project's design and conception or in style, presentation and linguistic expression is
acknowledged.

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CONTENTS

ABSTRACT . ii
ACKNOWLEDGEMENTS iii
ORIGINALITY STATEMENT iv
TABLE OF CONTENTS v
INDEX OF TABLES . vii
INDEX OF MUSICAL EXAMPLES. viii

CHAPTER
1. INTRODUCTION AND LITERATURE REVIEW 28

2. HYPOTHESIS, SCOPE AND PURPOSE 43

3. LISZT' S TECHNICAL STUDIES:


A BRIEF HISTORICAL PERSPECTIVE 56

4. THE GENIS IS OF LISZT' S TECHNICAL STUDIES


AND THE FIRST PUBLISHED EDITION 67

5. THE TWO PROTOTYPICAL EXERCISES 73

The "Tapping" Exercise 73


The "Two-Finger" Exercise 104

6. LISZT' S TREATMENT OF SCALE CONFIGURATIONS 119

7. LISZT' S TREATMENT OF ARPEGGIO AND BROKEN


CHORD CONFIGURATIONS . 151

8. LISZT'S TREATMENT OF CHORD CONFIGURATIONS 168

v
9o LISZT' S TREATMENT OF CHROMATIC CONFIGURATIONS 175

!Oo LISZT' S TREATMENT OF TRILL AND TREMOLO


CONFIGURATIONS 210

The Forearm Tremolo 0 212


The Shaken Tremolo 0 213

II. LISZT'S TREATMENT OF REPEATED


CONFIGURATIONS o 236

120 LISZT'S TREATMENT OF LEAPING CONFIGURATIONS 243

130 LISZT'S TREATMENT OF LEFT-HAND EXERCISES 260

140 LISZT' S TREATMENT OF TECHNICAL CONFIGURATIONS


SIMILAR TO THOSE OF CHOPIN 0 265

!50 LISZT'S TECHNICAL STUDIES IN CONTEXT:


SELECTED METHODS OF HIS CONTEMPORARIES 274

16o CONCLUSION 306

BIBLIOGRAPHY 310

Books and Articles 310


Music Scores and Method Works 317

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CHAPTER!

Introduction and Literature Review

Following the centenary of Liszt' s death in 1986 there has been a growing
scholarly interest in the Hungarian pianist/composer's life and works. 1 Academic
interest has largely been focused on Liszt' s pedagogical process, an interest
having been fuelled in part by the historical emergence of the Diary-Notes and
2 3 4 5
recollections of his pupils: Gi:illerich, Lachmund and Friedheim. The re-
appearance and subsequent purchase of the supposedly "lost" third volume of
the Technical Studies for piano in 1975 by the Goethe- und Schiller-Archiv
in Weimar6 has also shed "new light" 7 on Liszt's didactic approach to the piano
especially in relation to the acquisition of virtuosic technique. Yet, despite
the fact that "Pedagogy is one of the most thoroughly-mined veins of Liszt

I. Michael Saffle, '"The Liszt-Year" 1986 and Recent Liszt Research,' Acta Musicologica,
Vol. 59, fasc. 3. (Sep.- Dec., 1987), 273.

2. Allan Walker, Introduction in, Living with Liszt, from The Diary of Carl Lochmund, An
American Pupil of Liszt, 1882-1884, by Carl Lachmund, Franz Liszt Studies Series #4, (Stuyvesant,
NY: Pendragon Press, 1995), xxxix.

3. August Gollerich, The Piano Master Classes of Franz Liszt, 1884-1886: Diary Notes of
August Gollerich, Wilhelm Jerger ed., translated, edited and enlarged by Richard Loius Zimdars
(Bloomington and Indianapolis: Indianan University Press, 1996).

4. Lachmund, Living with Liszt, 1995.

5. Arthur Friedheim, Life and Liszt: The Recollections of a Concert Pianist (New York:
Taplinger Publishing Co., 1961).

6. Imre Mezo, Preface in, New Edition of the Complete Works: Supplements to Works for
Piano Solo; Technical Studies vol. [, compiled by Adrienne Kaczmarczyk and Imre Mez6 (Budapest:
Editio Musica; Kassel: Biirenreiter-Verlag, 2006) XXII, n. 15.

7. Paraphrased by this author from the book title: Analecta Lisztiana II: New Light on Liszt
and His Music, Essays in Honor of Alan Walker's 65th Birthday, Michael Saffle and James Deaville
eds (Stuyvesant, New York: Pendragon Press, 1997) iii.

28
29

material ever uncovered," 8 commentary on Liszt's Technical Studies is scarce. This


chapter provides an introduction to the thesis, sets the Technical Studies in a scholarly
context, provides a frame for the approach of the current study and suggests reasons why
this work has generally been overlooked by pianists.

The possible reasons as to why Liszt's Technical Studies have been almost
entirely overlooked by both academics and pianists alike are hard to discern. However,
some possible reasons for this proposed by the current author include:

I) The anti-Lisztian sentiment which hindered the spread of Liszt's work as a


pianist and pedagogue during his lifetime but also following his death. 9

2) Liszt's poor reviews as a composer by Schumann, 10 his wife Clara, 11


Fetis 12 and other "classicists" 13 also detracted from the spread of his work
during and after his lifetime.

3) Several technical configurations prepare for the problems encountered


in Liszt' s piano scores alone. These include the exercises in "Liszt

8. Saffle, The Liszt Year, 291.

9. Allan Walker, Franz Liszt: The Weimar Years, Vol. 2, (London: Faber and Faber, 1989), 349;
Franz Liszt; The Final Years, Vol. 3 (Ithaca, New York: Cornell University Press, 1996), 14-17. See also:
Walker, Living with Liszt, xxxv.

10. Robert Schumann, On Music and Musicians, edited by Konrad Wolff (New York: Pantheon
Books, 1946), 146-148.

II. Walker, The Weimar Years, 138.

12. See remarks made by Fetis: "You are the offspring of a school which ends and has nothing
more to do ... " Lina Ramann, Franz Liszt: Artist and Man vol. II, translated by E. Cowdery (London: W. H.
Allen & Co., 1882), 246-247.

13. Such as; Brahms, Joachim, Grimm and Scholz. Walker, The Weimar Years, 349. See also:
Raruann, Artist and Man, 53-55.
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octaves" 14 as well as tremolos; features which are seldom encountered


in the works of other composers.

4) The technical difficulties in many of them are too great for all but the most
advanced pianists. requiring an unrelenting determination in order to
master them.

5) The missing third part15 of the work was not recovered until 1974 (over
one hundred years following its initial completion) which meant that the
complete work, that Liszt had originally intended as a three volume
manual was not available until 1983 following its presentation by Editio
Musica Budapest. 16

6) A general pedagogical shift away from methods has book-shelved these


works, the acquisition of technique being replaced by the study of Etudes
and actual pieces. 17

14. Allan Walker, 'Liszt's Technical Studies: Some Thoughts and Afterthoughts,' in Reflections
on Liszt (Ithaca and London: Cornell University Press, 2005), 205-206.

15. Peter Raabe, Liszts Schaffen, (Stuttgart: I. G. Cotta, 1931), 244, in Imre Mez6, Preface to the
Technical Studies for Piano Vol. II (Budapest: Editio Musica, 1983), XI-XII.

16. Mezo, Technical Studies for Piano, Vol. II, XI-XIII. See also: Walker, Reflections on Liszt,
215.

17. Heinrich Neuhaus, The Art of Piano Playing, translated by K.A. Leibovitch (London: Kahn &
Averill, 2001), 89-90; Bertrand Ott, Lisztian Keyboard Energy/Liszt et Ia Pedagogue du Piano, an essay on
the pianism of Franz Liszt, translated by Donald H. Windham, preface by Norbert Dufourcq (Lewiston: The
Edwin Mellen Press 1992), 246-247.
31

In Liszt Research Since 1936: A Bibliographic Survey, Saffle18 stated that "There
are very few studies devoted to Liszt's musical output." In the same survey 19 he also
points out that despite the fact that Humphrey Searle's Music of Liszt is the "best known"
study of Liszt's works, it has a "cursory approach to complex issues." 20 Saffle's
discernment of a "cursory approach" also applies to the ways in which many authors have
addressed the Technical Studies; in Searle's book for instance, two sentences are
dedicated to this three volume work: 21

Liszt also embarked on a series of technical studies (sic) for pianists; these
were not completed till (sic) about 1880, and were published in twelve
volumes after Liszt's death. It seems extraordinary that this exposition of the
technique of piano-playing, by one who was perhaps the greatest master of the
art who has ever lived, has not come into general use at colleges and
academies.

Bertrand Ott22 has outlined a similarly bleak view of the Technical Studies:

The rarity, so as not to say the absence, of these Technical Studies on the
music racks of pianos is extremely bewildering since these exercises could
beneficially replace a great number of other methods which have caused the
work of Liszt to be unjustly forgotten [ ... ) In France thereis only one edition
now, a Spanish one, of the Technical Studies at the Bibliotheque Nationale in
Paris.

18. Michael Saffle, "Liszt Research Since 1936: A Bibliographic Survey," Acta Musicologica,
Vol. 58, fasc. 2 (1986), 252.

19. Saffle, Liszt Research Since 1936,252.

20. Saffle, Liszt Research Since 1936, 253.

21. Humphrey Searle, The Music of Liszt, second revised edition (New York: Dover, 1966), 100.

22. Ott, Lisztian Keyboard Energy, 245.


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In The Pedagogy of Liszt, Elyse Machnek23 described the ignorance of the work in
America c.1966:

None of the twelve volumes of technical exercises (sic) seems to be available


in the United States, for not even the Library of Congress had any of the
Winterberger edition.

The rarity of articles on the Technical Studies may be due to the lack of definitive
material dealing with the musical analysis of Liszt's works (see the comments of Saffle
above). However, this author suggests that it is not due to an inability of the work to
successfully instruct pianistic technique. Several papers that have discussed the Technical
24
Studies, to paraphrase Saffle, "have contributed comparatively little to our factual
knowledge" about them, while others do nothing more than reiterate the same
information that is already known, namely, that they were commenced in 1868 but were
not published until after his death in 1886 and so on. This means that there are few
academically sound sources that can be used to scrutinize Liszt's Technical Studies.

The large-scale25 and highly researched dissertation, The Pedagogy of Franz Liszt,
by Elsie Machnek presents information that was known about Liszt' s teaching practices
up until 1966. Machnek has devoted a chapter of this paper to the pedagogical

23. Machnek, The Pedagogy of Liszt, 90. Machnek has stated that the source for her discussion of
the Technical Studies in 1965 was the Ricordi edition of Buenos Aires. This company took over the rights
from Schuberth (The Pedagogy of Liszt, 90). This fact was of interest to the current author because it
seemed strange that ownership of this important work should end up in South America. Whether this was
pertinent to my research or not, I initially imagined that perhaps the South American pupil of Liszt, Vianna
di Motta had some influence in the Ricordi company. As it turns out, Liszt had a 'longstanding'
relationship with the Ricordi company whose founder, Giovanni Ricordi he met in 1837. K. Szerzil,
"Contemporary Reports on Liszt in the Gazzetta Musicale di Milano (1870-86)," Studia Musicologica
Academiae Scientiarum Hungaricae, T. 29, Fasc. 1/4 (1987), 245.

24. Saffle, Liszt Research Since 1936, 241.

25. Saffle, Liszt Research Since 1936, 275.


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usefulness of Liszt's Technical Studies 26 which appears to be the first of its kind in print.
While the third book of the Technical Studies had not yet resurfaced from its original
disappearance and the Diaries of both Gollerich and Lachmund had not yet been
published when this dissertation was written, it appears to be the source of several ideas
related to the Technical Studies which have since appeared in print. 27

The Lesson-Diary of Auguste Boissier, Liszt pedagogue: [lerons de piano


donnees par Liszt it Mademoiselle Valerie Boissier a Paris en 1832: notes de Madame
Auguste Boissier], 28 translated by Mach in The Liszt Studies, Essential Selections from
the Original 12-Volume Set of Technical Studies for the Piano, 29 gives a first-hand
account of Liszt' s early technical method for achieving virtuosic technique, at the same
time revealing his own personal pedagogical method. The Diary reveals an approach to
pianistic technique that is designed to lead to complete mastery. It provides on-the-spot
notes, explanations on Liszt' s method, details of his own practice procedure as well as
information as to what he taught in relation to the acquisition of technique; quotes,
discussions on musicianship such as the production of tone, dynamics and nuance as well
as other personal observations made by Auguste Boissier while in attendance at the piano
lessons that Liszt gave to her daughter Valerie. Its primary relation to this thesis has been
to allow the identification of the Lisztian "principles"30 that are considered by this author
to be central to the trajectory of the Technical Studies and at the same time show

26. I am referring to Chapter V of The Pedagogy of Liszt by Machnek.

27. The current author has noticed that the terminology Machnek uses to describe technical
procedure in this dissertation has been reiterated in the writings of both Esteban and Walker. Whether this
is a result of academic influence or the use of the same sources is unknown.

28. Auguste Boissier, Liszt pedagogue: lerons de piano donnees par Liszt aMademoiselle Valerie
Boissier aParis en 1832: notes de Madame Auguste Boissier, (Geneve: Slatkine Reprints, 1976).

29. Auguste Boissier, "Liszt Pedagogue: a Diary of Franz Liszt as Teacher 1831-1832," cited in
The Liszt Studies, essential selections from the original12-volume set of Technical Studies for the piano,
edition and English translation by Elyse Mach (New York & London: Associated Music Publishers, 1973),
ix-xxvi.

30. Boissier, The Liszt Studies, xxiii.


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that many of Liszt's youthful technical practices c.1831-32 found their way into the
Technical Studies of 1868. 31

In The Liszt Studies, Mach 32 noted the possible connection between the Technical
Studies and how they can be used in a pedagogical way for the attainment of executant
skill necessary in order to play Liszt's virtuoso repertoire, a notion that Walker 33 has
proposed as "a task worthy of Liszt scholarship." In· this regard, Mach 34 has suggested
works which bear some strong mechanical similarities to specific technical exercises in
order to demonstrate how the given exercise may be used to solve the technical problems
of the works cited. Her intentions in this regard are made clear by her statement that

... the Studies . .. serve as excellent preparatory exercises for the performance of
specific piano works by Liszt.

As editor-in-chief of the New Liszt Edition (NLE) published by Editio Musica


Budapest, Imre Mezo 35 has given a three page Preface on the history of the Technical
Studies 36 being the most succinct and comprehensive account in print. Mezo's updated
Preface in the New Edition of the Complete Works: Supplements to Works For Piano
Solo Volume I, Technical Studies I, (2005), has also been consulted. The Critical Notes

31. Walker, Reflections on Liszt, 214.

32. Elyse Mach, Introduction in The Liszt Studies, essential selections from the original12-volume
set of Technical Studies for the piano, (New York & London: Associated Music Publishers, 1973), iii.

33. Walker, Reflections on Liszt, 214.

34. At the time of the printing of this particular article Elyse Mach was the Executive Secretary of
the American Liszt Society and American representative to the International Liszt Centre in London. She is
currently Associate Professor of Music at Northeastern Illinois University. Boissier, The Liszt Studies, ii.

35. This position was shared with Irnre Sulyok from 1973. Mez5, Technical Studies I, XIX.

36. Mezo, Technical Studies for Piano II, XI-XIII.


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by Mezo 37 in the New Liszt Edition; Supplement 1: Technical Studies I (2006), 38


Supplement 2: Technical Studies II (2006), 39 and Supplement 3: Technical Studies III
(2006), 40 provide the same information about the first edition of the Technical Studies
published in 1886 by Schuberth as well as the autograph manuscript. 41 These notes detail
the discrepancies between the two sources used in the preparation of the NLE and
provide the necessary information needed to understand how the editor has arrived at the
definitive edition of the exercises in their final presentation. Because of the regularity in
which they have been cited in this paper, they have separate entries in the bibliography
(Books and Articles).

Liszt Technical Studies: Seeking Ways and Means ... by Mariann Abraham42 is the
largest booklet currently available on Liszt's Technical Studies. Abraham has stated that
her "brief analysis" 43 is intended to "draw the reader's attention to these studies and ...
inspire the scholar's thoughts by (offering) 44 ... suggestions and points of view."
Abraham's analytical notes have been used in those instances where they directly support
the argument of the current thesis. Her writings in relation to the structural analysis of the
Technical Studies have been particularly useful in determining the compositional method
Liszt followed in this work.

37. I have presumed that all the 'Critical Notes' in the three supplements were written by Imre
MezO as these are not signed or dated as is the "General Preface" and "Preface" in any of these volumes.

38. Mezi:\, Technical Studies J, 177-181.

39. Mezi:\, Technical Studies ll, 203-208.

40. Mezi:\, Technical Studies lll, 90-92.

41. As well as 1887-1888. Mezo, Technical Studies I, 177.

42. Abraham, M. (1991) Liszt Technical Studies: seeking ways and means... translated by Elpis
Liossatos, revised by Philip Wilcher, self published (1991), 19.

43. Abraham, Seeking Ways and Means, 19.

44. This author's insert.


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In Liszt's Technical Studies: Some Thoughts and Afterthoughts 45 Alan Walker


has presented a brief yet comprehensive overview of what an investigation of Liszt' s
Technical Studies might reveal given their consideration and practice by the pianist.
Although Walker states that his own endeavors in this regard are "pioneering" 46 and
"drawn at random," 47 this paper has set a necessary academic precedent which gives
credence to a more detailed consideration of the Technical Studies.

Walker's three extensive volumes: Franz Liszt: The Virtuoso Years, 1811-1847,
Vol. 1,48 Franz Liszt: The Weimar Years, 1848-1861, Vol. 2 and Franz Liszt: The Final
Years, Vol. 3 have been used extensively in this research for the gathering of general
background and historical information and dates regarding information that can
illuminate Lisztian pianistic practice. Several chapters from this tripartite work have been
particularly pertinent to this thesis. These are: Liszt and the Keyboard, 49 because of its
discussion of Liszt's approach to the keyboard, related mechanical issues involved in
virtuosic technique as well as the mention of the Technical Studies; 50 A Gathering of
Eagles51 and The Lion of Weimar: Liszt and His Pupils, 52 because of their discussion
of Liszt's pupils and pedagogy; both Of Kings and Castles, 1867/3 because of the
historical information it contains on the Technical Studies 54 as well as Of Cossacks and

45. Walker, Reflections on Liszt, 202-216.

46. Walker, Reflections on Liszt, 204.

47. Walker, Reflections on Liszt, 205.

48. Allan Walker, Franz Liszt: The Virtuoso Years,. Vol. 1 (London: Faber and Faber, 1983).

49. Walker, The Virtuoso Years, 285-318.

50. Walker, The Weimar Years, 298.

51. Walker, The Weimar Years, 167-198.

52. Walker, The Final Years, 228-254.

53. Walker, The Final Years, 147-170.

54. Walker, The Final Years, 163-164.


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Countesses, 55 for its historical information on the Technical Studies and details about
Olga Zielinski (a.k.a Olga Janina56 ) who was responsible for the loss of the third volume
of Technical Studies in 1871. 57

Three other articles by Walker in Reflections of Liszt (2005) warrant a special


mention because of their relevance to an understanding of Liszt's pedagogy and technical
practices. These are: Liszt and His Pupils: Three Character Sketches: Carl Tausig, Hans
von Billow, and Walter Bache, 58 Carl Tausig: A Polish Wunderkind 59 and Hans von
Billow: Heir and Successor. 60 With exception to the chapter on Tausig which contains
61
information on Tausig' s and Brahms' methods used in the discussion on the
contextualization of Liszt's work in the late nineteenth century, these chapters do not
shed any direct light on the Technical Studies.

When the notes of August Gi.illerich, The Piano Master Classes of Franz Liszt,
1884-1886: Diary Notes of August Gollerich, and Carl Lachmund, Living with Liszt,
from The Diary of Carl Lachmund, An American Pupil of Liszt, 1882-1884, are placed
beside each other historically, the last four years of Liszt's life are outlined (1882-1886).
These notes illuminate Liszt' s didactic approach to specific repertoire as well as piano
62
playing in genera1. Gi.illerich's testimony to Liszt's Masterclasses in Weimar, Pest and

55. Walker, The Final Years, 171-190.

56. Walker, The Final Years, 171.

57. Walker, The Final Years, 178.

58. Walker, Reflections on Liszt, 57-59.

59. Walker, Reflections on Liszt, 60-78.

60. Walker, Reflections on Liszt, 79-105.

61. Walker, Reflections on Liszt, 69-71.

62. Gollerich, The Piano Master Classes of Franz Liszt, 9-10.


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Rome63 are "on-the-spot-notes,"64 hastily jotted down during the Masterclasses while the
notes of Lachmund, recorded primarily in Weimar, 65 are "vivid pen-portraits of the
master at work." 66 Lachmund wrote that his text provided "a mine of instructive nuggets
of the super-pianist's methods" 67 after he returned to America with the intention of
publishing his writings for enquiring piano enthusiasts. 68 Lachmund himself was clearly
aware of the "historical"69 importance of his account while Zimdars has pointed out that
G6llerich most likely made his notes for the same reason. 70 Although the NLE has some
of these writings incorporated into the books, the ways in which Liszt' s recorded remarks
can illuminate the Technical Studies has not yet been presented to any considerable
degree.

Lina Ramann was Liszt's official biographer. 71 Franz Liszt: Artist and Man, vol.
II, contains significant letters and articles by Liszt that detail his approach to piano
composition and shed some light on the nature of the monumental technical structures
found in the Technical Studies. The letter to Pictet72 for instance, reveals that Liszt's
pianistic configurations are designed to express orchestral sonority at the piano;
furthermore, illustrating that his appetite for technical mastery was a result of his
compositional reasoning and was not a type of pianistic exhibitionism.

63. Zimdars, The Piano Master Classes of Franz Liszt, 7.

64. Jerger in: Gollerich, The Piano Master Classes of Franz Liszt, 1.

65. Some notes almost certainly would have been made in Berlin and possibly Leipzig. This has
been deduced by this author from: Walker, Living with Liszt; xxi-xxiii, xxv.

66. Walker, Living with Liszt, xi.

67. Lachmund, Living with Liszt, xiv.

68. Walker, Living with Liszt; xxvi-xxvii, xxxiv, xxxix.

69. Walker, Living with Liszt, xliii.

70. Zimdars, The Piano Master Classes of Franz Liszt; 7, 14. n. 1.

71. Lachmund, Living with Liszt, 216·217.

72. Liszt in a letter to Pictet in the Gazette Musicale (Autumn, 1837) in: Ramann, Artist and Man,
219-222.
39

Tilly Fleischmann was a pupil of Bernhard Stavenhagen and the Lisztian disciple
Berthold Kellerman73 which placed her in a unique position to discuss Liszt' s pianism
and the tradition which stemmed from him. Despite an unfavorable review of her writings
on the subject by Bryce Morrison, 74 Saffle 75 has pointed out that Aspects of the Liszt
76
Tradition provides valuable "discussions of keyboard technique." Fleischmann's
writings have been particularly useful in discussing the held-note configurations in the
Technical Studies.

The pianistic lineage of J6zsef Gat77 traces directly back to Liszt through his own
teacher Erno Dohnanyi to Istvan Thoman, who was present in the Masterclasses recorded
by Gollerich. 78 His treatise, The Technique of Piano Playing is exhaustive in its
descriptions of pianistic execution and no doubt preserves verbal pedagogical principles
he inherited as being part of this lineage; in other words, a word-of-mouth pianistic
tradition which is possibly the most comprehensive of its kind in respect to Liszt in
print. 79 He has endeavored to discern what is common between the experienced virtuoso
and the instrument he/she plays backed by his own twenty years of didactic experience. 80
His discussions on virtuosic principles have been used to illuminate various exercises in
the Technical Studies.

73. Walker, The Final Years, 352.

74. Bryce Morrison, review of Aspects of the Liszt Tradition, by Tilly Fleishmann, The Musical
Times (Aug., 1993): 454.

75. Saffle, The Liszt Year, 271-299.

76. Tilly Fleischmann, Aspects of the Liszt Tradition, edited by Michael O'Neill (Cork: Adare
Press, 1986).

77. J6zsef Gat, The Technique of Piano Playing, fifth edition (London and Wellingborough:
Collet's Publishers Ltd, 1954).

78. Giillerich, The Piano Master Classes of Franz Liszt, 11.

79. Aspects of the Liszt Tradition by Fleischmann (1986) is of the same order; however, it is not as
comprehensive as the treatise by Gat.

80. Gat, The Technique of Piano Playing, 9-10.


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As an insight into the teaching methods of significant nineteenth-century


keyboard pedagogues, including Liszt, Tausig, Kullak and Deppe. Amy Fay' s 81 personal
account of her studies and social interactions with these Masters in Music-Study in
Germany provides a rare overview of their practices. This book provides imperative
historical information on the various didactic methods these pedagogues used in their
instruction of the piano. There are some instances where Fay's comments can illuminate
various technical exercises featured in the Technical Studies.

The presentation of Liszt's Technical Exercises for the Piano 82 by the Alfred
Publishing Co., and edited by Julio Esteban was initially published in 1971. This was
prior to the rediscovery of the third part of the Technical Studies so that it only contains
volume I and II of the complete original work. This edition presents the majority of the
exercises in a truncated form, which, despite the fact that it allows the two volumes to be
compressed into a single volume, makes the exercises "as little suitable for practicing
(sic) purposes as Liszt's first notation, the autograph manuscript." 83 Nevertheless,
Esteban gives various written accounts as to how the abridged exercises may be
continued and has also given suggestions as to how they maybe practiced based on the
84
written testimony of Liszt's pupils and biographers. His preliminary comments
prefacing many of the exercises also serve to introduce the technical aim of these studies.
However, because Esteban has truncated the original exercises and made other
questionable editorial decisions such as the subdividing of the first 545 bar exercise into
36 individually marked ones 85 as well as the very brief and general nature of the two

81. Amy Fay, Music-Study in Germany, (London, New York: Macmillan and Co., 1911).

82. Franz Liszt, Technical Exercises for the Piano, second edition, edited by Julio Esteban (USA:
Alfred Publishing Co, 2001).

83. Mez6, Technical Studies for Piano II, XIII. This is this author's paraphrase of Mez6 in his
discussion of the truncated edition of the Technical Studies by Martin Krause.

84. Julio Esteban, "The Technical Exercises of Franz Liszt," Introduction in, Technical Exercises
for the Piano, by Franz Liszt (USA: Alfred Publishing Co, 2001), 5-6.

85. Esteban, Technical Exercises, 7-33.


41

introductory articles, 86 this edition is only referred to iu a marginal way in


this thesis.

The brief, three-page chapter titled Liszt's Technical Studies in


Lisztian Keyboard Energy/Liszt et la Pedagogue du Piano, an essay on the
pianism of Franz Liszt by Bertrand Ott87 does not shed any light on
the nature of Liszt's Technical Studies. This chapter has been placed at
the end of Ott's extensive physiological examination of Liszt's technical
practices and is very cursory and indecisive. Because this thesis is not a
physiological study Ott's work has not been used excepting those few
instances where his statements appear to be at least partially accurate by
this author.

It is well documented that the "tireless" efforts of Busoni as a champion


of Liszt' s work has led to the reconsideration of his music since his
death. 88 It is significant that Busoni's writings not only stem from the
mind of a distinguished late-nineteenth to early-twentieth century musicologist but
also offer an insight into the nature of the work of one great pianist by another.
The Essence of Music and other Papers 89 contains a significant (and often quoted)
expose on the piano music of Liszt90 but also on piano playing in general. 91

86. There are titled; "Franz Liszt," by H.C. Schonberg (4), and "The Technical Exercises of Franz
Liszt," by J Esteban. (5-6).

87. Ott, Lisztian Keyboard Energy, 245-247.

88. Walker, The Final Years, 17.

89. Ferruccio Busoni, The Essence of Music, and other Papers, translated by Rosamond Levy
(New York: Dover Publications Inc, 1965).

90. Busoni, Essence of Music, 138-154.

91. Busoni, Essence of Music, 79-95.


42

As a source of information on technique it has been used to help understand Liszt's own
pianistic principles and approach to technical training.

The Art of Piano Playing by Heinrich Neuhaus is one of the most academically
cited and influential books of all current texts on piano playing. 92 Although Neuhaus
stated that he was not a virtuoso pianist but a musician who can express himself at the
piano, 93 he was undoubtedly a gifted piano pedagogue with a history of having trained
illustrious pupils. 94 The many methodical and detailed explanations of pianistic technical
procedure conferred in this book have been used to come to an understanding of Liszt' s
own method.

Michael Saffle is currently at the very forefront of Liszt research. His complete
published writings are indispensable in this regard. In Franz Liszt: A Guide to Research, 95
Saffle reviews the most important literary documents on Liszt such as books and
dissertations etc. This book as well as the two articles; Liszt Research Since 1936: A
Bibliographic Survey, ' 96 and The Liszt-Year 1986 and Recent Liszt Research, 97 have been
used to locate key sources as well as obtain an informed, academically sound view of
them.

92. The pianistic and didactic information in The Art of Piano Playing by Neuhaus (2001) has
been widely cited in research related to pianism. A notable example of this can be found in: J. J.
Eigeldinger, Chopin: pianist and teacher, as seen by his pupils, translated by Naomi Shohet, Krysia
Osostowicz and Roy Howat, edited by Roy Howat (Cambridge: Cambridge University Press, 1990); n. 30,
45,47.

93. Neuhaus, The Art of Piano Playing, 124, n. I.

94. These pupils include Sviatoslav Richter, Emil Gilels and Radu Lupu. Neuhaus, The Art of
Piano Playing; x, 98.

95. Michael Saffle, Franz Liszt: A Guide to Research, discographical contributions by Ben
Arnold, Keith Fagan and Artis Wodehouse (New York: Garland Publishing Inc, 1991).

96. Saffle, Liszt Research Since 1936, 231-281.

97. Saffle, The Liszt-Year, 271-299.


CHAPTER2

Hypothesis, Scope and Purpose

An examination of the didactic instruction Liszt supplied in the Preface 1 of the


autograph manuscript of the Technical Studies and the technical descriptions he gave
Valerie Boissier from 1831-1832 that were published in 1930 as the Liszt pedagogue
[lefons de piano donnees par Liszt aMademoiselle Valerie Boissier a Paris en 1832:
notes de Madame Auguste Boissier] make it possible to determine Liszt's
methodology for the attainment of pianistic virtuosity as set out in the three books of
Technical Studies published in the New Liszt Edition 2 by Editio Musica Budapest
(2005-2006). Based on primary sources including diary notes by Auguste Boissier,
Liszt's own commentary and the musical score of the Technical Studies, this chapter
outlines the proposition of this thesis, namely, that the Technical Studies are based on
a set of six fundamental principles. In the Preface to the Technical Studies, Liszt
stated that

II sera utile d'exercer a /a fois /es doigts, l'oreille et /'intelligence, et


d'etudier simultanement avec /e mecanisme, Ia dynamic et le rythme,
inherents a /a musique. En consequence, il faudra travailler ces premiers
exercices a taus le degrees de la vibration du son, crescendo, du
pianissimo au fortissimo, et diminuendo, dufortissimo au pianissimo. 3

It will be useful to exercise the fingers, the ears and the intelligence
simultaneously and to study, together with the mechanism, the dynamics
and rhythm inherent in the music. Consequently, these first exercises
should be practiced with every degree of intensity: crescendo, from
pianissimo to fortissimo and diminuendo, from fortissimo to pianissimo. 4

1. Mezo, Technical Studies I, 2.

2. For further details of this publication see: Mezo, Technical Studies/, XIX-XX.

3. Liszt in: Mezo, Technical Studies I, 2. See alsop. XXII of this edition.

4. Liszt in: Mezo, Technical Studies I, 2. Mezo Technical Studies I, XXII) has stated that
"This remark should be taken as applying to the whole series."

43
44

The Diary-Notes taken by Auguste Boissier while she sat in attendance at her
daughter's lessons with the young Liszt contain direct statements about Liszt' s
technical methodology. In one instance Boissier5 directly quotes Liszt as having said

Inventez des nuances et des combinaisons nouvelles si vous le pouvez, de


a
cette manii!re vous vous (sic) trouverez prete tout evenement. Et si vous
a
joignez tout cela !'habitude d'harmoniser, de travailler les modulations,
ou plutO! de varier vos exercices sur toutes les modulations possibles,
vous aurez pris ['art parses premiers princeps et vous serez proper a
6
tout.

Invent nuances and, if possible, new combinations; in this way you will
find yourself prepared for any occasion. And if you add to all this the
study of harmonization, the study of modulations, or to vary the exercises
by using the modulations possible, you will have seized the art by its
7
fundamental principles and you will be capable of doing everything

Boissier also states that because Liszt's methodology involved the exhaustive
examination of all the possibilities of his chosen technical structures in all the twelve
major and minor keys, the study of these would reveal that

Quand on etudie un marceau on les a vaincues d'advance, il se trouve


rarement des combinaisons nouvelles, aU les modifications sont si peu de
chose, qu 'elles n 'arretent pas. Si quelque chose de different se rencontre
on en fait dans tousles tons I'objet d'une etude particulii!re et le nouvel
8
obstacle est vite surmonte.

As a passage is studied, the difficult points will have already been


overcome in advance. Rarely are new combinations found: and if they are
found, they are of so little importance that they need not stop us. If
something unexpected is found, then it has to be made the subject of a
9
particular study in all keys- and the new problem is quickly solved.

5. Another example of this is: "He requires that all possible passages be related to certain
fundamental patterns from which all combinations stem; and once the key has been found, all the
combinations can be performed and everything read at sight." Boissier, The Liszt Studies, xxii.

6. Boissier, Liszt pedagogue, 82.

7. Boissier, The Liszt Studies, xxiii.

8. Boissier, Liszt pedagogue, 68.

9. Boissier, The Liszt Studies, xxi.


45

Based on the artistic and mechanical aspects of playing that are mentioned in
these two sources, six "fundamental principles" 10 appear to be central to Liszt's
methodology for the attainment of virtuosic piano technique. The first principle is the
vertical motion brought about by the drop of the finger, wrist, elbow or shoulder
while the second is the horizontal or lateral motion of these across the keys. 11
Referring to this as "the mechanism" of playing, Liszt wrote specific exercises
dedicated to the upward, downward and lateral movement of the fingers and identified
two exercises in particular as containing these two "principles" in there most
quintessential form. 12

The way that diatonic and chromatic scales determine the interplay of the
fingers and hands across the keyboard 13 is the third principle. This includes the
musical procedures of harmonisation and modulation whereby each and every
14
fundamental passage is exhausted of its possibilities in all the twenty-four tonalities.
This aspect of Liszt's methodology is intended to resolve all the mechanical obstacles
that may arise in actual repertoire before being encountered in a score. 15 In this way,
the pianist would never be 'handicapped by finger obstacles' 16 and the 'physical
"imprinting" of the keyboard ... through all the possible geometrical permutations .I?
understood, leaving no technical problem by way of the position of the finger, hand,
and wrist etc, unexamined. Liszt' s recognition of the scale as fundamental also
accounts for the layout of the exercises as with few exceptions they are almost
entirely constructed from either the ascending and descending stepwise motion of the

10. Liszt cited in: Boissier, The Liszt Studies, xxiii.

II. Theodore Kullak, School of Octaves for the Piano, Op. 48, parts I and II, revised by 0.
ThUrner (London: Augener's Edition, 1913), 6. Here, Kullak states that "The hand can move in four
directions:-upwards, downwards, from right to left, and from left to right. The last two are called side-
movements."

12. These are: the 'tapping' exercise (nos. 1 and 47), and the 'two-finger' exercise (nos. 5 and
23).

13. Walker, Reflections on Liszt, 215.

14. Boissier, The Liszt Studies, xxi.

15. Boissier, The Liszt Studies, xxi.

16. Boissier, The Liszt Studies, xxiv.

17. Walker, Reflections on Liszt, 215.


46

fingers as they traverse these or otherwise based solely on the notes of the tonic
major, minor as well as the diminished and dominant seventh chords derived from
scale configurations.

To ensure that the pursuit of virtuosity would be addressed within a musical


context and not become a mechanical end in itself, 18 Liszt included the study of the
nuance in combination with the exercises. This is the fourth principle and
encompasses templates of musicianship such as staccato and legato touch, dynamics,
dynamic swell, crescendo and diminuendo as well as the articulatory issues of
phrasing and accent. It is clear that Liszt saw the study of dynamics and nuance as
very important from the frequency that he refers to these during the lessons of Valerie
Boissier. 19

He wants no mechanical study, for the soul must always try to express
itself, and all nuances which make up the true palette of the musician must
be in his hand thoroughly perfect and habitually so, so as not to need a
special drill at the moment he needs them.

And also:

He had Valerie play various finger exercises, and strongly recommended


the constant study of nuances. If the habit is developed, nuances are used
effortlessly, even while reading the music at first sight.

Boissier20 then quotes Liszt's own description for studying nuances directly:

"Practise as follows:

P --==::::::= I ::::::=-,
=. ·

. . 1'P -:;:::::::,:<::::::.:<::::. ff :::;>:-::::::>-;::::;:.- p p


PPP . _;... ci:::;$::~fff?:::>> =>= .. PPP

18. Boissier, The Liszt Studies, xxiv. Liszt stated that "Nothing should sound studied."

19. Boissier, The Liszt Studies, xiii.

20. Boissier, The Liszt Studies, xxiii.


47

Liszt' s chart of dynamics presents a comprehensive view of tone color which


attempts to "prevent the music from sounding thin and inexpressive... (but
instead21 )... rich, varied, full, with contrasting nuances. "22 The thoroughness of his
musical understanding is outlined in The Art of Piano Playing, where Neuhaus 23
states that

We know that it is possible to produce about one hundred dynamic


gradations on the piano, yet we only have four indications for piano; p,
pp, ppp, pppp and four for forte: f, ff, iff, ffff (very rare!) which makes
eight, and if we take the intermediate mp and mf or piu pp, as Debussy
often puts it, that makes twelve, or about one tenth of he real dynamic
gradations used by any experienced pianist.

It is apparent from Liszt' s dynamic chart that his method is designed to realize
the "one hundred dynamic gradations" that Neuhaus describes, more so than the
obvious twelve written possibilities of piano and forte. When the same type of
scrupulous detail that Liszt gives to the treatment of dynamics is indicative of the type
of methodology he also required for the expressive, rhythmic and phrasing indications
as set out in the first five exercises of the Technical Studies, the study of technique
becomes much more than mechanical handcraft but a vehicle through which real
musical progress can be made. This was outlined by Esteban24 who wrote

To realize the importance of Liszt's innovations, one has only to see the
beginning of the first volume in which he deals with fixed position
exercises, and compare his approach with the one that was used by the
most reputed teachers. It was ;:ommon practice when teaching this type of
exercise, to begin by asking the student to hold down firmly four fingers
in closed position and play a single note with the remaining finger using
high action and absolutely even rhythm, with a full round tone. This was
basically all. Liszt's idea is different. Following the same method of
firmly holding down four fingers the remaining finger is made to use a
full range of dynamics, all kinds of accents and, what was positively new
then, different types of rhythms. By doing this, one gains in every aspect
and perhaps most important of all, in the question of mental
concentration. As one is involved with the continuous changes, the
boredom of the long, even repetition is avoided.

21. This author's insert.

22. Boissier, The Liszt Studies, xxiii.

23. Neuhaus, The Art of Piano Playing, 159.

24. Esteban, Technical Exercises, 5.


48

The use of rhythmic figures in both simple and compound meter that are
derived from various subdivisions of the crotchet into quavers, semiquavers and
demisemiquavers is the fifth principle. The sixth principle pertains to the way in
which the aural senses define through "intelligence"25 what the pianist will produce
musically. Because the Technical Studies do not detail the emotional and expressive
aspects of music, the role of the ear and brain in their execution is imperative.
Although Liszt mentions these in the Prefaci6 to the Technical Studies, he has not
made them the subject of didactic scrutiny in this work. This does not preclude the
central role of the ear in the study of the musicianship skills that Liszt included in the
work through his examination of the nuance, dynamics and rhythm; however, Liszt's
primary focus in the Technical Studies is on the mechanical issues involved in
pianistic execution. The demanding nature of these exercises signifies that Liszt
believed that any one who might be interested in them as a vehicle for pursuing
greater facility would already have in place, through pianistic experience, the
necessary aurae7 and intellectual 28 skills required to put the benefits they confer into a
repertoire-based musical context once mastered.

The fundamental idea behind the intellectual principle is that when technical
procedures are clearly understood in the brain, long, repetitive practice routines can be
replaced with shorter, more focused ones. This is in direct opposition to the idea that
advanced technique can only be gained through hours and hours of work. 29 Although
the Lesson-Diary of Boissier indicates that Liszt himself practiced technique in this
way in his youth, 30 in later years he taught in a way that represented more of a "mind
over matter" 31 approach to pianistic instruction. 32 This technical perspective has been

25. Mez6, Technical Studies I, 2.

26. Mez6, Technical Studies I, XXII.

27. Abraham, Seeking ways and Means; 25, 37.

28. Abraham, Seeking ways and Means; 22, 23, 24, 27, 28, 33, 38, 48 etc,.

29. Neuhaus, The Art of Piano Playing, 3-4.

30. This is clear from the Lesson-Diary of Boissier but also from Liszt's letter to Wolff
written in 1832.

31. Walker, Reflections on Liszt, 207.

32. Lachmund, Living with Liszt, 33.


49

thoroughly documented by preeminent teachers over the past 100 years. Some
examples include Lisze 3 quoted by Lachmund:

When I have the will to do, I can do; but when that will is lacking, I
cannot do more than the ordinary.

Joseffl 4 quoted by Lachmund:

I have always held that great technic (sic) does not so much come from
the fingers; it is the intellectual spirit that gives the power for the technic
(sic).

Busone 5 in The Essence of Music and other Papers:

... technique, which constitutes only a part of the art of the pianist, does
not lie merely in fingers and wrists or in strength and endurance.
Technique in the truer sense has its seat in the brain, and it is composed of
geometry - an estimation of distance - and wise co-ordination.

Neuhaus 36 in The Art of Piano Playing:

My method of teaching ... consists of ensuring that the player should as


early as possible ... grasp what we call the "artistic image", that is: the
content, meaning, the poetic substance, the essence of the music, and be
able to understand thoroughly in terms of theory of music (naming it,
explaining it), what it is that he (sic) is dealing with. A clear
understanding of the goal enables the player to strive for it, to attain it and
embody it in his performance; and that is what "technique" is about.

Following the identification of these artistic and mechanical principles from


the commentaries of both Liszt and Boissier, I will demonstrate that the methodology

33. Lachmund, Living with Liszt, 33.

34. Lachmund, Living with Liszt, 33.

35. Busoni, The Essence of Music, and other Papers, 80.

36. Neuhaus, The Art of Piano Playing, 2.


50

of the Technical Studies can be summarized as unfolding through the following


architectural framework:

1. Vertical Principles of Motion


2. Horizontal Principles of Motion
3. Diatonic and Chromatic Principles
a) Modulation
b) Harmonization
4. The Principle of the Nuance
a) Touch: Staccato and legato
b) Dynamics: loud, soft, crescendo and diminuendo
c) Accent and phrasing
5. Rhythmic Principles
6. The Intellectual Principle
a) The brain as the centre of musical and technical reasoning
b) The role of listening in technical development

In order to demonstrate how these artistic and mechanical principles lie at the
centre of the Technical Studies, a discussion of how they can be identified in the
various exercises has been presented. Only the most prominent and characteristic
principle (or principles) that are evident in each exercise has been pointed out.
Furthermore, the two principles that are taken for granted in the discussion of this
paper are the principles of both the nuance and intellect because Liszt did not indicate
his musical considerations in respect to these in all of the exercises. It is for this
reason that a more extensive discussion of them has been included in this chapter so
that the reader will keep in mind their relevance in this paper's forthcoming
presentation of Liszt' s chosen technical details. This seems appropriate in light of the
fact that Mezo,37 has stated that Liszt' s musical indications of how to approach the
Technical Studies in the Preface "should be taken as applying to the whole series."

37. Mez6, Technical Studies/, XXII.


51

The various technical configurations have been grouped according to the type
of mechanical technique they embody under chapter headings such as: The two
Prototypical Exercises, Liszt's Treatment of Scale Configurations; Liszt's Treatment
of Arpeggio and Broken Chord Configurations. All the musical examples that have
been presented in these chapters are arranged in a way that not only shows the
systematic structural approach Liszt takes to the development of all the selected
technical configurations set down in the Technical Studies but also, that part of his
methodology which involved the examination or exhaustion of all the possible
"combinations"38 of these figures so that the pianist would find himself/herself not
only "prepared for any occasion," 39 but also "capable of doing everything." 40

A discussion of several technical commentaries recorded by Liszt's pupils that


provide "Valuable utterances" 41 directly from Liszt have also been included in this
paper where it is believed that these illuminate the nature of Liszt' s technical
trajectory. These include the writings of: William Mason (1829-1908), August
Giillerich (1859-1923) and Carl Lachmund (1857-1928). Furthermore, for the purpose
of contextualizing Liszt's Technical Studies within the parameters of other related
nineteenth-century works written by his contemporaries, students and successors
including Tausig, Joseffy, Brahms, Kullak as well as Lebert and Stark, a brief
discussion of some of the similarities and differences between Liszt' s approach to the
study of technique and these composers concludes the paper.

Prior to the commencement of the argument, an important omission with


regard to Boissier's commentaries must be discussed. In "Lesson Twenty-One," 42
Boissier gives a complete description of how Liszt "divides all passages into
four large

38. Boissier, The Liszt Studies, xxiii.

39. Boissier, The Liszt Studies, xxiii.

40. Boissier, The Liszt Studies, xxiii.

41. Giillerich, The Piano Master Classes of Franz Liszt, I 0.

42. Boissier, The Liszt Studies, xx-xxi.


52

classes." 43 Both Machnek 44 and Abraham45 refer to this in their respective writings
while Walker 46 does not. These "passages" have been summarized from Mach's
translation of the original Boissier in The Liszt Studies, 47 then explained by this author
below. 48 The exercises in the Technical Studies that may correspond to these
categories have also been suggested.

1.49 Simple and broken50 octaves in diatonic and chromatic scales (possibly
in arpeggios and broken chords as well51 ) at a third, 52 sixth53 and
octave 54 as well as octave configurations with 'consonant and
dissonant chords,' 55 that is; octave configurations with harmonic

43. Boissier, The Liszt Studies, xx.

44. Machnek, The Pedagogy of Liszt, 123-125.

45. Abraham, Seeking Ways and Means, 14.

46. Walker, Reflections on Liszt, 202-216.

47. Boissier, The Liszt Studies, ix-xxvi.

48. Boissier's commentary is written in a way that is typical of a summary. For this reason,
the current author has made some educated guesses that are based on his own understanding of the
configurations presented in the Technical Studies.

49. Boissier, The Liszt Studies, xx.

50. Technical Studies vol.II: no. 41.

51. In addition to the statements of both Machnek and Abraham, that the fourth category is
concerned with scales, and in respect to the translation of Mach (1973, xx) where Boissier states: "the
simple tones, such as the scales ... constitute the fourth class," this author has noticed the use of the
words "such as," which is general rather than generic. In other words, "the simple tones" must,
according to this author and the technical regime set forth in the Technical Studies represent all
technical configurations in single notes, i.e. scales as well as arpeggios and etc. Examples of these
configurations would include: Technical Studies, vol.II: nos. 55, 57b as well as: Technical Studies,
vol.III: no. 57 a.

52. Technical Studies, vol.II: no. 39, mm. 67-70 and no. 40.

53. Technical Studies, vol.II: no. 39.

54. Technical Studies, vol./ll: no. 57a, m. 133. This is a leaping configuration; however, it
outlines an ascending and descending chromatic scale.

55. Boissier, The Liszt Studies, xx.


53

additions of a third, 56 fourth, 57 fifth 58 or sixth59 that partially make up


four-note chords, as well as four-note chords (i.e. c-e-g-c). 60

2. 61 Tapping 62 and tremolo 63 configurations in single notes and two-note


chords in all intervals except those scored at the second and seventh, 64
as well as those technical configurations that oscillate, i.e. 'tri11,' 65
between adjacent66 or harmonically arranged tones. 67

3. 68 Thirds 69 and sixths 70 in all their varied forms, namely; both diatonic
and chromatic scales, repeated configurations that are not already
accounted for in category 2./ 1 as well as leaping configurations. 72

56. Technical Studies, vol./1: no. 41.

57. Technical Studies, vol./1: no. 41.

58. Technical Studies, vol.l/: no. 41.

59. Technical Studies, vol.l/: no. 41.

60. Technical Studies, vol.II: no. 44.

61. Boissier, The Liszt Studies, xxi.

62. For a description of this type of technical configuration see pp. 73-104 of this paper.
Examples of this type of configuration would include: Technical Studies, vol.II: nos. 1, 47.

63. Technical Studies, vol.II: no. 45 as well as: Technical Studies, vol.III: no. 68.

64. These intervals, as melodic or harmonic compositional options, were not part of nineteenth
century thought. When Boissier discusses "dissonant" chords (The Liszt Studies, xx), it is likely that
she is talking about intervals such as the augmented second or fourth but also the perfect fourth in
octave configurations such as: c-f-c.

65. Boissier, The Liszt Studies, xxi.

66. Technical Studies, vol.I: no. I.

67. Technical Studies, vol.II: no. 45.

68. Boissier, The Liszt Studies, xxi.

69. Technical Studies, vol./1: no. 28.

70. Technical Studies, vol./1: no. 30.

71. Technical Studies, vol.I: nos. 9, 22 as well as: Technical Studies, vol./1: nos. 39, 44.

72. Technical Studies, vol.III: no. 59.


54

4. 73 Scales74 and arpeggios 75 in single notes in both similar76 and contrary77


motion arranged at the intervals of a third, sixth or octave. This
includes single note chromatic scales of all types. 78 .

The four categories that Boissier describes are in fact the "fundamental
passages"79 that Liszt was referring to at least for his technical practices c.1831-1832.
However, they do not necessarily apply for the period c.1868-1871 when the
Technical Studies were written. For this and the following reasons, a consideration of
these four categories has not been included in this paper. Firstly, if Boissier's words
are taken to be the last word in respect to Liszt's early technical practices, then there
is no need for any further enquiry for Liszt himself, according to Boissier, has defined
what his methodology is. Yet, Boissier' s descriptions neither describe the trajectory of
the Technical Studies completely nor do they give any indication as to how Liszt's
examination of technique unfolds in them, particularly in relation to his examination
of all the possibilities of his chosen technical configurations and why he does this.
While it will be shown through the discussion of this paper that there are definite
similarities between some of Boissier' s writings and several exercises in the
Technical Studies, her comments on the "four large classes" 80 that Liszt divided all
"passages" 81 into do not account for all the exercises. In other words, Boissier's
writings can only go so far when it comes to them being used to account for the
trajectory of the Technical Studies because despite some similarities the two were
written around 40 years apart. Therefore, in respect to the writings of Boissier, the

73. Boissier, The Liszt Studies, xxi.

74. Technical Studies, vol.I: no. 12.

75. Technical Studies, vol.I: no. 48.

76. Technical Studies, vol.I: no. 13.

77. Technical Studies, vol.I: no. 21.

78. Technical Studies, vol.I: nos. 16, 17, 18.

79. Boissier, The Liszt Studies, xvii.

80. Boissier, The Liszt Studies, xx.

81. Boissier, The Liszt Studies, xx.


55

current author has focused on those writings which state that Liszt' s methodology
involved the examination of certain "fundamental principles," 82 as stated on several
occasions throughout the Liszt pedagogue and in one instance quoted as having come
from Liszt himself. 83 The artistic and mechanical principles that appear to stand out
from Liszt's own words as cited above and the evidence of them in the Technical
Studies is what has been used to instigate the argument of this paper. Through an
investigation of what these artistic and mechanical "fundamental principles" may be,
the current author will attempt to examine the Technical Studies in a way which may
give another account of this technical opus in a new light. The following chapter will
situate Liszt's Technical Studies in the context of exercises for playing the piano
during the first half of the nineteenth century.

82. Boissier, Liszt pedagogue, 82; Boissier, The Liszt Studies, xxiii.

83. Significant statements have been presented throughout the paper in both the original
French recorded by Boissier (1930), as well as the English translation by Mach (1973).
CHAPTER3

Liszt's Technical Studies: a Brief Historical Perspective

It was primarily following the commercially-inspired release by Clementi of


his Introduction to the Art of Playing on the Pianoforte: Containing the Elements of
Music, Preliminary notions on Fingering, and Fifty Fingered Lessons c.l801 that
piano tutors were to become a primary nineteenth century vehicle through which an
established master could set out an expert expose on technique. His pedagogical
perspective could be established through these in what was referred to at that time as a
"school" 1 of pianistic thought. 2 Clementi's enterprise resulted in a boom in method
works across Europe in the early nineteenth centurl and together with the 'school
etude' 4 flourished as the fundamental vehicle for learning the piano. Through the
widespread publication and distribution of these works, the piano tutor was seen as a
dictionarl of a given pedagogue's practice, whereby all students of the instrument

1. "The London Pianoforte School' by Nicholas Temperley., The Musical Times, Vol. 126,
no. 1703. (Jan., 1985), pp. 25-27: Rosenblum, S. P. (1974), 'Introduction,' in, Introduction to the Art of
Playing on the Pianoforte: Containing the Elements of Music, Preliminary notions on Fingering,
and Fifty Fingered Lessons. New York: Da Capo Press. Reprint of the first edition, second Issue, 1801.
London: Clementi, Banger, Hyde, Collard & David, p. vi: Gerig, R. (1974) Famous Pianists & Their
Technique. Washington: Robert B. Luce, Inc., pp. 116-119.

2. This is not to say that all aestheticians and teachers who wrote instructions as to how the
piano may be studied were commercially motivated as the tutor, as well as the treatise, was established
long before Clementi. However, Clementi was also a businessman (Rosenblum, 1974, xxix) and his
ventures in this regard demonstrated to other composer/pianists throughout Europe (v, x) that the
presentation of a tutor had the power to not only establish one's name, but also to bring its own
financial rewards (xxix).

3. Rosenblum, Introduction to the Art of Playing, v. Opinion will vary as to what brought
about the boom in didactic piano literature at the turn of the eighteenth century. What is clear is that the
development of the keyboard, from the early Hammerklavier to the pianoforte's of Pleyel and Erard
was the greatest instigator for composer's to write new works that lead to the mastery of this new and
expressive instrument. See also: T. Fielden, 'The History of the Evolution of Pianoforte Technique,'
Proceedings of the Musical Association, 59th Session (1932-1933), 35-39.

4. Kornel Michalowski/Jim Samson: 'Chopin, Fryderyk Franciszek' (7). Grove Music Online
ed. L. Macy (Accessed 21 August 2006).

5. Rosenblum, 1974, ix.

56
57

could gain access to high quality instruction despite financial considerations,


proximity to a master or musical and technical ability.

Clementi's Introduction and his Gradus ad Parnassum, 100 Etuden fur


Klavier (1817-1826) set a didactic precedent. The piano exercise and etude became
the principal format through which the possibilities ofthe "the new instrument," 6 the
pianoforte, could be explored, developed and mastered. This trend, which was
primarily established and centered in Paris during the first part of the nineteenth
century/ led to the publication of thousands of etudes, books of etudes and method
works, some of the more historically significant being: Hummel's Methode Complete
Theorique Et Practique pour Le Piano-Forte. (1827), the Methode des Methodes pour
le piano (1840) by Fetis in collaboration Moscheles, the Studien fur Pianoforte Op.
70 (1825-1836) by Moscheles, the many didactic works by Cramer, such as: Studio
per il pianoforte (1804-10), Instructions for the Pianoforte (1812), New Practical
School, Op. 100 (1844) and around twelve other didactic works, 8 as well as the
multifarious works of Kalkbrenner, which, although they have not survived the test of
time, were nevertheless highly regarded in their own time. 9 Kalkbrenner's educational
works included; 24 etudes dans tousles tons, ded. Clementi Op. 20 (1816), 12 etudes
preparatoires Op. 126 (1835), 25 grandes etudes de style et de perfectionnement Op.
143 (1839), 12 etudes progressives Op. 161 (1843) and the 20 etudes faciles et
progressives Op. 169 (1843). 10

Liszt' s entry into the tradition requires a discussion of two important issues in
this paper; firstly, the work of other composers that may have had an
influence on the type of exercises that are found in the Technical Studies and
secondly, the nature of the instruments that Liszt wrote for during his lifetime.

6. Rosenblum, Introduction to the Art of Playing, vii.

7. Kornel Michalowski/Jim Samson: 'Chopin, Fryderyk Franciszek' (9), Grove Music Online
ed. L. Macy (Accessed 22 August 2006). See also, Howard Ferguson/Kenneth L. Hamilton: 'Study,'
Grove Music Online ed. L. Macy (Accessed 27 November 2006).

8. The didactic works of Cramer were sourced from: Jerald C. Graue/Thomas B. Milligan:
'Johann Baptist Cramer' (2), Grove Music Online ed. L. Macy (Accessed 21 August 2006).

9. This is evident from the reports of Chopin. Eigeldinger, Chopin as Pianist, 95, n. 17.

10. Paul Dekeyser: 'Kalkbrenner, Frederic', Grove Music Online ed. L. Macy (Accessed 20
August 2006)
58

Liszt's most direct influence as a pianist came from his teacher and master
Carl Czerny (1791-1857), 11 whose works included both books of etudes as well as
exercises, such as: The Art of Finger Dexterity Op. 740, The School of Velocity Op.
299, the School of Virtuosity Op. 365, 160 Achttaktige Ubungen, Op. 821, Grand
Exercise in All the Keys, Major and Minor Op. 152 12 as well as the Vollstiindige
theoretisch-praktische Pianoforte-Schule Op. 500 (1839). 13 The influence of Czerny's
pianistic manner on the young Liszt was apparent after the publication of Liszt' s
Etude[s] pour le piano-forte en quarante-huit exercices dans taus les tons majeurs et
mineurs, Op. 6 in 1827, 14 namely, the musical precedents of what would later become
the Etudes d 'execution transcendante of 1851. 15 Furthermore, it is clear from the
Lesson-Diary of Mme. August Boissier that Liszt, like Czerny, used both purely
mechanical exercises as well as complete etudes in both his teaching as well as his
own technical development. 16 In writing about Liszt's knowledge of the etude, Amy
Fay 17 stated that

He has gone through such technical studies as no one else has except
Tausig, perhaps. He plays everything under the sun in the way of Etuden -
has played them, I mean.

She 18 then states that

There cannot be many persons in the world who keep up with the whole
range of musical literature as he does.

11. Czerny's 'Autobiographical report' is one of the clearest indications of this. E. Burger,
Franz Liszt: A Chronicle of his Life in Pictures and Documents, translated by Stewart Spencer,
foreword by Alfred Brendel (Princeton: Princeton University Press, 1989), 335.

12. See fn. 19 of this paper.

13. Stephan Lindeman/George Barth: 'Czerny, Carl: Works', Grove Music Online ed. L.
Macy (Accessed 9 April 2007).

14. Maria Eckhardt!Rena Charnin Mueller: 'Liszt, Franz, Franz: Works, piano', Grove Music
Online ed. L. Macy (Accessed 9 April 2007).

15. Except no. 4 'Mazeppa' (1840). Maria Eckhardt!Rena Charnin Mueller: 'Liszt, Franz:
Works', Grove Music Online ed. L. Macy (Accessed 9 April 2007).

16. Boissier, The Liszt Studies, xii-xiii.

17. Fay, Music-Study in Germany, 229.

18. Fay, Music-Study in Germany, 230.


59

In light of this, it is highly likely that Liszt had a thorough kuowledge of


Czerny's didactic works. This, as well as Czerny's clear influence on Liszt's early
works, such as the first versions of the Transcendental Studies, makes it feasible to
suggest that he took some of Czerny's ideas and used them as the basis for his own
technical trajectory. If this is the case, then it is possible that Liszt's idea of exploring
a technical configuration in all the major and minor keys was derived from such
works as Czerny's Grand Exercise in All the Keys, Major and Minor Op. 152, while
his reduction of a technical configuration into a purely mechanical pattern could have
had its roots in Czerny's 160 Achttaktige Ubungen, Op. 821. 19

Another influence on the way that Liszt presented his ideas for the
development of technique, such as in the digital tapping20 configurations, came from
Alloys Schmitt/1 teacher of Ferdinand Hiller. 22 Liszt credited Schmitt with having
invented this type of configuration:

The master played an etude by Aloys Schmitt by memory and said, "He
invented the finger tapping exercises, which I expanded up to the
seventh."

Yet, in the same way that Liszt developed ideas learned from Czerny, he also
developed the technical possibilities of this configuration far beyond the examples
23
that Schmitt presented in his Five Finger Exercises Op. 16, which will be
demonstrated in this paper. These influences as well as Liszt's presentation of

19. It is worthy of note that Boissier mentions "an exercise on chords by Czerny in all twenty-
four keys ... " Boissier, The Liszt Studies, xxv.

20. This technical detail is discussed from pp. 73-103 of this paper.

21. Gollerich, The Piano Master Classes of Franz Liszt, 142.

22. Reinhold Sietz/Matthias Wiegandt: 'Hiller, Ferdinand (von)', Grove Music Online ed. L.
Macy (Accessed 19 April2007).

23. The exercises of Schmitt seem to have been of considerable note in the nineteenth century
as not only did Biilow recommend their use but also pointed out that Mendelssohn laid the foundation
of his own technique with them. J. B. Cramer, Fifty Selected Pianoforte Studies, edited by Hans von
Biilow (Boston, London: The B.F. Wood Music Co., c.1810), II.
60

various "classical" 24 technical structures in the Technical Studies have led some
authors to conclude that Liszt's methodology offers nothing new 25 to the ways in
which didactic systems can be presented. However, Watson26 has addressed Liszt's
issue of being "receptive" to the ideas of others stating that this was essentially his
way of adding to as well as developing what had been previously established:

A criticism often leveled against Liszt is that he was over-receptive to the


ideas of others, to the resulting detriment and unevenness of his output.
27
[yet] a full knowledge of his original works in all their varied
manifestations shows that whatever he took from his models, he sought to
28
expand and develop in new, highly personal ways. [ ... ] In his musical
language he constantly and consistently applied new ides of rhythm,
melody, harmony, form, and instrumental sonority: in each of these
elements of music he can be shown to be a pioneer.

It is possible that Liszt saw in the ideas he adopted from others, a universal
pianistic "truth," 29 one that he knew had a fundamental quality and that through study
would lead the pianist to greater facility in a wide range of musical applications. The
discussions of the technical structures featured in this paper will make it clear that
Liszt did endeavor to "expand and develop in new, highly personal ways," the
technical ideas he chose to detail in the Technical Studies.

24. Ott, Lisztian Keyboard Energy, 245. In respect to those author's who insist that Liszt's
technical configurations where derived from previously established "classical" formulas, it must be
pointed out that according to the writings of Boissier (The Liszt Studies, xiii) Liszt was already trying
to break away from this lineage by the age of twenty in order to establish one that was "less confined
by rules." Boissier (xv) also states that "he detests forms, the restrictions, the monotonous cuts,
civilised music in short ... "

25. Ott, Lisztian Keyboard Energy, 245-246; Mezo, Technical Studies for Piano II, XII.

26. Derek Watson, The Master Musician: Liszt, (London: J. M. Dent & Sons Ltd., 1989), 180.

27. This author's insert.

28. This author's emphasis.

29. Boissier, The Liszt Studies; xii, xviii, xxiv. The word "truth" is pertinent as it is mentioned
several times in respect to Liszt's own quest for pianistic mastery in the Lesson-Diary of Boissier.
61

30
Tilly Fleischmann, the pupil of longtime Liszt disciple Bernhard
Stavenhagen (1862-1914), 31 outlined the numerous ways in which Liszt did make
original contributions to the examination of technique, stating:

Liszt may be regarded as the founder of modern piano playing. He extended the
range of the instrument's possibilities by inventing new methods of laying out
scale passages, arpeggios, broken chords, octave passages and trills, by
extending the range of colour (sic) procurable by the sustaining pedal, and by
using to the full both the extreme depths as well as the extreme heights of the
instrument, thereby giving it an orchestral sonority ...

In the argument as to the historical place Liszt's Technical Studies occupy in


the development of the method work, it is important to note that through his
example32 Liszt influenced an entire generation of pianistic technical thought. Two of
his eminent students, namely, Tausig33 and Joseff/ 4 but also others, came to make
their own contributions to this tradition by way of technical manuals.

Liszt' s position in the development of nineteenth century piano technique by


way of his Techncal Studies also requires the consideration that Liszt wrote for and
played instruments that were different to those produced today. In this regard, it has
been established that during the course of his life the pianos he played numbered in
the vicinity of almost one hundred. 35 Herein lays a significant problem in the
investigation of Liszt's technical practices. If we consider subscribing to the unlikely
possibility that Liszt may have had a different technical approach to all these
instruments, then we would need to restrict discusion of the Technical Studies and

30. Fleischmann, Aspects of the Tradition, 53.

31. Charles Hopkins: 'Stavenhagen, Bernhard', Grove Music Online ed. L. Macy (Accessed
19 April 2007).

32. Walker, The Funal Years, 231.

33. This is discussed from pp. 277-281 of his paper.

34. This is discussed from pp. 287-293 of this paper.

35. G. Keeling, 'Liszt and J. B. Streicher, a Viennese Piano Maker,' Studia Musicologica
Academiae Scientiarum Hungaricae, T. 28, fasc. 1/4, (1986), 35. (Accessed 7 July 2007).
62

how they should be approached to one type of instrument at a time. 36 However, there
is also the view that the wide range of pianos which Liszt encountered meant that he
had to resort to one singular and fundamental approach, which was then adapted to
whatever instrument he found at hand. In light of the fact that Winter37 has pointed
out that research into the nature of nineteenth century pianos is still in its "infancy,"
there is an enormous scope for debate on this issue. A brief discussion of the principal
pianos known to be extensively used by Liszt over a period of time can help to
demonstrate the complexity of this issue.

In the first half of the ninetenth century, the piano Liszt used was principally
the Erard; 38 however, it is known that he also played such instruments as the Pleyel 39
and most likely instruments by Streicher40 as early as his encounters with Boissier in
1831-32. However, during the years of his concert tours that led into the first Weimar
period, it is known that he was in the posssession of a piano by Streicher, which
according to Liszt was his "preference, preserved for many years," 41 as well as
Beethoven's Broadwood, 42 an Erard 43 and the more unusual claviorganum. 44 The
notion that Liszt' s music made technical demands on earlier nineteenth century
instruments that the instruments themselves were not able to bear is evident by

36. RobertS. Winter, 'Striking It Rich: The Significance of Striking Points in the Evolution of
the Romantic Piano,' The Journal of Musicology, Vol. 6, no. 3., (1988), 267-292. Winter (267) has
provided a significant anecdote where he tells of how he asked another author to investigate the various
nineteenth century pianos that he had written about in an as yet to be published book on the subject.
After it took "a very long time to look closely at just one piano" the author abandoned the notion of
investigating others as it would mean that his book might never be published. In the same way, the
examination of the various ways in which pianists approached the instruments of the nineteenth century
from a technical perspective is too vast to be included in this Thesis.

37. Winter, Striking it Rich, 267.

38. Allan Walker, C. Humphreys, 'Liszt's Pianos,' The Musical Times. Vol. 119, no. 1619
(Jan., 1978), 24. (Accessed 7 July 2007).

39. Keeling, Liszt and J. B. Streicher, 36.

40. Keeling, Liszt and J. B. Streicher, 35.

41. Keeling, Liszt and J. B. Streicher, 41, 44.

42. Keeling, Liszt and J. B. Streicher, 41, 43-44.

43. Keeling, Liszt and J. B. Streicher, 44.

44. H. Schott, F. Lioni, 'Liszt and the Keyboard,' The Musical Times. Vol. 118, No. 1617
(1977), 911. (Accessed 7 July 2007).
63

comments made by Wiest, when he stated that a Streicher piano "bled to death" 45
after a Liszt concert. However, the virtuosity that pianists like Liszt demonstrated on
the pianos made in the first part of the nineteenth century such as the Streicher, was
eventually addressed through the work of Jonas Chickering 46 and soon after
championed by Theodore Steinway who both independently of each other exhibited
grand pianos made with an iron frame at The Great Exibition of 1851. This led to the
implementation of this feature by all piano manufacturers across Europe and America
throughout the remaining half of the century. 47 The fact that Liszt favoured
instruments that had an iron frame in his later years, that is, pianos made by
Bi:isendorfer, 48 Chickering 49 and Bechstein 50 indicates that following the 1860's, 51
Liszt had by then come to favour instuments that "are in every way comparable with
the modern Steinway."52

Another important factor that must be brought into account if the


commentaries of Boisier are used to come to an understanding of Liszt' s Technical
Studies is the fact that during the first part of the nineteenth century there were
differences between the pianos built by Viennese and French/English manufacturers.
In this regard, Robert Winter53 has stated that

.. . much more extensive and reliable information will be needed before


generalization about the relative touch of differing instruments will be
possible.

45. Keeling, Liszt and J. B. Streicher, 11.

46. C.A. Hoover: 'Pianoforte,§!: History of the instrument, 8. North America to 1860', Grove
Music Online ed. L. Macy (Accessed 15 July 2007).

47. C. Ehrlich/E.M. Good: 'Pianoforte, §I: History of the instrument, 9. 1860-1915', Grove
Music Online ed. L. Macy (Accessed 17 July 2007).

48. Walker and Humphreys, Liszt's Pianos, 25.

49. Walker and Humphreys, Liszt's Pianos, 25.

50. Walker and Humphreys, Liszt's Pianos, 25.

51. Walker and Humphreys, Liszt's Pianos, 25.

52. Walker and Humphreys, Liszt's Pianos, 25.

53. R. Winter: 'Pianoforte, §II: Piano Playing, 2. Romantic period', Grove Music Online ed.
L. Macy (Accessed 7 July 2007).
64

An investigation into the above mentioned topics could follow on from this
paper in order to come to not only a greater understanding of Liszt's role as a pianist
in the nineteenth century but could also be used to investigate the much broader and
fundamental question of nineteenth centmy performance practices itself in light of the
instruments of the time. Robert Winter 54 has again pointed out the need for this
research by stating

The realization that... Liszt played on instruments quite different from our
own raises the nagging question of whether a modern performer on a modern
instrument should attempt to adapt his playing style to that of the earlier piano
or should feel free to make changes he feels are necessitated by intervening
developments. Indeed, until a significant number of 19th-century instruments
by such makers as Graf, Streicher, Broadwood, Bosendorfer, Pleyel, Erard and
Steinway are restored to concert condition, there can be little more than
speculation as to how they actually sounded, or even whether it would be
desirable to include them as a regular part of concert life. [... ] The renewed
interest in historical performance will not make the performer's task less
complex; it both increases the number of options and the obligation to become
fully informed.

In respect to the connections between the technical commentaries of Boissier,


Liszt and the Technical Studies, Boissier's notes were written at a time when Liszt
was playing the pianos of Erard, 55 Pleyel 56 and Streicher57 which were all engineered
to produce "fine nuances and expressive playing. " 58 Yet, from 1868-1871, the years
in which the Technical Studies were written, he was more accustomed to
pianos built with the iron frame such as those built by Bosendorfer, 59 Chickering 60

54. R. Winter: 'Pianoforte, §II: Piano Playing, 2. Romantic period', Grove Music Online ed.
L. Macy (Accessed 7 July 2007).

55. Walker and Humphreys, Liszt's Pianos, 24.

56. Keeling, Liszt and J. B. Streicher, 36.

57. Keeling, Liszt and J. B. Streicher, 35.

58. P.R. Belt, M. Meisel/Gert Hecher: 'Pianoforte, §I: History of the instrument, 5. The
Vienese piano from 1800', Grove Music Online ed. L. Macy (Accessed 8 July 2007).

59. Schott, Liszt and the Keyboard, 911.

60. Schott, Liszt and the Keyboard, 911.


65

and Bechstein61 and that placed an "emphasis on volume alone." 62 How then can the
discrepancies between these varieties of instuments be reconciled in order to address
the issue of how Liszt played what for the pianist today? 63

The technical perspective from which the current author writes comes from a
contemporary approach whereby the writings and knowledge about instruments of
former centuries inform a contemporary view as applied to modern instruments
manufactured in our own time. This means that when the current author refers to the
horizontal and vertical action of the finger in the Technical Studies included in Liszt's
reference to "the mechanism" 64 of the arm for instance, or the ways in which Boissier
recalls that Liszt gave didactic instruction on the articulation of "nuances"65 etc, these
comments have been considered in their applications to modern pianos.

This is not a reinterpretation of Liszt' s comments nor is it the presentation of


an argument whereby the current author wishes to impose his own ideas over Liszt's.
It is evident that the Technical Studies are structured on certain artistic and
mechanical principles that have been identified from Liszt's own statements. There is
no question that when Liszt refers to mechanical actions which require the bouncing
of the wrist during the period 1831-1832 in repeated configurations, 66 when executed
on an Erard of the time is not the same as when performed on a modern grand because
of the differences in the structure of the instmments 67 and the dip of the keys. 68
However, the recognition of the artistic and mechanical principles that make up the
exercises in the Technical Studies does not require an investigation of the pianos as

61. Schott, Liszt and the Keyboard, 911.

62. P.R. Belt, M. Meisel!Gert Hecher: 'Pianoforte, §I: History of the instrument, 5. The
Vienese piano from !800', Grove Music Online ed. L. Macy (Accessed 8 July 2007).

63. Winter, Striking it Rich, 269.

64. Boissier, The Liszt Studies, xix.

65. Boissier, The Liszt Studies, xxiii.

66. Boissier, The Liszt Studies, xiii.

67. E. M. Good, Giraffes, Black Dragons, and other Pianos: a technological History from
Cristofori to the Modern Concert Grand (Stanford, California: Stanford University Press 1982), 237.

68. Good, Giraffes, Black Dragons; 53, 64, 85.


66

this paper is not about pianos, but rather, Liszt' s compositional procedures and the
pianistic choices that underly these.

It is worthy of note that other papers and articles on the Technical Studies do
not discuss the topic of the type of pianos that Liszt wrote for at any length in the
presentation of their arguments. A discussion of the mechanics involved in the
execution of the exercises is inevitable to a degree, as is the case in such papers as
69
Abraham's booklet, Liszt's Technical Studies: Seeking Ways and Means ... ,
Machnek's 70 dissertaion, The Pedagogy of Franz Liszt and Walker's 71 article, Liszt's
Technical Studies: Some Thoughts and Afterthoughts. This is not to say that such a
discussion is therefore unnessesary. However, a consideration of the pianos of the
nineteenth century is not essential to an understanding of the Techncial Studies
especially when their relevancy to pedagogy today is one of the primary
considerations of the current paper.

Today, the piano world is undeniably dominated by modern instruments.


While some universities and conservatories now have departments that specialise in
the performance practice of former periods 72 keyboard departments in general use
modern instruments by such firms as Steinway, 73 Yamaha 74 and Kawai 75 for
educational purposes. Therefore, the connections between the selected group of
technical commentaries made by Liszt, Boissier as well as Mason and Liszt's
Technical Studies will be presented in terms of current technical practices only.

69. Abraham, Seeking Ways and Means; 22-23, 26, 29-30, etc.

70. Machnek, The Pedagogy ofLiszt, 118-125.

71. Walker, Reflections on Liszt, 202-216.

72. H. Haskell: 'Early music, Since 1945', (3), Grove Music Online ed. L. Macy (Accessed 8
July 2007).

73. C. Ehrlich/E.M. Good: 'Kawai', Grove Music Online ed. L. Macy (Accessed 5 August
2007).

74. C. Ehrlich/E.M. Good: 'Kawai', Grove Music Online ed. L. Macy (Accessed 8 July 2007).

75. H. Davies/E.M. Good!E.H. Tarr: 'Yamaha', Grove Music Online ed. L. Macy (Accessed 8
July 2007).
CHAPTER4

The Genesis of Liszt's Technical Studies


and the first published edition

It was during a holiday at Grottammare 1 from July to August 1868 that Liszt
began writing his Technical Studies. 2 He had traveled there with his tutor in theology,
Father Antonio Solfanelli, who required convalescence by the sea. 3 In a letter to
Carolyne Sayn-Wittgenstein dated 24 August 1868, Liszt4 wrote:

I started writing the Technical Studies for the Pianist three days ago. This will
keep me occupied for five or six weeks.

Later in a letter to her dated September 10, Liszt commented on the progress
of the work: 5

I wrote in Grottammare some twenty pages of the technical studies.


Unfortunately a fearful mess of correspondence is now keeping me from
continuing the work I have begun, and which I have already finished in my
head.

The commencement date of the Technical Exercises is 21 August 1868 while


the exact date of completion cannot be ascertained although it has been stated as

I. The coastal area between the Tronto and Aso rivers in the region of Ascoli is known as
Grottammare. It is on the east coast of southern Italy.

2. Mezo, Technical Studies for Piano II, XI-XIII. The history of the Technical Studies has
been included in this thesis not only because of the rarity of the information but also because of the
ignorance about the Technical Studies in general.

3. Walker, Reflections on Liszt, 202.

4. Mezo, Technical Studies for Piano II, XI.

5. Mez6, Technical Studies for Piano II, XI.

67
68

c. 1871. 6 This is confirmed by Liszt in a letter he wrote to Gottschalg in 1871 7 dated


October 29:

8
Of the royalties and the edition of the Technische Studien I wish to
personally conclude an agreement with Julius Schuberth, senior next summer.
Before that I must carefully revise the manuscript, supply it with fingering and
perhaps add a few passages.

With respect to the often quoted completion date of c.1871 (derived from the
letter to Gottschalg), Liszt stated in his letter to Wittgenstein (see above) that the
Technical Studies would take only "five or six weeks" to complete. If his comments
to Gottschalg refer only to a "careful" editing job where he might "perhaps add a few
passages" prior to submission to Schuberth for publication, for all we know, the
composer may have completed notating this opus anywhere up to two years prior to
this c. 1869.

With respect to the 12 Grand Studies, Julius Gottschalg (1827-1908) wrote in


his memoirs that

10
Schuberth knew that Liszt had a large tuto/ of piano ready (c.1871). This,
as Liszt himself observed, was made up of three parts: two contained purely
11
technical studies only, whereas the third contained 12 grand etudes.

6. Mezil, Technical Studies for Piano II, XI.

7. Mezil, Technical Studies for Piano II, XI, n. 5.

8. This is not this author's italics.

9. Liszt refuted this title. Mezil, Technical Studies for Piano II, XI-XII.

10. This author's insert.

II. Mezil, Technical Studies for Piano II, XI.


69

After making a fair copy of the autographed manuscript of the Technical


Studies, the Liszt pupil Olga Janina took the complete set of three books with her on a
concert tour of America backed with Liszt's finances. 12 Walker 13 states that upon her
return she gave patts I and II to Liszt but disappeared with part III, containing the 12
grojJe etiiden. At this time these etudes disappeared completely from historical view
and were considered lost until 1974. 14 Although Liszt began to write these studies in
1868 they had not been published as late as 1879, when in a letter to La Mara 15 he
stated that
16
My studies in piano technique-which are incorrectly advertised as [a] piano
tutor in the newspapers-require a few months more for revision and fingering
etc, but could appear next year if I do not meet with difficulties.

The Technical Studies were not published for another seven years, namely,
shortly after Liszt's death in 1886. 17 This publication contained Parts I and II only of
the three part set. In 1931 Peter Raabe/ 8 a Liszt's biographer, questioned the actual
existence of the third part of the Technical Studies when he wrote that

... The third part, which is supposed to contain 12 grand etudes; was probably
never written, no traces whatsoever can be found.

However, in 1942 the German Liszt scholar Friedrich Schnapp 19 pointed out
that in a letter to Lina Ramann, Liszt had stated

12. Mezo, Technical Studies for Piano II, XI. Walker has questioned the validity of this
"rumour." Walker, The Virtuoso Years, 216, n. 24.

13. Walker, The Final Years, 177-178.

14. Mezo, Technical Studies for Piano II, XII.

15. Mezo, Technical Studies for Piano II, XI-XII.

16. This author's insert.

17. Mezo, Technical Studies for Piano II, XII.

18. Mezo, Technical Studies for Piano II, XII.

19. Mezo, Technical Studies for Piano II, XII.


70

I have put down in writing as a work of method nothing else but a series of
technical studies which will perhaps promote the present stage of mechanical
piano playing. You koow that part of my completed manuscript got lost; it is
annoying to write the same once again; yet I shall resign myself to doing it
next year- after some other works will have been finished ...

Mez6 20 argues that this is evidence of the original existence of the third part of
the Technical Studies and that it is in fact the "lost" 12 Grand Studies. 21 Nevettheless
the disappearance of these works was the predominant academic view as late as 1980,
where, in the New Grove Dictionary, Humphrey Searle stated that some of the
Technical Studies were "lost."22 However, in 197423 the Goethe- und Schiller-Archiv
purchased the manuscripts of the third book of Technical Studies from Dietrich
Goepfart who had received the manuscripts from his father's sister, Camilla Goepfart
who in turn inherited them from Karl Goepfart, a pupil of Liszt. How the manuscripts
came into the possession of Karl Goepfart has not been determined. 24

The discovery and publication of the writings of August Gollerich and Carl
Lachmund has shed new light on Lisztian scholarship. Their writings contain valuable
quotes and statements from the master which can give a different perspective as to
what has been written on various particulars of the composer's life. One instance of
this sheds a questionable light over the credibility of Alexander Winterberger as the
editor of the first publication of the Technical Studies.

After the death of Liszt on July 31, 188625 Alexander Winterberger (1834-
1914) edited the Technical Studies for the publishing company Schuberth & Co. 26
However, Liszt's opinion of him as a musician, particularly as a composer,

20. Mez6, Technical Studies for Piano II, XII.

21. Mezo, Technical Studies for Piano II, XII.

22. Mez6, Technical Studies for Piano II, XII.

23. Mezo, Technical Studies I, XXI.

24. Mezi\, Technical Studies I, XXII, n. 15.

25. Gollerich, The Master Classes of Franz Liszt, 162.

26. Walker (The Virtuoso Years, 217, n. 24) cites 1887 as the year of publication; however,
Mezo (Technical Studies for Piano II, XII), states that it was "late in 1886" that the first two parts were
published. Mezo (Technical Studies I, XXII) ackoowledges this discrepancy.
was critical and unfavorable. Liszt had originally allowed Winterberger to premier
two of his organ works, namely: Ad nos, ad salutarem undam in 1852 and the
Prelude and Fugue on the Name "B.A.C.H." in 1856.27 We cannot question then that
his professional assessment of Winterberger may have been swayed by his more
personal views. However, in order to evaluate Winterberger's aptitude for editing the
Technical Studies it is necessary to know that Liszt described aspects of
Winterberger' s compositions as "bombastic, superfluous"28 and points out his failure
as an opera composer revealing that had Liszt lived on, Winterberger may not have
been his first choice as an editor of these works.

Winterberger had been a student of Liszt c.1848-49. 29 This, it would seem,


should have placed him in a privileged position to edit a Lisztian work such as the
Technical Studies. However, according to Gollerich, 30 Liszt made the following
remarks about him during the first lesson he gave at Weimar during the period May
17, 1886-May 31, 1886:

Winterberger wants to play the lead role at all times but is not suited to that. It
is such a business when people pursue a false ideal - he wants to be one of the
foremost pianists and a great composer, and that did 'not turn out to be quite
true' [ ... ] Personally, I liked him very much because he is a good fellow; if he
has something, he gladly gives to others.

It was in the same masterclass mentioned above, that Liszt also pointed out
that Winterberger had "failed everywhere with his operas." 31 It has to be remembered
that Winterberger was in the first instance an organist who Liszt had acknowledged as
having "trained himself quite nicely"32 on this instrument. Yet, there is no reference to
him as a pianist in the Masterclasses of Gollerich (1884-1886) or Lachmund ( 1882-
1884). How capable then was Winterberger as an editor of the Technical Studies?

27. A. Williams, Portrait of Liszt, By Himself and His Contemporaries (New York: Oxford
University Press, 1990), 320, 323.

28. Gtillerich, The Master Classes of Franz Liszt, 148.

29. Williams, Portrait of Liszt, 251.

30. Gtillerich, The Master Classes of Franz Liszt, 147-148.

31. Gtillerich, The Master Classes of Franz Liszt, 148.

32. Gtillerich, The Master Classes of Franz Liszt, 148.


The main discrepancy with Liszt' s original intentions for the work and
Winterberger's edition lies in the fact that Liszt conceived the Technical Studies in
three volumes. The first two books contain a complete expose of technical material in
the form of exercises while the last book contains the 12 Grand Studies. Winterberger
broke up the first two books and had them published in a "truncated version in twelve
slim volumes. "33 This was not Liszt' s intention. However, this discrepancy does not
affect the hypothesis of the present paper as the identification of the principles that
form the basis of the Technical Studies are based on the mechanical and artistic
aspects of playing and the stmctural ways in which they are presented in the
exercises.

33. Walker, Reflections on Liszt, 214.


CHAPTERS

The Two Prototypical Exercises

Liszt identified two exercises that are prototypical in the way they embody the
vertical and horizontal mechanical principles inherent in all pianistic execution. These
have been singled out for separate discussion in the current paper for two reasons:
firstly, they have not been identified and discussed in detail in other papers dealing
with Liszt's approach to the development of pianistic technique and secondly, because
of the light that Liszt' s identification of these may shed on the instruction and
refinement of technique in our own time. The first of these was described by August
Boissier1 and is referred to as the "tapping" exercise by this author based on Liszt's
own description of it (see below). The second was identified as the "two-finger"
exercise by William Mason2 who later dedicated the first volume of his four volume
treatise on piano technique to the examination of this technical configuration alone. 3

The Tapping Exercise

Fleischman4 refers to this exercise as the "Klopfiibung" and states that

1. Boissier, The Liszt Studies, xix.

2. Mason (1829-1908) studied with Liszt c. 1849-1854.

3. William Mason, Touch and Technic: for artistic piano playing by means of a new
combination of exercise-forms and method of practice, conducing rapidly to equality of finger power,
facility and expressive quality of tone. Vol I: Two-Finger Exercises (School of Touch). The other
volumes are: Vol.II, Complete School of Scales (School of Brilliant Passages); Vol.IIJ, Complete
School of Arpeggios (Passage School) and Vol.IV, School of Octaves and Bravoura (sic),
(Philadelphia: Theodore Presser, c. late 1800s).

4. Fleischmann, Aspects of the Tradition, 118. Because Fleishmann was a pupil of


Stavenhagen who in turn was a disciple of Liszt, her statements about this technical exercise lend
credibility to those that are similar to Boissier's own.

73
The Klopftibung is a foundation-exercise which has become a tradition among
some of Liszt's pupils. It is the best possible exercise for strengthening the
fingers and making them independent of one another.

Fleischmann 5 also gives an indication as to how this exercise should be


practiced. This description reveals the vertical technical principle which the exercise
embodies and is consistent with Liszt's own: 6

... in the case of the Klopfiibung i.e. each finger in turn should be raised
above the keyboard then dropped, the height diminishing as the tempo
quickens.

Boissier mentions this exercise in her diary-notes several times. In her most
methodical and comprehensive description of it she states that

... : il veut qu 'on pose les cinq doigts sur les touches, que les autres sont
maintenus immobiles. Ceci pour les rendre paifaitement egaux et
independents. Le quatrii!me, le petit le troisii!me sont les plus mauvais et ceux
sur lesquels on do it fixer son attention; les autres doivent aussi etre exerces. II
ordonne done que chaque jour on exerce chaque doigt un quart d'heure de
suite, en le levant tri!s haut et en le posant non sur le bout mais sur le plat du
doigt. Cet exercise doit se faire en lisant pour ne pas s'ennuyer. { ... ] II le
considi!re comme de Ia plus haute importance et conduisant infallible-ment au
plus grand developpement du mecanisme?

... : He wants the five fingers placed on the keys, each in turn striking repeated
strokes while the others remain motionless. The purpose is to make them
perfectly equal and independent. The fourth, the smallest, and the third are the
worst and therefore need more attention; the others, however, must also be
developed. He therefore insists that each finger should be exercised for a
quarter of an hour daily by raising it very high and releasing it downwards, not
on its tip, but instead upon the ball of the finger. [... ] He considers this
exercise as the most important because it will inevitably lead to the greatest
8
development ofthe mechanism.

5. Fleischmann, Aspects of the Tradition, 119.

6. Boissier, The Liszt Studies, xix.

7. Boissier, The Liszt Studies, xiii.

8. Boissier, The Liszt Studies, xix.


The mechanism that Boissier is refen'ing to is that of the knuckle, the
fundamental vertical digital action of the finger essential in all piano playing. The
identification of this explains why Liszt has gone to such an extreme in the
exhaustion of its possibilities; exercise no. 1 is 545 measures long. Liszt's initial
detail of this pattern is deceptive because he only asks that the pianist exercise one
finger at a time. However, the attention to the rhythmic, dynamic and touch
possibilities for the production of tone requires considerable intellectual concentration
so that despite the exercise's initial basic structural appearance, it is in fact highly
complex 9 and technically demanding. This perhaps accounts for why Neuhaus, when
specifically mentioning Liszt's first exercise, stated that technical exercises should be
practiced by mature adults only. 10 Liszt's musical demands in this exercise also
explain why he was considered a pioneer of pianistic technique in the nineteenth-
11
century. It was not until well into the twentieth-century that such a meticulous
approach to piano touch became a musical common-ground through the writings of
such pedagogues as Neuhaus who stated that

... on the piano it is possible to play a single note in so many different ways
12
that this in itself is already an interesting technical problem.

According to Gi:illerich, 13 Liszt credited Allois 14 Schmitt ( 1788-1866)/ 5

9. Abraham, Seeking Ways and Means, 19.

10. Neuhaus, The Art of Piano Playing, 5!.

11. Esteban (2001, 5),.has stated that in the nineteenth-century: 'It was common practice when
teaching this type of exercise, to begin by asking the student to hold down firmly four fingers in closed
position and play a single note with the remaining finger using high action and absolutely even rhythm,
with a full round tone This was basically all. Liszt's idea is different. Following the same method of
firmly holding down four fingers the remaining finger is made to use a full range of dynamics, all kinds
of accents and, what was positively new then, different types of rhythms. By doing this, one gains in
every aspect and perhaps most of all, in the question of mental concentration. As one is involved with
the continuous changes, the boredom of the long, even repetition is avoided.'

12. Neuhaus, The Art of Piano Playing, 115.

13. Gollerich, The Piano Master Classes of Franz Liszt, 142.

14. The spelling of Schmitt's first name, Allois, varies depending on the source.

15. Liszt is most likely referring to Schmitt's Preparatory Exercises, Op. 16.
chiefly remembered for having been the teacher of Ferdinand Hillier, 16 with having
invented technical configurations which required the pianist to hold down keys while
17
articulating digital configurations with those fingers otherwise not engaged:

The master played an etude by Aloys Schmitt by memory and said, "He (Aloys
Schmitt) invented the finger tapping exercises, which I expanded up to the
18
seventh."

Liszt is most likely referring to Schmitt's Preparatory Exercises, Op. 16. An


examination of the 214 exercises in this work reveals that Schmitt's methodology was
also based on the idea of exhausting the technical possibilities of five finger digital
patterns, the same process which Liszt followed in the Technical Studies. For
purposes of identifying the historical origin of this important technical structure and
so that comparisons can be made with the examples that Liszt includes in his
technical treatise, some of Schmitt's technical details of the tapping exercise are
shown below.

Example 5.1. Schmitt: Preparatory Exercises, Op.J6. Single note tapping


configurations, nos. 111-118 ( 14).

_fl 111 11.2 113 114

.,
TIIIU.U fi,.,.. r rr rr r - 1 rrrrrr ~

~~~==~5:::::e::::e:::::::'
16. Reinhold Sietz/Matthias Wiegand!: 'Hiller, Ferdinand (von)', Grove Music Online ed. L.
Macy (Accessed 19 April 2007). It is noteworthy that there is no individual entry in Grove Music
Online concerning Schmitt.

17. The exercises of Schmitt seem to have been of considerable note in the nineteenth century
as not only did Blilow recommend their use but also pointed out that Mendelssohn laid the foundation
of his own technique with them. Cramer, J.B. (c.l810) Fifty Selected Pianoforte Studies. Edited by
Hans von Btilow. Boston, London: The B.F. Wood Music Co., p. I I.

18. Liszt seems to be talking about his extension of the five-note, five-finger exercise to the
seven note diatonic scale.
Example 5.2. Schmitt: Preparatory Exercises, Op.J6. Single note oscillating
configurations, nos. 152-157 (16).

152 153 154

Example 5.3. Schmitt: Preparatory Exercises, Op.l6. Two-, and three-note


tapping configurations, nos. 162-169 (16).

;=::c::~::;::::t:;:;l
f:::=::==l
Example 5.4. Schmitt: Preparatory Exercises, Op.l6. Two-note oscillating
configurations, nos. 143-148 (15).

143 144 145


Exercise no. 1 in Liszt's Technical Studies is almost exclusively dedicated to
tapping configurations. As stated above, its 545 19 bar length is indicative of the
importance that he attached to it but also evidence of his belief that "it will inevitably
lead to the greatest development of the mechanism." 20 This technical exercise is
designed entirely for the development of finger dexterity and independence. The
holding down of notes has a specific mechanical purpose; it forces the other fingers to
articulate mechanically from the knuckle alone, which means that the entire exercise
is a study in the verticae 1 principles inherent in all piano playing.

The rhythmic patterns in exercise no. I serve a mechanical purpose, namely,


the formation of digital strength and independence. They also serve to train the pianist
in digital control, which in turn is central to the acquisition of the ability to play
musically. Irrespective of what a technical configuration may be, the pianist will only
be able to master it once he/she has acquired the necessary control of the vertical
mechanical action of the fingers required to play it. Once this technical mastery is in
place, then the musical aspects can come into play. The extent of this exercise seems
to verify the proposition that Liszt was aware of this and planned to set down all that
he could in order to maximize the pianistic benefits that a study of it could impart.

Liszt begins the exercise by addressing the vertical mechanism required to


play single notes. There are five repetitions of this technical pattern, one dedicated to
each finger from: mm. 1-18, mm. 19-36, mm. 37-54, mm. 55-72 and mm. 73-81.
There are simple and compound triplet rhythms, syncopated and dotted rhythms as
well as indications of accent that aid in the acquisition of finger control. This
technical exercise is intended to build through the fingers, musical and interpretative
virtuosity in actual repertoire, a proposition which is supported through Liszt's
inclusion of the study of the nuance throughout. 22

19. Abrahilm (Seeking ways and Means, 22), states that this exercises is 555 measure in
length. According to the edition of the Technical Studies published by Editio Musica Budapest (2006),
this is incorrect.

20. Boissier, The Liszt Studies, xix.

21. Kullak, Octave Playing I, 2.

22. Liszt's examination of the nuance is discussed from pp. 46-47 of this paper.
Example 5.5. First tapping configuration in single-notes, no. 1 (I: 3, mm. 1-18). 23

3

• "rr.r ·nerrri,_"'f '
~r'i'~:tr '1ll ~,. :tr· :tt1.!J
•., p.
.
cre.sc. ....
'
...
7

uuu uucr
II

u.ru·ur
3 3 dim. p

14

rrrrrrrrrrrrrrrr
if if if if

Z3. It is a well documented fact that Liszt's comments on technical procedure were a rarity in
his later years. For this reason, anything that he did say is worthy of careful consideration especially if
it may be pedagogically usefully. In respect to syncopated rhythms such as those found in exercise no.
I, Liszt is quoted as stating: "Remember... syncopated notes must usually be played with an obstinate
accent; that will give them character." Lachmund, Living with Liszt, 214.
Example 5.6. Second tapping configuration in single-notes, no. 1 (I: 4, mm. 19-20).

.
/9
'
., it 1~-rn~~g;J,/ F~l'"fl'"bU[~"''~'""
pp

Example 5.7. Third tapping configuration in single-notes, no. 1 (I: 5, mm. 37-38).

37 .

Example 5.8. Fourth tapping configuration in single-notes, no. 1 (I: 6, mm. 55-56).

Example 5.9. Fifth tapping configuration in single-notes, no. 1 (I: 7, mm. 73-74).

Following these single-note details, Liszt' s examination of this technical


configuration unfolds according to his aim to exhaust this fundamental pattern of its
possibilities beginning with thirds.
Example 5.10. First tapping configuration in thirds, no. 1 (I: 23, mrn. 319-336).

!!::~"·:::~==
321 .

~~:::: ::::-::::: ;jl!::~::J


324

: : :
I~

:
, .....
~L..J,-Ju..Ju..J
8..-.<. ·' ..
~
LLJ L...W L...W L...LJ

"'
' '

~!:4:: :::t-::Uii;: g:J J J

t:z ::=:::tt::= J J .

v v v v v v

335

f" v v v v 'V v v
"" ·if if. if"' if if if if

v v v v v 'II v
The detail of various rhythms in this exercise, from mm. 319-336, is identical
to those given from mm. 1-18 shown above. The two details that follow exhaust the
possibilities of this configuration in-as-much as it can be detailed in both 5/3 chords
by using all the possible fingerings in specified diatonic major and minor forms.

Example 5.11. Second tapping configuration in thirds, no. 1 (1: 24-25, mm. 337-338).

Example 5.12. Third tapping configuration in thirds, no. 1 (1: 25-26, mm. 355-356).

B·Moll/ B flat minor

The inclusion of the tapping configuration in 5/3 chords is the logical outcome
of the previous three details; in this instance, the held notes are in thirds.

Example 5.13. Tapping configurations in 5/3 chords, no. 1 (1: 27, mm. 373-374).

,1!; : ::::::::::m:mm;g
J::: ::::c::l!~
Tapping details m various configurations at the octave follow. The
harmonization of these passages indicates that in exercise no. 1 Liszt was only
interested in the technical possibilities that grew out of root position chords. The first
of these, from mrn. 454-471, in simple octaves repeats the rhythmic figures featured
from mm. 1-18.

Example 5.14. Tapping configurations in simple octaves, no. I


(I: 39-40, mrn. 454-471).
E.Dur I E major

I~ PP

4~.. ~ r 1 , r1 I I I I I , , I I 1 I 1 I

~
-ip aesc. ' rif

. .. .. *-""'* .... ........... ..,.,,,., ..........., • • ·-·· ................ ..,...


-~··

466


if.

The octave tapping exercises that are harmonized with a third or fifth also
repeat Liszt's eighteen bar rhythmic patterns.

Example 5.15. Tapping configurations in octaves with a third, no. 1


(I: 40, mm. 472-473).

Example 5.16. Tapping configurations in octaves with a fifth, no. 1


(I: 41, mm. 490-491).

The continual repetition of these rhythmic patterns each time a new


configuration is introduced to the exercise, when considered in light of Liszt' s
statement that all pianism stems from certain "fundamental passages," seems to
indicate that he saw these as rhythmic archetypes that form the basis of all music:
Tout les traits -en musique, tous les enchafnements, quells qu'ils soient, se
reduisent a un certain nombre de passages fondamentaux qui sont Ia clef de
24
tout

All the characteristics in music, all the successions, whatever they may be, are
reduced to a certain number of fundamental passages which are the key to
. 25
every!hmg.

26
In the same way that Kullak pointed out that configurations used for the
study of octaves can simply be broken in order to study broken octaves, Liszt takes
the previous octave patterns and details all of them in broken form. Although these
details are in different keys due to the exercise modulating through the circle of fifths
from one configuration to the next, they again demonstrate Liszt' s intent to exhaust all
the fundamental technical patterns of their possibilities. In example 5.17, it can be
seen that Liszt has set out a broken octave configuration in its most basic form.
Following this, he details the configuration through various forms of harmonization,
demonstrated in example nos. 5.18 and 5.19. It is noteworthy that in keeping with the
methodology of constantly varying his chosen technical configurations, Liszt changes
the direction of the hands in the harmonized broken octave examples as well, from the
similar upward motion pattern shown in example 5.17 to an outward contrary motion
pattern in example nos. 5.18 and 5.19. These passages address the issue of hand
position and lateral direction.

Example 5.17. Tapping broken octave configurations in single notes, no. 1


(1: 43-44, mm. 526-530).

,. I

8 .................................................................................................. .

24. Boissier, Liszr pedagogue, 49.

25. Boissier, The Liszt Studies, xvii.

26. Kullak, Octave Playing I, 36.


528 ,,

8.'-- -------------- ... ----------------------------- ·-- ---------------- ------··------- -----------------.

530
";: "

t .1 -.:1
l ~

IL~ IL
C.::i .1
1L
..1. C' f ..1. r::.. f
~ 1L IL~ 1L ILl'>
:.zr
1L

/1_-------------- ---------.----.-.- ...... --.-----.- .. -.- .. ··":

Example 5.18. Tapping broken octave configurations with a third (r.h.), no. 1
(I: 44, mm. 531-532).

Example 5.19. Tapping broken octave configurations with a fifth (r.h.), no. 1
(I: 44, mm. 536-537).

. -·
..

Although broken octave technique requires some mechanical action from the
wrist, the holding down of notes restricts this so that wrist action is minimized
necessitating the finger action vertically from the knuckle. This is where these
configurations differ from the broken octave exercises from exercise no. 41, where the
hand's mechanical action is not encumbered through the holding of notes and
therefore, may arise from the free use of the finger, wrist or elbow.

There are two technical details in this exercise which do not incorporate held-
notes. These seem to arise from Liszt's scrupulous intention to exhaust all the
possibilities of technical configurations that may arise from fundamental mechanical
procedures. The first example follows the detail of octaves with a fifth (r.h.), from
mm. 508-525 and repeats in four-note chords, the rhythmic configurations given from
mm. 1-18. Although a similar four-note repeated configuration can be found in
exercise no. 44 (mm. 49-75)/7 in this later exercise, the detail of it is different in that
Liszt presents them in root, first and second inversion but only in sixteenth note
rhythmic configurations. Hence, the various possibilities in which four-note chords
may be musically conceived are all dealt with in the Technical Studies and
furthermore their technical possibilities are addressed prior to finding them in a score.

Example 5.20. Four-note chords in various rhythmic configurations, no. 1


(1: 42-43, mm. 508-525).

pp·

"~
~
~ l:::l::bl. ~ 1::::1::0::1
p cresc.
== ====- = =
.. .. . •

]+J Y--J l...W . u...J

27. A discussion of this detail can be found in the chapter on repeated configurations on p. 244
of this paper.
52!". if
A .
if
A

)· .
if if if

The second example of this kind of detail follows the examination of )Jroken
octaves with a r.h. fifth. Having previously detailed broken octaves with a r.h. third,
Liszt combines these two structural possibilities into a configuration where the now
co-joined third and fifth, together with the bottom note of the broken octave make up
a 5/3 chord configuration in broken octaves.

Example 5.21. Tapping broken octave configurations with a 5/3 chord (b.h.),
no. 1 (I: 45, mm. 541-545).

•••
542

,. J I J
:
f'J J

• • • • + • ·-· •• .. * "" *

1. '
................................
Liszt extends the mechanical principles of vertical finger action in exercise no.
1 by introducing horizontal principles of playing through a series of configurations
that require adjacent fingers in stepwise motion; firstly, featuring a simple two-note
28
oscillation, then three, four and five finger patterns. Similar to the tapping
configurations, these technical patterns though easily memorable due to the fact that
they are structurally repetitive, nevertheless require more and more intellectual
involvement from the pianist as the exercise progresses. The regularity and extent of
the repetition demands an unprecedented attention to the mechanism of the fingers
alone. Because the first two-note detail of these is more akin to a trill exercise, a
discussion of it can be found from pp. 214-216 of this paper.

The previously established rhythmic patterns featured in the vertical tapping


configurations have been changed in the horizontal digital configurations featured in
this exercise. Although there are still simple and compound rhythmic structures as
well as triplet, dotted, syncopated and accented lines, the order in which these are
presented is different. The simplistic structural realization of the technical
configurations in these patterns shows that Liszt did not consider the attainment of
finger independence and strength29 to be complicated provided the necessary "drill"30
had been done. Going by what he includes here for the achievement of finger
dexterity, it is apparent that Liszt believed that all digital technique could be reduced
to simple five-finger, five-note passages and that rhythm was the key principle used to
attain this.

28. These are discussed in the section on trills and tremolos from pp. 217-219 of this paper.

29. Mezl\, Technical Studies/, VI.

30. This view is also stated by Neuhaus (The Art of Piano Playing, 118): "playing the piano is
easy."
Example 5.22. Horizontal three-note configurations, no. 1 (I: 8-9, mm. 97-110) .

F J 2 . . . ... .. ...
legaJo stacc.

J 4
.. ........ ...
9l!
... W'~' ...L.J
~J::::! '-]...J
legato stacc.

~
W' i!J!.J' >+-
~
... ..JU:

/Of

)'·, I
legal~
3 2 stacc,

) 4 3 4
Ill}

I v
v v . . v . v . v v . t .
legato J z stacc.

j--4 l y v y y
v
~
v v v v v v v
105

I"'
J-V v v v v v y __.--, v v v v v
<
lega/o 3 2 Sl(lCC," " "
v v v
v v v v v y

107
4 J 4 -v
" "
r'-1 j·-i ..._. ..._. ..._.
legato e staccato alternante
~· ~· (•] ..._... ..__.. -· ..__... ...__.. -. .....__.

~
' 4
---·
J 4
..._. ...__... ..._. ..._ . ...____. ....._. [•] ...__. ..__. ~·
...._. ..._. .._. ....._.
Example 5.23. Horizontal four-note configurations, no. 1 (I: 9-10, mm. 111-128).

Ill

. . .. .

-'

I
·= ..
' I

I ' '

' 4 J
II~ I I

v
j 4
~ ~ IF?f'· v v ....

s 4
v
) 2
v v~ "!"'·v·F·v· ... ·
111

{•] .__.... '--• .._..

{·] ...._... '-• .._..


116
Example 5.24. Horizontal five-note configurations, no. I (I: 11-12, mm. 129-146).

'57,. A A A A A
• A -" A
~ ~ • A

'""
• A
~ lh.f .•.J:·.;.·•
A A
~
A A A
;.;. .. ·••*c lg
'-

lf!.
..
~~......~~ .·····
• 6
.
.····· .... · . . . . •

........;. . . ..
A structural examination of the tapping configuration in this exercise, shown
in Table 1 (below) demonstrates how Liszt used the circle of fifths as a template on
which to unfold his technical examinations outside strictly musical parameters as well
as the vehicle of the concert etude. While Liszt does not detail the configurations
formed by first and second inversion tonic triads, diminished or dominant sevenths
etc, this may have been considered unnecessary as they are addressed by the
mechanically similar configurations of two, three and four note diminished seventh
chords in exercise no. 47.
Table 1. Structural detail of the tapping configurations in exercise no. 1
(I: 3-45, mrn. 1-545).

Type of technical Detail Measures Key


Major Minor
Single note tapping configurations with held notes. 1-90 C--> A
F D
B flat
Single, two-, three- and four-note digital configurations 91-318 G
with held notes and five-note configurations with no held E flat
notes. c
A flat

Tapping configurations in thirds. 319-372 F


D flat B flat

Tapping exercises in 5/3 chords. 373-390 F sharp


Two-note lateral configurations (in thirds) 391-432 D sharp
B
Two-note lateral configurations (in thirds) featuring 5/3 433-453 G sharp
chords
Tapping configurations in octaves 454-471 E
Tapping configurations in octaves with a third included 472-489 C sharp

Tapping configurations in octaves with a fifth included 490-507 A


Tapping configurations in four-note chords with no held 508-525 F sharp
notes
Broken Octave configurations incorporating held notes 526-530 D
Broken Octaves incorporating held notes 531-535. B
(with a r.h. third and a l.h. fifth)

Broken Octaves incorporating held notes 536-540 G


(with a r.h. fifth and a l.h. third
Broken octaves incorporating a 5/3 chord 541-545 E
The demonstration of a technical idea in a purely mechanical way in the
Technical Studies is central to its methodology31 despite the fact that Liszt endeavored
to underpin this study with purely musical considerations by including dynamics,
considerations of finger nuance and etc. This point requires careful consideration
because when the acquisition of virtuosity is removed from a purely musical context
there is a danger that the pianist may turn this study into an end in itself, which for
Liszt was intolerable. 32 According to Boissier

Il exige que Valerie fasse to us les jours deux heures d' exercices materiels
sans compter le reste. 33

He required from Valerie two hours of practice (sic) on mechanical studies


34
daily, entirely apart from the rest

That Liszt believed in purely mechanical practice at times in order to achieve a


type of technical liberation so that the pianist could achieve a technical standard
35
whereby he/she would never be "handicapped by finger obstacles" is clear.
However, this type of technical endeavor was only for the purpose of enabling a
thoroughly trained and expert technique in advance 36 of approaching an actual score.
In another instance, Liszt seems to have presented another perspective on the issue of
purely mechanical practice when in a letter to Ramann 37 in 1874, he stated

31. The present discussion is a difficult one in as much as there are two aesthetics at work,
namely, the achievement of virtuosity through the practice of technical configurations that are devoid
of a musical context and, the presentation of this with key principles of the musical art. The current
author is of the opinion that Liszt wanted both; the inclusion of musicianship skills into the mechanical
exercises being for the purpose of stopping the pianist from turning the acquisition of technique into a
mere mechanical pursuit.

32. Lamond cited in: Gollerich, The Piano Master Classes of Franz Liszt, 164.

33. Boissier, Liszr pedagogue, 30.

34. Boissier, The Liszt Studies, xiv.

35. Boissier, The Liszt Studies, xxiv.

36. Boissier, The Liszt Studies; xxi, xxv.

37. Mezo, Technical Studies for Piano II, XII; Mezo, Technical Studies I, XXII.
Als methodisches Opus habe ich nichts anderes al seine Reihe von
technichschen [sic!] Studien zu Papier gebracht, welche vielleicht denjetzigen
38
Stand des mechanischen Clavierspiels fiJrdern warden.

I have put down in writing as a work of method nothing else but a series of
technical studies which will perhaps promote the present stage of mechanical
39
piano playing.

Liszt's mention of the exercises as "nothing else but a series of technical


studies" demonstrates that he saw them more in a mechanical as opposed to a musical
light. However, his comment that these "will perhaps promote the present stage of
mechanical piano playing" indicates that, as a musician, he was opposed to
"mechanical piano playing." In other words, his consideration of technical
advancement in 1874 seems to indicate that he did not agree with a technical enquiry
that excluded musical issues. This is certainly consistent with the didactic comments
he made a decade later during the second Weimar period, where, according to the
commentaries of both Lachmund and Gall erich, musical issues were his only concern.

The structural purpose of repetition in the various passages of the exercises is


not arbitrary, but significant. Liszt is never repetitive for the sake of it, there is always
a discernable principle behind why a particular figure is being repeated. An
examination of all the technical patterns shows that in every case, Liszt repeats things
in order to exhaust their mechanical possibilities or to approach them from a different
perspective such as, with a different finger, a different set of fingers or a different
fingering. At other times, the repetition can serve to complete the possibilities of a
certain configuration's positioning possibilities in relation to the keyboard and
furthermore, is particularly evident in those exercises that modulate through all the
twenty-four keys.

In respect to the use of repetition of technical configurations that lead to the


development of virtuosity in didactic systems, Neuhaus 40 stated that

38. Mezo, Technical Studies for Piano II, XII.

39. Mezo, Technical Studies for Piano II, XII.

40. Neuhaus, The Art of Piano Playing, 3. Neuhaus (108) also uses the term "learning" in the
place of "tuition."
The ancient truth: repetition is the mother of tuition, is a law for the weakest
as well as the strongest talents; in this sense they are on equal footing ...

The repetition that underlies the methodology of exercise no. 1 as well as the
other exercises serves three primary purposes:

1. It leads to a complete understanding of the mechanical action of those


parts of the finger (as well as the hand, wrist, elbow or shoulder) being
examined through the technical configurations.

2. It leads to a complete mastery of "the physical "imprinting" of the


keyboard on the hands and fingers ... " 41

3. It leads to the ability to read any score at sight42 due to the extensive
aud repetitious practice of all the structural possibilities that may be
encountered in a musical score and therefore, eliminates any need to
practice technique in a printed score. 43

Amy Fay44 documented "a little anecdote,"45 given by Liszt, which is worth
consideration in this discussion because it reveals some of the other ways in which
Liszt used repetition for didactic purposes: firstly, to rectify laziness and secondly, to
break through technical barriers:

41. Walker, Reflections on Liszt, 215.

42. Boissier, The Liszt Studies, xxii.

43. Boissier, The Liszt Studies; xviii, xxi.

44. Fay, Music Study in Germany, 218-219.

45. Fay, Music Study in Germany, 218.


I liked young M. very much ... ] He played beautifully, but he was
inclined to be lazy and to take things easily. One morning he brought me
Chopin's E minor concerto, and he rather skimmed over that difficult
passage in the middle of the first movement as if he hadn't taken the
trouble really to study it. His execution was not clean. So I thought I
would give him a lesson, and I let him play those two pages over and over
for an hour or two until he had mastered them. His arms must have been
ready to break when he got through! [... ] At the lesson following he
accordingly presented himself with his arm in a sling. But I always
suspected it was a stratagem on his part to avoid playing, and that nothing
really ailed him. He had had enough for one while (sic) ...

Exercise no. 47 in Book II is one of only three other exercises in the Technical
Studies that details held-note configurations; the other two are exercise nos. 10 and 11
which are discussed from pp. 260-262 of this paper. In exercise no. 47, there are two
related but nevertheless different mechanical configurations dealt with. The first is the
tapping configuration while the second, although it features held-notes and requires
vertical finger action, is more structurally akin to the tremolo, and therefore is
discussed in the chapter on trills and tremolos. 46

The tapping configurations in exercise no. 47 unfold in the same exacting and
methodical way as did the similar mechanical passages in exercise no. I. However,
there are some unique compositional variables in this study that make it stand out in
the trajectory of the Technical Studies. The harmonic detail, for instance, is entirely
based on diminished seventh chords. Liszt does not use the harmonic technique of
modulation in this technical study; it does not progress through the circle of fifths but
instead unfolds chromatically upwards over the interval of an octave throughout. The
section of exercise no. 47 that details the tapping configuration extends over a
diminished tetrachord or tritone from c to f sharp (mm. 1-52). The patterns detailed
through this section progressively cover the possibilities of hand positions that can be
derived from diminished chords and in many instances mimic the 6/3 and 6/4 chords
that were not given any technical attention in exercise no. 1. Furthermore, the
technical configurations produced by the hands while holding various groupings of
notes down in exercises nos. 1 and 47 thoroughly exhaust the possibilities in which
finger independence may be acquired through the harmonization of the primary
chords of diatonic scales, such as 5/3 and diminished seventh chords.

46. See pp. 222-223 of this paper.


Example 5.25. Tapping diminished seventh configurations in 6/3 and 6/4 chord
positions, no. 47 (II, 62-63, mm. 32-38).

{33)
'11~1 ~

~
i• ,j --
~3-'
~-!:=.

-d:Lti~ ti.ru._~~~~~~-
I

Another unique feature of exercise no. 47 lies in the fact that Liszt appears to
47
be experimenting with the symmetry of the keyboard as these chords present a series
of consecutive patterns where the two hands are mirror reflections of each other.
Some examples of this include:

Example 5.26. Symmetrical tapping octave patterns, no. 47 (II: 63, mm. 39-40).

39

47. Busoni, Essence of Music, 155.


Example 5.27. Symmetrical tapping octave patterns with a minor third, no. 47
(II: 60, mm. 41-42).

Example 5.28. Symmetrical tapping octave patterns with a diminished fifth,


no. 47 (II: 61, mm. 43-44).
43

Example 5.29. Symmetrical tapping octave patterns at a minor sixth, no. 47


(II: 62, mm. 49-51).

""\. '.

Because exercise no. 47 is essentially a five-finger exercise, albeit with the


digital possibilities of playing various chords as well, it begins in the only way that
Liszt' s methodology would allow, namely, in single notes. These have been notated in
a symmetrical, consecutive, outward contrary motion configuration that successively
details each finger of the hand.
Example 5.30. Symmetrical tapping configurations in single notes, no. 47
(II: 60, mm. 1-10).

So that all the diminished seventh harmonizations will be exhausted of their


technical possibilities, the above 'single note detail is followed by various details in
two-, three- and four-note tapping patterns. Examples of these technical possibilities
include:
Example 5.31. Symmetrical tapping configurations in two-note chords, no. 47
(II: 60-61, mm. 11-14).
II

13

Example 5.32. Symmetrical tapping configurations in two-note chords, no. 47


(II: 61, rnm. 20-23).
20

22

Example 5.33. Symmetrical tapping configurations in three-note chords,


first configuration, no. 47 (II: 62, rnm. 25-26).

I~
Example 5.34. Symmetrical tapping configurations in three-note chords,
second configuration, no. 47 (II: 62, mm. 31-32).

!J ~
:?I .

Example 5.35. Symmetrical tapping configurations in four-note chords, no. 47


(II: 64, mm. 47-48).

There are no possibilities for holding notes past the four-note tapping
configuration, yet, similar to the two examples in exercise no. 1 and in the interest of
thoroughness, Liszt includes a five-note detail with no held notes.

Example 5.36. Five-note chords in simple and compound rhythmic configurations,


no. 47 (II: 64, mm. 51-52).
Busoni 48 noted one of the ways that Liszt used harmonic patterns in the
realization of his piano works by stating that "The secret of Liszt' s ornamentation is
in its symmetry." The symmetrical tapping configurations in exercise no. 47 also
demonstrate that certain chord progressions create hand patterns and positions which
can be useful to the pianist in helping him/her understand the topography of the
keyboard. They can also be used to achieve flexibility in the movement of the fingers
and wrist.

The Two-Finger Exercise

Liszt mentioned this exercise during the first Weimar Masterclasses in the late
1850s, where, according to his pupil William Mason: 49

One day the boys were discussing the subject of mechanical technic (sic)
and wishing for some little "multum in parvo" exercise, which should be
so comprehensive and far-reaching in its results as to do away with a
multiplicity of exercises, and acting like magic, accomplish the whole
thing instanter (sic) and thus obviate the necessity of slow plodding. They
finally referred the matter to Liszt, and his reply was that inasmuch as all
pianoforte pieces consisted of scale, arpeggio, chord, and octave passages,
the practice of these could never be wholly dispensed with; but, he
continued, "of all exercises of which I have knowledge, for stimulating,
strengthening, and limbering the fingers, this simple little exercise is the
most effective." He went to the piano and played the two-finger
exercise ... "You know/' he continued, "that I have given up my concerts
and public playing, but when occasionally I do play in private for my
friends and feel the need for preparation, I practice this exercise solely and
for two or three hours uninterruptedly. As a result I regain my full technic
50
(sic) without practice of anything else, either exercise or piece."

According to Liszt, the two-finger exercise embodies in its fundamental and


complete form the mechanics of all pianistic execution. 51 It is the quintessential
configuration from which all others stem whether these are trills or tremolos, the

48. Busoni, Essence of Music, 155.

49. Because this quote identifies this exercise as the fundamental principle in Liszt's technical
trajectory I have cited it in full.

50. Mason cited in: Gerig, Famous Pianists, 239-240.

51. Gerig, Famous Pianists, 239-240.


monophonic technical line, the four-note chord, scales and etc. The reason for this is
because the execution of the first note of each group represents the vertical principle
of finger execution in its most basic form while the articulation of the second note of
the pair instigates the most fundamental horizontal principle. This is why Liszt gave
this configuration the exalted position of being the "multum in parvo" 52 of all
technical exercises, possibly making it worthy of being referred to as the "Egg of
Columbus" 53 in piano technique. In this rare instance where Liszt disclosed the
technical rationale behind one of his technical exercises, it becomes clear why he
found it unnecessary to discuss technique in later years post c.l871, the year in which
the Technical Studies were completed; 54 he had already written down a complete
treatise on technique in the musico-mechanical exercises of the Technical Studies.
After this, he must have known that all that was left for the pianist to do was to
practice the exercises because according to him "success cannot fail to come," 55 as
everything that the pianist needed to know was encoded therein. This discussion
implies that according to Liszt, the many thousands of digital configurations which
Cortot 56 in a later part of pianistic history referred to as being available for the
instruction of finger strength and independence, can be done away with since all of
these can be reduced to this basic pattern, namely, the step-wise movement between
two adjacent tones.

52. Mason cited in: Gerig, Famous Pianists, 239-240. This Latin expression means "much in
little."

53. Fay (Music Study in Germany, 271), reports that Deppe referred to the positioning of the
hands at a slightly oblique angle to the keys in scale passages as "the egg of Columbus," adding that
this was the way in which Liszt held his hands, most likely by instinct. Neuhaus (The Art of Piano
Playing, 84), uses this expression in respect to finger positioning: "In time ... I came to the conclusion
that it is with these five notes (E, F sharp, G sharp, A sharp, BIB sharp) that one must begin the whole
methodology and heuristic of piano playing, of learning the piano, that they are its cornerstone, its
Columbus' egg (sic), the seed of wheat which yields a thousandfold (sic) harvest. This small formula is
truly weightier than many heavier tomes."

54. This statement is based on the recorded history of Liszt's activities in Rome around this
time. It is, of course, a debatable proposition made by this author. Mezo, Technical Studies I, XXI.

55. Boissier, The Liszt Studies, xxi.

56. Alfred Cortot, Rational Principles of Pianoforte Technique, translated by R. LeRoy-


Metaxas (Paris: Editions Salabert, 1928), 1. Here, Cortot mentions the "endless collections of exercises
of every kind."
The fingering choices that Liszt explores in this exercise are straight-forward;
first to second, second to third, third to fourth and fourth to fifth in consecutive order,
yet, in an exercise of such elevated technical importance, Liszt does not explore all
the twenty combinations of two-finger possibilities. 57 Because of the tremendous
significance Liszt has given to it, stating "of all exercises of which I have knowledge,
for stimulating, strengthening, and limbering the fingers, this simple little exercise is
the most effective," it may be useful to know where Liszt did use the
remaining combinations, if at all, for the purposes of illuminating what appears to be
an uninvestigated 58 aspect of his methodology and technical rationale.

The twenty combinations of two-finger combinations are: for the thumb; 1-2,
1-3, 1-4 and 1-5, for the second finger; 2-1,2-3,2-4,2-5, for the third finger; 3-1,3-2,
3-4, 3-5; for the fourth finger; 4-1,4-2, 4-3 and 4-5 and for the fifth finger; 5-1, 5-2,
5-3 and 5-4. The step-wise movements featured in exercise no. 5 for the right hand
are: 1-2, 2-1, 2-3, 3-2, 3-4, 4-3, 4-5 and 5-4. The left hand fingerings are; 2-1, 1-2, 3-
2, 2-3, 4-3, 3-4, 5-4, 4-5. The two-finger groupings excluded are: for the thumb; 1-3,
1-4 and 1-5, for the second finger; 2-4, 2-5, for the third finger; 3-1, 3-5, for the fourth
finger; 4-1, 4-2, and for the fifth finger; 5-1, 5-2, 5-3. If Mason's recollection of Liszt
is credible and in light of the fact that Liszt' s method of solving a technical problem
was to exhaust its possibilities in every way, why did he leave these fingering
possibilities out?

All of the two-finger groupings that are not featured in exercise no. 5 can in
fact be found in other exercises where their applications are better suited to the
technical aims these contain. The chromatic section in exercise no. 5 features the
following two-finger groupings:

Right-hand: 4-5, 3-4 (ascending), 3-2, 2-1 (descending).


Left-hand: 5-4, 4-3 (ascending), 2-3, 1-2 (descending).

57. This does not include combinations· of three, four or five consecutive fingers. We are
dealing here with successive combinations of two fingers only.

58. William Mason's almost entirely unknown work Touch and Technic: Vol/, Two-Finger
Exercises (School of Touch), is the only exception to this statement which is made in respect to the
didactic principles of our own time. This must seem peculiar to Liszt scholars and pianists alike who
are interested in his technical regime in light of Liszt's recommendation of it as a comprehensive tool
for the acquisition of virtuosity.
Example 5.37. Chromatic two-finger details, no. 5 (I: 5, mm. 25-28).

Exercise no. 9 details the fingerings 3-1, 4-1, 5-1, 5-3 and 4-2, 59 while in the
case ofthe remaining two-finger groupings; 1-3, 1-4, 1-5, 2-5, 3-5, 5-2 and 2-4, Liszt
seems to have associated these fingerings more with two-note chord progressions as
they can be found consistently throughout the stepwise two-note progressions from
exercise no. 23 through to exercise no. 27, and also in various ways from exercise
nos. 28 to 33 as well as exercise no. 45.

Following this discussion, it is clear that although Liszt never stated that there
are only twenty adjacent two-finger combinations for the development of finger
independence, the presence of these in the Technical Studies makes it possible to
surmise that he was nevertheless aware of this because of their presence in the
exercises. The exploration of these fingerings in various mechanical techniques also
makes it possible to speculate that this was one of Liszt's ways of exploring the many
fingering possibilities of the hand. This is all the more likely in light of the fact that
the more unusual if not unique fingerings detailed for single-note repetition such as 4-
1 and 5-l in exercise no. 9, for instance, may demonstrate that Liszt' s exhaustive
methodology did not only apply to the examination of technical patterns but also the
means through which these are perfected, namely, fingering. The suggestion that Liszt
had a complete mastery of all fingering possibilities and was able to instantly execute

59. See pp. 236-238 of this paper.


any technical configuration placed before him seems possible in light of a statement
. . 60
rnade b y B mss1er:

Rienne ['arrete, il sait d'avance tout ce qu'il peut rencontrer dans Ia


musique; c'est ce qui explique l'incroyablefacilite avec laquelle il dechijfre
61
ou plutot execute en peifection toute musique alivre ouvert ..

Nothing slows him down. He knows in advance all that he may likely
encounter in the music; this explains the unbelievable facility with which he
62
deciphers, or rather executes with perfection, all music as an open book.

It is the view of this author that Liszt's complete theoretical understanding of


technique, its "principles" 63 and/or "fundamental passages," 64 were meticulously
encoded in his Technical Studies despite the fact that he never wrote them down in
written form or, according to the reports of his late piano students, never gave any
hint of his technical acumen by way of instruction. 65 That Liszt's choices as to what
patterns, passages and fingerings to put into the Technical Studies was thoroughly
considered, with each exercise serving a specific technical purpose, seems highly
likely following Mason's 66 remarks.

The four diatonic repetitions of the two-finger pattern in exercise no. 5 are
from mm. 1-6 (fingering 1, 2), mm. 7-12 (fingering 2, 3), mm. 13-18 (fingering 3, 4)
and mm. 19-24 (fingering 4, 5). The systematic examination of the fingers, from 1 to
2, 2 to 3, 3 to 4 and 4 to 5 as well as the regularity of bars over which the fingering
details unfold, namely six bars in each case, i.e. from mm. 1-6, is indicative of the

60. Boissier, The Liszt Studies, xvii.

61. Boissier, Liszt pedagogue, 93.

62. Boissier, The Liszt Studies, xxv.

63. Boissier, The Liszt Studies, xviii.

64. Boissier, The Liszt Studies, xviii.

65. Vianna da Motta cited in: Gollerich, The Piano Master Classes of Franz Liszt, 167. It is
important to note that although Liszt never taught technical procedure in his final Weimar period, the
methods of instruction he used at Weimar in the 1850's was completely different while his teaching
system in Paris in the 1830's was different again. Other than pointing this out, the current author cannot
go into this in any detail because of the limitations of this paper.

66. Mason cited in: Gerig, Famous Pianists, 239-240.


highly structured and methodical approach Liszt took to the examination of technical
issues. As devoid of a purely musical context that the exercises may be, there is
neve1theless an intellectual reasoning behind their operation. The examples of this
technical pattern are all set a sixth apart which makes them more harmonically
engaging as well as more difficult for the pianist than a setting at the octave would
have been because the pianist must think of two different hand positions of the scale
at the same time as opposed to one. This exercise also modulates through the diatonic
circle of fifths and concludes with a chromatic detail. As will be shown, the above
points adhere to the notion that the Technical Studies are built on identified principles.

Example 5.38. First two note configuration with fingers 1, 2 (b.h), no. 5
(I: 54, mm. 1-2).

2
l 2 I 2

I 2 I

Example 5.39. Second two note configuration with fingers 2, 3 (b.h), no. 5
(1: 54, mm. 7-8).

7
Example 5.40. Third two note configuration with fingers 3, 4 (b.h), no. 5
(I: 55, mm. 13-14).

13

l14 3 43 4

l . ·. 4 3 4 3

Example 5.41. Fourth two note configuration with fingers 4, 5 (b.h), no. 5
(I: 56, mm. 19-20).

19

S454S-454

Esteban 67 states that these configurations are "Preparatory exercises for the
scales in major and minor keys." While they may prepare for scales, according to
Liszt's comments 68 this is not their primary purpose. Rather, they are designed to lead
to the perfection of the "mechanism" 69 taking account of all the vertical and
horizontal possibilities of finger execution, irrespective of the configuration being
70
examined, including scales, arpeggios, chords or octaves. Nevertheless, the

67. Esteban, Technical Exercises, 40.

68. See the above cited quotation by Mason.

69. Liszt cited in: Technical Studies I: 2006, 2. See also in this edition p. XXII.

70. Gerig, Famous Pianists, 239-240.


presentation of the two-finger configurations as scales is a necessity for the
examination of these stepwise principles within the diatonic and chromatic systems
and is also an acknowledgement of the fact that there are only two lateral motions
possible on the piano, namely, the ascending or descending movement of the hands.

The most significant aspect of the chromatic71 section of this exercise (I, 58,
mm. 25-28) is Liszt's disregard for classical fingering etiquette, whereby the fifth
finger and in some instances the thumb, are not meant to be placed on the black
keys. 72 The first example of this can be found in the first bar where the fourth finger
plays the white note c, followed by the fifth finger on d-flat. The left hand equivalent
of this right hand pattern corresponds with the placement of the fifth finger of the left-
hand on f-sharp, followed by the placement of the fourth on g in the first bar.

Ezample 5.42. Alternative adjacent note chromatic fingerings, no. 5 (I, 58, m. 25).

Another example of this can be found in the fourth bar where the right hand
thumb is placed on all the black keys in descending motion, being preceded by the
second finger in several cases on the white keys. The left hand thumb also plays on
the black notes in this bar followed by the second finger on the white notes.

Example 5.43. Alternative adjacent note chromatic fingerings, no. 5 (I, 58, m. 28).

~1:1
71. All the chromatic configurations in the Technical Studies are discussed in a separate
chapter; however, because of the significance Liszt gave this configuration, the chromatic details of the
two-finger and two-finger extension exercises have been included in this chapter so that a complete
overview of this significant technique may be contained therein.

72. Biilow in: Cramer, Fifty Studies, n.p.


Neuhaus73 has stated that after the examination of the technical and expressive
possibilities of a single note, there must follow a similar study of " ... two, three, four
and then all five (all that the hand is blessed with!) ... " This is exactly what Liszt does
in exercise nos. 6, 7 and 8 in a series of configurations that extend the possibilities of
the two-finger technical pattern. An examination of the fingering of these
configurations in these exercises make it clear that Liszt's method is systematic,
whereby all the fundamental structural and fingering possibilities are explored. In
exercise no. 6, for instance, all the possible step-wise movements between three
adjacent fingers are detailed:

Right-hand: 1-2-3,3-2-1,2-3-4,4-3-2,3-4-5 and 5-4-3.


Left-hand: 3-2-1, 1-2-3,4-3-2,2-3-4, 5-4-3 and 3-4-5.

Example 5.44. Consecutive three note configurations with fingers 1, 2, 3 (b.h),


no. 6 (I: 58-59, mrn. 1-2).

73. Neuhaus, The Art of Piano Playing, 116.


Example 5.45. Consecutive three note configurations with fingers 2, 3, 4 (b.h),
no. 6 (I: 59-60, mm. 5-6).

2)4234

Example 5.46. Consecutive three note configurations with fingers 3, 4, 5 (b.h),


no. 6 (I: 60-61, mm. 9-10).
This exercise is distinctive in two ways; firstly, it is the first in the Technical
Studies that features a triplet rhythmic configuration and secondly, it only modulates
74
through the major keys. In respect to this, Abrahiim has stated that "the entire series"
of exercises are based on three harmonic systems:

1. Tonalities progressing through the cycle of fifths eg:


a./ Majors and Relative minors descending in the subdominant direction
b./ Majors and Tonic minors ascending in the dominant direction.
2. Scales progressing chromatically.
5
3. Exercises a third apart (major and minor thirds)?

However, exercise no. 6 and its counterpart no. 24 as well as exercises nos. 7,
8 and 9 are exceptions to her three groupings as none of them modulate through the
minor keys.

In exercise no. 7, the stepwise movements between four adjacent fingers are
detailed in the two available possibilities, namely:

Right-hand: 1-2-3-4,4-3-2-1, 2-3-4-5 and 5-4-3-2.


Left-hand: 4-3-2-1, 1-2-3-4,5-4-3-2 and 2-3-4-5.

Example 5.47. Consecutive four note configurations with fingers 1, 2, 3, 4


(b.h), no. 7 (1: 61, mm. 1-2).

3.41234

74. Abraham, Seeking Ways and Means, 19.

75. Abraham, Seeking Ways and Means, 19.


Example 5.48. Consecutive four note configurations with fingers 2, 3, 4, 5
(b.h), no. 7 (1: 62, mm. 7 -8).

Exercise no. 8 contains a five-finger detail which represents the completion of


this particular line of technical enquiry. While there is only one possible combination
of fingerings for five adjacent fingers, Liszt details this in the two ways, namely, in
both ascending and descending order in a mechanically fundamental way:

Right-hand: 1-2-3-4-5 and 5-4-3-2-1.


Left-hand: 5-4-3-2-1 and 1-2-3-4-5.

Example 5.49. Consecutive five note configurations with fingers 1, 2, 3, 4, 5


(b.h), no. 8 (1: 63, mm. 1-2).

f ~~:::. -
..
... ,. .-.!"1'C
i"~ ,.,..
.
• I

[2]
Liszt extends the possibilities of the two-finger configuration found in exercise
nos. 5 and 6 in nos. 23 and 24 by converting these structurally into technical details in
thirds. Similar to exercise no. 5, where both vertical digital movements from the
knuckle and wrist are combined with stepwise horizontal motion, this exercise
modulates through the twenty-four major and minor keys.

Example 5.50. The two-finger exercise in thirds, no. 23 (I: 126; (a), mm. 1-4).

24 l 42 'I

l JJ
C-Moll/ C minor
.2 4 ' l j l j
' '

(J) I l l I 4

' ' 1-
4
.A
' t:..- '

..
J 4 "'

-o:::~ • I• •
i;~
~

~-~[1-~~h&& ....
- "::1 J'
l l Jl

The various fingering possibilities that Liszt supplies for the details in thirds is
yet another example of his intent to examine fundamental technical configurations in
every possible way.

Example 5.51. Various fingering options for the two-finger exercise in thirds,
no. 23 (I: 126; b), c), d,) e).

,,
• d) !1!1 1 42 I 1- l- I 1- 'I l 11- 1 - l -q l
.
.

-u .
l l
....
l
_./l!il
rl l
........
2
c!C.

...
ili
J
/llll

~ill

........
.
etc.
The final section of exercise no. 23 is an exact reproduction in thirds of the
final bars of no. 5 (seep. 107), where Liszt examined two-note patterns in their single
note chromatic form. This is one of the many instances in the Technical Studies where
a given configuration, chosen by Liszt to exemplify a particular technique, becomes a
template on which similar configurations are structurally realized.

Example 5.52. Chromatic two-finger details in thirds, no. 23 (I: 132, mrn. 49-52).

-·~ _..., •.u.

•. .,. .. .,. '

!"'• ~.-
4 J4 J
- .

=---
-- .....
In the same manner, Liszt extends the mechanical and rhythmic possibilities of
two-note configurations in single-note triplets found in exercise no. 6 (see p. 112-
114), by transforming them into a study in configurations in thirds in exercise no. 24.
Liszt 's adherence to his own systematic and mechanical reasoning is evident in the
fingering of this exercise in the way they are arranged in pairs across the hand:

Right-hand: 1/3-2/4-3/5 ascending; 3/5-2/4-1/3 descending.


Left-hand: 5/3-4/2-311 ascending; 3/1-4/2-5/3 descending.
Example 5.53. Consecutive tluee note configurations in thirds and in triplets,
no. 24 (I: 133, 1-4).

l l l jl

(2)
r
G·Dur G major .
3

Following this discussion of the tapping and two-finger details in exercises


nos. 1 and 47, as well as the exercises that are derivative of them, it is clear why
Boissier stated that after a study of the various aspects of Liszt' s methodology

... , il se trouve rarement des combinaisons nouvelles, oU les


modifications sont si peu de chose, qu 'elles n 'arretent pas. Si que/que
chose de different se rencontre on en fait dans tous les tons /'objet
d'une etude particuliere et le nouvel obstacle est vite surmonte. 16

Rarely are new combinations fonnd: and if they are found, they are of so little
importance that they need not stop us. If something unexpected is found, then
it has to be made the subject of a particular study in all keys - and the new
problem is quickly solved. 77

76. Boissier, Liszt pedagogue, 68.

77. Boissier, The Liszt Studies, xxi.


CHAPTER6

Liszt's Treatment of Scale Configurations

More so than any other technical configuration presented in the Technical


Studies, the six principles are most evident in Liszt's scale passages. The vertical and
horizontal principles of motion are present through the fact that these passages ascend
and descend across the keyboard, while their presentation in diatonic and chromatic
structures that are both harmonized and that modulate, adheres to the third principle.
Liszt's manner of presenting many of the "variation possibilities" 1 of scales, as well
as his use of both simple and compound rhythms, demonstrates that in every scale
exercise, the six principles are featured. This includes the principles of the nuance and
intellect because, as previously pointed out, these two aesthetic elements underlie all
the Technical Studies.

The first scale exercise in the Technical Studies details the diatonic major,
melodic and harmonic minor forms of this configuration in similar motion. It also
incorporates similar motion broken chords that allow the exercise to modulate from
one key to the next through the circle of fifths. The scales feature a rhythmic pattern
that brings about a "springing" 2 action between the various tonic notes of the scales.
The prolonging of the tonic note by doubling its value may be meant to suggest the
idea of playing in larger, octave length phrases, as opposed to one note at a time,
which, due to this rhythm's surging effect on the hands, may help a pianist acquire
greater speed.

1. Abraham, Seeking Ways and Means, 35.

2. Machnek, The Pedagogy of Liszt, 96. Defined by this author as the rhythmic arrangement of
a scale where a given note is given more value so that the execution moves suddenly and swiftly to
another note. This configuration was not invented by Liszt. It can be found in the Methode des
Methodes pour le piano (1840), by Fetis in collaboration with Moscheles in single notes on p. 33, in
thirds on p. 50 and in octaves as well as octaves with a third included on p. 56.

119
Example 6.1. Springing scales and broken chords at an octave, no. 12
(I: 70, mm. 1-10).

C-Dut I C major C-Moll/ C rilinor


I. I

4 I.:G

G-Dur I G ma!or
I

The possibility that rhythm can be used to acquire speed was also proposed by
Liszt's American pupil William Mason, who, in his Touch and Technique: Vol.II,
Complete School of Scales, outlined a configuration which essentially achieves the
same result (Example 7.2.). Under the heading Velocity Exercises, Mason states

Hold out the first tone firmly, then, with the mind fixed on the closing tone of
the series, take aim for it and pass lightly to it...
Example 6.2. Rhythmic configurations in scales for the acquisition of speed,
(Mason, 1891, 13).

etc.

In exercise no. 14, Liszt extends the study of scale forms to 'springing'
contrary motion configurations that unfold in all the major and minor keys.

Example 6.3. Scales in contrary and similar motion at a third, no. 14


(I: 87, mm. 1-12).


C Dut I Cmajor
I I
. I .,fl'f'-_ ~ fie~.. . 3
' 3 I I
I
• ••
.,
... ....... .. ••
-

I 3
I ..... :;t - · ' ""'"1"' " <f ::' '
'
~- fie~..

..
"· 3 ~ 3
' ''
~~ 'tr ~
. ..
- ~

.. ' ~~I
r· ..... ,.!J ••
This exercise also features a configuration that is not only unusual because of
the repetition of the same material from one bar to the next, a characteristic that is
rarely found elsewhere in the Technical Studies, 3 but also because it does not feature
the 'springing' rhythm. In this instance, the consistency of the pattern, as well as its
rhythm, indicate that Liszt most likely wanted to discipline the pianist into a strict
tempo forcing a legato line and perfectly even touch so that any inherent unevenness,
in touch or rhythm, caused by the 'springing' action could be brought under control.
This is essentially what this configuration does; it tightens the performance
possibilities of the configuration and ensures pianistic control. This proposition is
consistent with the idea that the rhythmic factors involved in the development of
technique were imperative in Liszt's methodology.

Example 6.4. Scales in contrary and similar motion at a third, no. 14


(I: 87, mm. 4-6).

Liszt's exercises in contrary motion never begin on the same note. In exercise
no. 14 the hands are separated by a third, while in exercise no. 13 (shown below) they
are set at an interval of a sixth. This indicates that Liszt was interested in a more
harmonically colorful as well as technically difficult detail of his chosen technical
configurations; ones which lend themselves more to what may be encountered in
actual repertoire.

3. I am not considering the repetition of material from one key to the next here but the
repetition of a phrase that lies within a configuration. Exercise no. I is built on such repetition;
however, outside of this the technical features in the exercises progress in larger phrases and structures.
Example 6.5. Scales and broken chords in contrary and similar motion at a sixth,
no. 13 (I: 78, mm. 1-6).

s 3 2 4

Another exhaustive detailing of scales in contrary motion follows in exercise


no. 21. This is set at an octave and modulates through all the major and minor keys.
Liszt addresses the principles of rhythm by changing from simple to compound
structures throughout the exercise.

Example 6.6. Scales in contrary motion at an octave, no. 21 (I: 112, mm. 1-6).

C·Dur I Cmajor I
8.-- ·--- -- ·-- · ·r · ··· ··---- · -------- ~
I ... 1!: I,,.. ~ ' ,,.. I ,,..,.., I ,,..
A I 4
' ' I

~
.

I
;mrr Tl m.~ IJm rr
l I <I
I
'
{
;, _{'-~ ... •. '
~;..
'
C·Moll/ Cminor
I
. I ._ ...... I 8".- ..... ----. j" .. ...•...• ··••· ·-·· "!
... -'"*· .' 4 • '


l m n: ..m rr liT Q
'
l

' .
'
a· ....... -- ..... ;--.--··- .. --·.-'
I
' '
4 I ,.l!,c 1 I .k .... ~ 3 'b.:O.

n mmm.n
.
(5) 8"------ • .. --. -· .. -· .• - .... ---.------- --------- -·-- ---------------------
-. -· -•- ··-~~-" 'b...b..

Tl Tl rTl_/T.Lrn
1!"·1><1 ·~·-;; :1 q• •'I!"

. v 1i v
h

At the conclusion of this exercise, it is possible to look back over Liszt' s detail
of single-note scales and observe that cettain similar and opposing patterns emerge in
the way he examines this technical material from one exercise to the next, as will be
discussed. Liszt' s adherence to his own proposal to exhaust a technical idea of all its
possibilities is evident through the examination of this scale-form:

1. In similar and contrary motion (horizontal and vertical principles).


2. In all the major and minor keys (the principle of modulation).
3. At the consonant harmonic intervals of a third, sixth and an octave;
that is, the primary intervals that melodic lines are harmonized with
(the principle of harmonization).
4. Using rhythmic configurations which assist in the development of
agility and speed (rhythmic principles).

The modern didactic application of these points becomes apparent in the ways
they prepare a pianist for actual performance more than the sheer acquisition of
mechanical virtuosity. The addition of broken chord configurations in both similar
and contrary motion is relatively unique because it was customary in the former
classical schools to practice these two configurations separately. 4 By including broken
chords with scales the fingers are forced to assimilate close- and extended- finger
positions which are more characteristic of what is actually encountered in repertoire.

4. The methods of Hummel and Fetis/Moscheles for instance, feature technical exercises that
contain only one technical configuration in each example.
Whereas exercise no. 12 featured broken chords in similar motion (mm. 7-8),
no. 13 details the possibilities of broken chords in contrary motion (mm. 5-6; mm. 11-
12); the technical configuration having been developed from similar to contrary
motion rather than repeated again in similar motion. This extends the possibilities that
these technical exercises may prepare a pianist more for similar and diverse
configurations in the repertoire, just as the introduction of the 'springing'
configurations provide the pianist with the possibility of playing in groups of phrased
notes, rather than single notes, one finger mechanically after the other, which again, is
more akin to what is actually encountered in a musical score.

Exercise no. 28 continues in the same vein as exercises nos. 13 and 14, where
diatonic similar and contrary motion configurations are featured together in the same
exercise but here, in double thirds.

Example 6.7. Springing scales in double major and minor thirds in similar and
contrary motion at an octave, no. 28 (I: 148, mm. 1-6).

- .

-.. l l l !
C·Molll C minor
s 4
2
j '
Similar to the rhythmic presentation of Liszt's ideas in no. 14, exercise no. 28
also has both 'springing' (i.e. mm. 1-3) and regular (mm. 4-5) groupings of notes. The
diminished and dominant seventh progressions that Liszt uses to modulate from one
key to the next are not featured as this progression is only used when modulating
chromatically upward by step. However, herein lies one of the differences in the
harmonic procedure Liszt uses throughout the various exercises. In this instance,
where Liszt passes from one key to the next by 'ascending in the dominant
direction,' 5 the sevenths progressions would not work because they form vertical,
harmonic chord based configurations, not linear scale lines, and in this regard, would
double-up on the two-note diminished and dominant seventh progressions featured in
exercise no. 53. As the exercise traverses the circle of fifths, it simply finishes once
the detail is complete in one key, beginning in the new one after a brief rest.

Example 6.8. 'Springing' scales in double major and minor thirds in similar and
contrary motion at an octave, no. 28 (I: 148, mm. 9-12).

lf----- ·- ---------- 3·--- --r.--------

c: .: .
--4------- • ---~
· G-D\Ir I G major J
J ~ ~ I ... & .a. 2·
I. '•

.• •!- i J ~-:11:-= ., .. l
l • ' ' ' I i •

The two exercises that follow, nos. 29 and 30, also feature this abrupt shift in
key for the same reasons as stated above.

5. Walker, Reflections on Liszt, 215.


Example 6.9. 'Springing' scales in fourths in similar motion and in single 6/3
chords, no. 29 (I: 159, mm. 7-10).

j,7 4 ' 4 J2 4 :'i 4 J


2 J 2 1 . t JI '2 I 1 2 1 2

l~ ··~·. -
"II" ..
Q.Our I G major

'2

l~" :~: .
• • ~-·

Example 6.10. 'Springing' scales in major and minor sixths, no. 30


(1: 168, mm. 7-10).

G-Dur I G major
9
'I 2'

The fingering in no. 29, mm. 3-4 is noteworthy because of the way it
minimizes the shifts of the thumb, thereby utilizing as many successive fingers as
possible. The two upper-note fingerings suggested by Liszt are:

I. 2,3,4,5 - 2,3,4,5 - 2,4,3,5 - 3,4,5,4,3 - 5,4,3,2 - 5,4,3,2 - 5,4,3,2


2. 3,4,5- 3,4,5- 3,4,5- 3,4,5 - 3,4,5,4,3 - 5,4,3- 5,4,3 - 5,4,3- 5,4,3
Example 6.11. 'Springing' scales in fourths in similar motion and in single 6/3
chords, no. 29 (I: 159, mrn. 3-4).

'
J. ~
,_
'

..,.. ''II --,.

A greater degree of legato touch is possible with these fingerings because of


the reduction in the lateral shift of the hand. These innovative fingerings also provide
the pianist with more continuous, hence facile, hand-movements which may be
implemented in passages which require fast virtuosic tempi. The technical details of
the configurations in exercises nos. 29 and 30 unfold in all the major and minor keys.
Liszt does not include any passages in contrary motion in these, as a result, the
respective details are two bars shorter (eight bars in total) than the detail he gave to
the exercises in thirds in no. 28 (ten bars in total). Exercise no. 30 is the last exercise
in Book I of the Technical Studies. However, Liszt's consideration of scales continues
in the first exercise of Book II with a detail of double 6/3 chords.

Example 6.12. Scales in double 6/3 chords, no. 31 (II: 2, mm. 1-6).

Avec plusieurs doigth -legato, staccato

A-Moll/ A minor

' 4 j 4 ' ' 4 ' '


4 ' '
This exercise is different from the previous three (nos. 28, 29 and 30) in a
variety of ways. The exercise is scored in triplets and although the time signature is
3/4, the complete absence of the metrical division of the beat into two signifies that it
is intended to be an exercise in compound time from a rhythmic perspective; the prior
three exercises all being in simple time. This exercise modulates through the twenty-
four keys; beginning in c major and continuing in 'a' melodic minor, then continuing
up a fourth from f. fu the previous exercises the technical passages modulated up the
circle of fifths; firstly in c major, then c minor and continuing in g major etc. fu this
instance, the variety of harmonic progressions that Liszt presents demonstrates that he
is not only interested in the purely mechanical aspects of the configurations but also
interested in demonstrating his technical regime in ways which are musically
engaging.

Liszt' s scale exercises in octaves begin with octave repetition. 6 Although this
part of exercise no. 39 is only eighteen bars long, it could be repeated or used as a
template to invent other exercises of a similar nature. 7

6. Liszt's approach to repetitive configurations is dealt with in more detail from pp. 236-242.

7. Liszt stated: "lnventez des nuances et des combinaisons nouvelles si vous le pouvez, de cette
maniere vous vous trouverez prete a tout evenemenf' (Boissier, Liszt pedagogue, 82). "Invent nuances
and, if possible, new combinations; in this way you will find yourself prepared for any occasion"
(Boissier, The Liszt Studies, xxiii).
uv

Example 6.13. Octave repetition in various intervals, no. 39 (II: 15-16, mm. 1-18).

t ===
!"" ........................ .,
~--······******
~· ·- --- ----- -
)· ,........."=
-- - -
"""""'""
5 ~ 5 4

5 4 j 4 5 4 5 4

The numerous references Liszt gave to this exercise in the recorded lessons of
Boissier seem to indicate that he considered it to be important in the development of
wrist technique:
131

ll a d'abord fait etudier quelques passages auxquels il tient beaucoup pour


assouplir Ia main et pour Ia rendre energique. Ce sont des octaves frappees
sur Ia mf!me note en les relevant et les faisant vite et longtemps. 8

In order to make her hands more flexible and energetic, he had her study
certain passages that he considers very important. They consist of octaves
repeated rapidly and for a long time on the same key?

And also:

Repetees 10 sur les memes notes en parcourant successivement une octave. On


le repete vingt, trente, quarante fois de suite en faisant avec soin des
crescendo et diminuendo, tfichant de partir d'un piano fin, pour arriver au
plus grand forte. Tout cela doit sefaire uniquement du poignet sur Ia barre, a
main morte, a doigts lances, sans jamais se crisper, ni se forcer du bras ... 11

Repeat successive running octaves on the same tones. Do this twenty,


thirty, forty times, following one another with a carefully worked out
crescendo and diminuendo, from the (sic) finest piano building up to the
strongest forte. All should be played with a single wrist action on the
brace, with a "dead hand," with tossed fingers, and without exerting or
overworking the arm ...

In respect to 'the brace,' 12 Liszt used a mahogany device 13 derived from


14
Kalkbrenner's hand-rail, or guide-mains, which in turn was developed by
Kalkbrenner from Johann Logier's Chiroplast. 15 This device was meant to facilitate
lateral arm movement along the keyboard and to essentially allow everything to be

8. Boissier, Liszt pedagogue, 22.

9. Boissier, The Liszt Studies, xiii.

10. Boissier, Liszt pedagogue, 65. There is no capitalization on this word in the original text.

II. Boissier, Liszt pedagogue, 65.

12. Boissier, The Liszt Studies, xx.

13. Boissier in Mach, The Liszt Studies, xx, n. 8.

14. Eigeldinger, Chopin as Teacher, 96, n. 17. "The guide-mains consists of a rod fixed to the
front of the keyboard at a slightly raised level, permitting the forearm to rest on it and supposedly
alleviating all possible tension (?) (sic) in the wrist, freeing the fingers of all weight and facilitating
their independent action."

15. Eigeldinger, Chopin as Teacher, 95-96, n. 17. See also: Walker, The Virtuoso Years, 302-
303 and: Walker, The Final Years, 230.
132

played without effort vertically from the wrist. 16 Kalkbrenner advocated the exclusive
use of this mechanical apparatus in his piano method, Methode pour apprendre le
pianoforte a /'aide du guide-mains (1830) and it is from this work that Liszt most
likely became interested in its possibilities for technical development. 17 However,
while Liszt himself pointed out the initial influence Kalkbrenner's method had had on
the development of his own, 18 this influence seems to have been short lived. 19 In his
final teaching period from the 1870s-1880s, Liszt's attitudes changed20 and he later
rejected its use?' Therefore, the use of 'the brace' is not imperative to the study of
this exercise. Liszt's detail of octave scales 22 is distinctive in that he repeats the last
tonic at the end of each two-octave progression, thus making the odd seven note
rhythmic scale fit symmetrically23 into the bar.

16. Walker, The Final Years, 302. Although various forms of 'the brace' flourished in Europe
in the 1820's and 1830's (Walker, 1983, 302-303, n. 26.), not all pianists advised the use of it. Chopin
indicates that he was opposed to its use when he stated in his sketched Projet de Methode (Eigeldinger,
1970, 195) that "One cannot try to play everything from the wrist, as Kalkbrenner claims."

17. Eigeldinger, Chopin as Teacher, 96-97, n. 18.

18. Williams, Portrait of Liszt, 12.

19. Walker, The Virtuoso Years, 303, n. 26. See also: Eigeldinger, Chopin as Teacher, 96-97,
n. 18.

20. Walker, The Virtuoso Years, 302.

21. Walker, Reflections on Liszt, 206.

22. It is noteworthy that in respect to Liszt's octave details, Kullak (Octave Playing, 2) states
that "octave playing depends chiefly upon the cultivation of the wrist." His definition of the mechanical
action of the fingers and hands as "rising and falling" in this technical configuration is consistent with
the vertical and horizontal principles which have been identified as underlying Liszt's own approach to
this technique and therefore, may be used to illuminate the current discussion.

23. Busoni, Essence of Music, !55.


133

Example 6.14. Major and minor scales in octaves, no. 39 (II: 16, mm. 19-22).
C-Dur I C major

C·Moll/ C minor

Boissier supplies information as to how Liszt wanted these exercises executed.


The vertical mechanical principle of the current paper conforms to her writings on
this:

Quant aux octaves, il faut les faire en gammes, les notes toujours t!gales,
24
largement frappt!es et le poignet souple, flexible, Ia main moUe et tombante.

As for the octaves, they should be practiced in scales, the tones being equal at
all times, broadly stroked, and the wrist supple and flexible, the hand soft and
25
falling.

This entire exercise is rhythmically transformed into an examination of broken


octave technique in no. 41; in the first instance the opening configuration becomes an
examination of repeated broken octaves, the addition of thirds, fourths and fifths to
these configurations highlights the harmonic basis from which these configurations
arise.

24
Boissier, Liszt pedagogue, 50.
25
Boissier, The Liszt Studies, xvii.
Example 6.15. Harmonized major and minor scales in broken octaves and witb
thirds, fourths and sixths inclusive, no. 41 (II: 28-29, mm. 1-18).

l• .
.,... .......... .
7. l h' -
• b,, ., " • -- -:,;
•h

'

' l
2
5
-.
10
h
I

"
.... . .. . .. ..
••• . . - .
1:::!:::1:::::1

13. 1.1.. ...... - ...... ...... ~

)' . H.. .. .. - ... .. * ... .. .. ~-


- .. ..
Following this initial detail, the exercise becomes increasingly difficult and
complex through the addition of other harmonic notes. This exercise is one of the best
examples demonstrating the lengths to which Liszt was prepared to go in order to
exhaust the possibilities of a given technical configuration. These possibilities
include:

Example 6.16. Scales in broken octaves in upward motion, no. 41 (II: 29, mm. 19-20).

8""""""""""""""""""""""""
•) C-Dur I C major
~ ~ ~.f .. ~ ~

f
r T fL

r ;
Example 6.17. Scales in broken octaves in downward motion, no. 41
(II: 30, mm. 35-36).

35. "
D-Our I D major
4 . .. iL ;: e r··· ............. ... ~ -~ .. --~ ... i ....
~--- .

r 4
.. fL ~ e 4

-.
I ' T::J

~ ~ -;
-r
Example 6.18. Harmonized broken octaves with thirds in outward motion on the beat,
no. 41 (II: 32, mm. 51-52).

-.
~
51
"~
£.[)WI B major
l
I
' - fL ~ ~- ~--
----
,; .. .... ....i ... .... i
-~ ~ ~

l I
2

'
. • & a:

-~ _'ii- ~
~
., .... . r
-
Example 6.19. Harmonized broken octaves with sixths on the beat in inward motion,
no. 41 (II: 33; mm. 67-68).
· Fis-Dw J Psharp major
'
2 I .

'
Example 6.20. Harmonized broken octaves with thirds in outward motion off the beat,
no. 41 (II: 34; mm. 83-84).
t) As-Our I Aflat major

8~
4
2
l. • 11= .i t ! f 8
·-r···~·-··j:···;·

~-
l l Tl -~ l ~l ' I
'' l l
1!: '
I
T s
•'-~"
' .. l .. ~

I l I I
'
I

''
I
''
1
1 l
1 1J .. 3

Example 6.21. Harmonized broken octaves with thirds on the beat in inward motion,
no. 41 (II: 36; mm. 99-100).
B-Dur I Bflat major
j 8 ;--· ...... " .. ---~--
.2
1 ".' ~-------- ..... .

. ....

Example 6.22. Harmonized chromatic26 broken octaves with sixths on and off the beat
in upward motion, no. 41 (II: 37, mm. 115-116).

11f I 2

"
"I

Example 6.23. Harmonized chromatic broken octaves with sixths on the beat in
outward motion, no. 41 (II: 37; mm. 119-120).

26. Chromatic configurations are dealt with separately in this thesis. However, for the
purposes of demonstrating Liszt's exhaustive methodology these examples have been included here.
137

Example 6.24. Harmonized chromatic broken octaves with thirds off the beat in
outward motion, no. 41 (II: 38; mm. 123-124).

1
12
I l
3
" i .. ~. ~ ~~- ~ If<~' --. .. ~·
-. R•

·~
• h. ' ..... b.a

~~-w qW •• q•• ~· H'

Example 6.25. Harmonized chromatic broken octaves with thirds on the beat in
inward motion, no. 41 (II: 38; mm. 127-128).

127

Liszt does not include harmonic minor octave scales in exercises nos. 39, 40
or 41. A possible explanation for this is that this variety of scale, with the augmented
second between the sixth and seventh degrees of the scale occurs less in actual music
than do melodic minor lines, whether this is in finger articulated octave or bravura
octave passages. The technical detail of other techniques in harmonic minor scales is
also omitted from other exercises, such as nos. 31 and 32.

Although it is now common to use the fourth finger on black keys in octave
passages, it becomes apparent from Liszt' s comments on this technique during the
Weimar Masterclasses from May to July 1884 that this was not standard in late
nineteenth century pianistic performance practice despite its appearance in other
works on method such as Kullak's Schute des Oktavenspiels. 21 Gollerich 28 recalls
that

He recommended the fourth finger on the black key (sic) for all octave
passages and said: "I earnestly recommend that."

27. Kullak, Octave Playing I; 4, 9, 10 etc,.

28. Gollerich, The Piano Master Classes of Franz Liszt, 22.


>JO

Liszt also suggests the use of the third finger 29 in conjunction with the thumb
in this exercise (m. 22). This is for the purposes of maximizing legato touch but is an
option only available to pianists with a big hand or the necessary stretch and
flexibility between the thumb and the third finger.

Liszt's detail of 'intermingling octaves,' 30 or 'Liszt octaves' 31 in exercise no.


42 is surprisingly brief considering that it was a technical feature he pioneered in
many of his works. 32 Nevertheless, Walker33 has stated that

It is a spectacular advance over ordinary double octaves (whose effect it


imitates and was intended to replace)34 because it enables the player to move
at twice the speed with half the effort.

Kullak35 offers a similarly high opinion of this form of octaves, stating

When quickly played, they have the extraordinary effect ... of creating an
illusion that double octaves are heard.

While this exercise explores the possibilities of diatonic and chromatic scales
to a considerable degree and modulates through the tw.enty-four major and minor keys

in the ascending subdominant direction, there are no other exercises in the Technical
Studies where Liszt explores other possible configurations or harmonizations, such as
broken chords and arpeggios. Liszt's exploration of this technical feature is similarly
limited by the fact that in all the measures of the exercise, the left hand plays on the
beat while the right hand plays off the beat.

29. Liszt stated: "... speaking of octaves.. .I would advise using the fourth, and even the third
fingers on the black keys in consecutive octaves, to effect a good legato." Lachmund, Living with Liszt,
80.

30. Kullak, Octave Playing I, 32.

31. Walker, Reflections on Liszt, 206.

32. Such as his Spanish Rhapsody, Paganini Etude no. 2 and the Rakoczy March.

33. Walker, Reflections on Liszt, 206.

34. This is Walker's insert.

35. Kullak, Octave Playing I, 32.


Example 6.26. Scales in 'Liszt octaves,' no. 42 (II: 38-39, mm. 1-6).
i l f
..
C-Dui I C major T

I 1 I l. ')=::, A-Moll I A minor


• ~ • F
• --. •
"" ~ ~ '" . .. n~ ~

..
il -' ' - .....
·~ ~ ~ ~
10-
~
~ r= ......
I
l I
l I .....::
'
\
.
k• - .. : F-Our IF major

. :! ·~ ~ ~ :! .. ..... -

!=qi! /1.
~ • 1!: ~

- "-':./ t. - - -
• !;=
'"'
.... ...... ~
'"'
~

-
The key to mastering this technique lies in the positioning of the 'interlocked
thumbs' 36 which outline the course of the melodic line.· It may be of interest for the
pianist to recognize that when the hands are separated in the diatonic scales, the lines
form arpeggios in thirds, while in the chromatic scales they form whole-tone scales.
This reasoning can be helpful visually in guiding the hands as they follow their
respective key paths. 37 Despite the famed presence of this configuration in Liszt' s
keyboard works, it appears that the composer saw this more as a technical/musical
effect, 38 one which, other than requiring some attention, was not deemed important
enough for a more thorough examination.

Exercise no. 44 is as much a study in endurance as it is in scales made from


four-note chords. Here, the technical difficulty of scale possibilities is taken to its
limit. The continuous heavy scoring in these passages cannot be found in actual
repertoire, which evidently leads to the conclusion that the technical difficulties found
in some of the exercises are far greater than those found in actual pieces. In this way,
some of the Technical Studies can be seen to over-prepare the student for technical

36. Walker, Reflections on Liszt, 206. See also: Kullak, Octave Playing, 6. Kullak states that
in octave playing "The principal finger is the thumb, as it is used in every octave ... "

37. This type of reasoning has been pointed out by Walker: Reflections on Liszt, 203-204.

38. Busoni (Essence of Music, 1988, vi; note to p. 100.) referred to Liszt's use of this
technique in his Paganini Study no. 2 as "one ofLiszt's liberties and extravagances."
difficulties that may be encountered in a score; according to Boissier39 this appears to
be one ofLiszt's intentions.

Example 6.27. Four-note chords scales, no. 44 (II: 45, mm. 1-6).
C-Du"r I C major A·Moll/ A minor

The first section of this exercise (mm. 1-48), details four-note chords at the
octave in diatonic scales and modulates through the circle of fifths. All the forms of
the quadruple-stop, such as the root (853), first inversion (863) and second inversion
(864) can be found in these scales, thus, exhausting their possibilities. Liszt uses
chords of the tonic, sub-dominant, dominant and sub-median! in both the major and
minor keys throughout, thus exploring these patterns' possibilities of harmonization.
The configurations do not feature any other chords built on the other degrees of the
scale. 40

Only eight bars are given to the examination of scales in tenths m the
Technical Studies, being in the keys of c major and its relative minor a.

39. Boissier, The Liszt Studies, xxi. "As a passage is studied, the difficult points will have
already been overcome in advance."

40. For details on the second part of this exercise go top. 242.
Example 6.28. Major and minor scales in tenths, no. 60 (III: 30-31, rnrn. 1-8).
AM
• 0 Ill A
r-' mm,:;.,
-~ """~ ....
C·D"' I Cmojo~ a ~ I'~

- r- .... I""
lu.l../ ft
-""~-
-.r
...... ... ...... ~
- ..... :J ...._,~ .... ""L;:l !;;;; ..;

- •. ~~~- •• - M .... ... ,. •


~·· - ... ~ LJ c.r .... I*• ~ fo "[:.. ...

The necessity to detail diatonic scales in tenths is from a musical as well as


technical point of view a mere novelty because only a few pianists have the necessary
stretch to play them without a break. It is not unreasonable to suggest that Liszt' s
attention to them is only brief for this reason. Nevertheless, the inclusion of this eight
bar detail is perhaps to make the pianist aware of this configuration as a possibility,
but that is all; the absolute rarity in which they appear in keyboard music indicates
that a complete examination of them in all the twenty-four keys is, for the above
reasons, as irrelevant as it is unnecessary and therefore, not an oversight in Liszt' s
methodology.

Liszt's final detail of scale configurations is similar to the first in that it


combines scales with arpeggio-based configurations.

Example 6.29. Major and minor scales in open chords of a tenth and eleventh, no. 63
(III: 42, rnrn. 1-12).

• C·Do<iCmojo< ~ ll 1!: f ~ ~ f J!: ._ -


.
1!:! l!~::

f ,.~

"

~-·
- . . . 1!: ll!: .....
-. _.
1"

~
li""
I'""

~ r
. t.
.. "IJ:"S:,..
-

....li".
142

C·Moll/ Cminor

1 _._ ~ !: ~ ~- "-_-"'. JL r .J-~~;: lo- C:J~~

~~r.
: ~~~~--
- ! •
- cllL !;_~ r=,..~
r _!""

- -
f"'J: -r • • .. - ~ . • •
l ._c:r t- l ~_L r:~l~~--- _h.~ _M:_4~ "-~

j· t.
~·"-=--
- t:-
-- J!: " "~
~ *

.. . J
........-
~ .. ,~

~r: -o.....J....r t... ~ --........r


a· ....... ---------~
- -
1 ~b. ~ "' l.t b.-. b..-J>rl... ~~:.b... .. ~~lu _L

l• '_r ~ .... .
~- ~ L1!:_

41

·- . . .
l":"jJJ t: i~tl l.~ft~ t=...-
- - ..
Abraham has stated that this exercise is the 'virtuosic partner of ex. 44 (sic).'
This exercise poses a different type of difficulty than no. 44 because the chords of the
scales must be arpeggiated, therefore it is not necessarily more difficult, it simply
presents another type of difficulty. Exercise no. 63 features the same harmonizations
as no. 44 (I, IV, V and VI), but also features the chord of the mediant (III). Abraham42
also states that this exercise 'is one of the most difficult' and one where 'an
exceptionally large hand is a prerequisite.' This exercise features an unusual scale
made up of diminished seventh chords (mm. 9-10). This scale begins from the
melodic note, e flat (in the tonality of c) in a tone to semi-tone progression, which,
when analyzed in its entirety outlines the diminished seventh chord built on c, but also
of the next key to which the exercise modulates, being, d flat major:

e flat --> g flat --> a --> c --> e flat

The role of the diminished chord is of considerable significance in the


Technical Studies as, in conjunction with the dominant seventh, it is Liszt's primary
41
Abraham, Seeking Ways and Means, 41.
42
Abraham, Seeking Ways and Means, 41.
harmonic vehicle used for modulating upwards chromatically from one key to the
next. The progression he most commonly uses is:

Tonic major-> Tonic minor-> Diminished 71h of New Key -> Dominant 7"' of New Key ->

New key -> etc.

In other words:

Cmajor~ Cminor~ D-flat Diminished 7 1h-> Dominant 7'h ofD-flat->


(c,e,g,c) (c,e-flat,g,c) (c,e-flat,f-sharp,a) (a-flat,c,e-flat,g-flat)

D-flat major -> etc.


(d-flat,f,a-flat,d-flat)

This harmonic progression takes on its greatest significance in those exercises


where technical configurations of an extreme virtuosic nature may require a more
thorough and extensive detail so that these may be given more attention and therefore,
mastered. These exercises include nos. 57b, 57 a, 58 and 68 among others.

Exercise nos. 25 and 27 may be thought of as an extension of the two-note,


'two-finger' exercise that preceded these in no. 23. However, in the current paper,
they have been included in this examination of scale forms because of the close
proximity of the hands that together outline a scale in 6/3 chords. Liszt' s notation of
these exercises in rhythmic groups of four semiquavers opposed to two may indicate
his desire for a consideration of a broader line and greater degree of legato touch.

Example 6.30. 'Stepped' 43 scales in fourths, no. 25 (I: 136, m. 1).

43. A term used to describe those configurations that move by way of consecutive groups of
two notes and where the first note of each group is a repetition of the last of the previous group.
This configuration is irregular in that it is not often found in piano repertoire
indicating that Liszt is concerned more with the mechanical advantages that this
configuration can offer in the development of finger and wrist technique. We may
assume that in the interest of thoroughness, Liszt included this configuration in the
Technical Studies despite the fact that this stepwise technique was dealt with in
previous exercises, such as nos. 23 and 24. The inclusion of an oscillation at the end
of the stepwise passages is another example of Liszt' s incorporation of more than one
technical configuration in some of the technical exercises. They are featured in
exercises nos. 25, 26, and 27 (below) and in each instance serve as the basis for a
study in two-note trills. 44

Example 6.31. Stepped scales in sixths, no. 27 (I: 142, mm. 1-6).
C-Dur/.Cmajot
1 i 1J l 1l 1

3~ ! i
C-Moll/ C minor

The exercise above is the first in the Technical Studies where 'a large hand is a
pre-requisite.' 45 It is noteworthy that Liszt has made no concessions for the left hand
in this difficult exercise, which for many pianists is often the less trained of the two.
This demonstrates Boissier' s assertion that Liszt wanted the pianist to train the ten

44. The mixed detail, the numerous variations and differences between the configurations that
Liszt incorporates from one exercise to the next as well as the details of 6/3 chords, among other things
too numerous to list, demonstrate that Liszt's exercises do in fact develop previous classical technical
models and provide new and innovative ways to the way in which heightened pianistic skill may be
achieved, contrary to the view of Ott (Lisztian Keyboard Energy, 245-247), whose writings on the
work is simply too brief and cursory to warrant serious academic regard.

45. Abraham, Seeking Ways and Means, 41.


145

fingers with equal attention, 46 another facet of his exhaustive approach to the
attainment of technical perfection. 47

The technical configurations in exercise no. 15 are unique in that Liszt details
diatonic scales by breaking up the lateral stepwise progression, usually played with
various groupings of consecutive fingers, between the second and third fingers of the
hands, note-for-note, for the first 72 measures.

Example 6.32. Scales with alternating hands in single notes, no. 15 (I: 95, mm. 1-12).

2
. 2 '
i '

2 ' 2

Ill

*
46. Boissier (The Liszt Studies, xxv), stated: "He wants one to study both hands separately,
playing each figuration with increasing dynamic intensity while ascending, keeping the fingers
completely even (this author's italics), free, and legato." Although this would appear to be the intention
of all pedagogues, it is noteworthy that Chopin (Eigeldinger, Chopin as Teacher, 195), for instance,
was opposed to the regimented training of the fingers to achieve absolute evenness, stating in his
unfinished Projet de Methode : "For a long time we have been acting against nature by training our
fingers to be all equally powerful. As each finger is differently formed, it's ... better not to attempt to
destroy the particular charm of each one's touch but on the contrary to develop it. Each finger's power
is determined by its shape. The thumb has the most power, being the broadest, shortest and freest (sic);
the fifth ... as the other extremity of the hand; the third as the middle and the pivot; then the second ... ,
(sic) and then the fourth, the weakest one, the Siamese twin of the third, bound to it by a common
ligament, ... ]."

47. Liszt's attention to left hand exercises is discussed from pp. 260-264.
140

Walker48 states that the difficulty in this exercise 'is mental, not physical' and
points out its inventive qualities:

This highly creative approach to scale building carries the idea of finger
equalization to its limit; one might as well number the fingers from one to ten
49
and have done with it

Where the passage outlined by each hand taken separately form arpeggios,
Walker 50 proposes that it is as if Liszt was saying: "Arpeggios ... can also become
scales, once you have grasped the connection," demonstrating the more original and
innovative aspects in Liszt's Technical Studies.

Example 6.33. Scales with alternating hands in arpeggio configurations, no. 15


(I: 99, mm. 109-114).
H-Moll f B minor

G-Dm I G major
S I I 4

. 4 3 2 2 3
3 2 I '. 2 3

Walker51 then suggests a way in which the exercise may be practised which is
consistent with Liszt's request for the pianist to train both hands equally:

... take each hand separately. Once the arpeggios have been identified, they
are easily dovetailed into one another, with the left hand over the right.

48. Walker, Reflections on Liszt, 203.

49. Walker, Reflections on Liszt, 204.

50. Walker, Reflections on Liszt, 203.

51. Walker, Reflections on Liszt, 204.


2
Abraham5 also points out the original if not unique mechanical nature of these
technical configurations, stating that

The sound and muscular memory of a usual scale progression are here not
synchronized (sic) because the fingers leap in thirds while the hands alternate
after each note.

Conforming to his methodology of exhausting a technical pattern of all its


possibilities, Liszt extends his exploration of this technical configuration, which is
essentially a study in both vertical and lateral digital movement, by detailing two,
three, four and then all five consecutive fingers.

Example 6.34. Scales with alternating hands in two-note groups, no. 15


(I: 98, mm. 73-75).

Example 6.35. Scales with alternating hands in three-note groups, no. 15


(I: 98, mm. 85-87).

Example 6.36. Scales with alternating hands in four-note groups, no. 15


(I: 98, mm. 88-93).

52. Abraham, Seeking Ways and Means, 33.


Example 6.37. Scales in five-note groups, no. 15 (I: 98, mm. 97-99).

Exercise no. 32 is the twin of no. 15 in that it develops the same vertical and
lateral technical pattern but in thirds, sixths and 6/3 chords. Liszt's exhaustive
methodology in no. 15 is also apparent here.

Example 6.38. Scales with alternating hands in thirds, no. 32 (II: 6, mm. 1-2).

C-Dur I C major
'5 3 j
l . ' .___L-.---:c
..______.-- '
~2
l '
?---L__ 'j l
·~
4 4 .2
md
' • 2 2 l 2 2 '

Example 6.39. Scales with alternating hands in thirds and in groups of two, no. 32
(II: 7, mm. 13-14).

Example 6.40. Scales with alternating hands in thirds in groups of three, no. 32
(II: 7, mm. 17-18).

&-Our I A flat major


17
''
I 2

l '
14Y

Example 6.41. Scales with alternating hands in thirds in groups of four, no. 32
(II: 7, rnm. 21-22).

Example 6.42. Scales with alternating hands in single sixths, no. 32


(II: 8, rnm. 25-26).

Example 6.43. Scales with alternating hands in sixths in groups of two, no. 32
(II: 8, rnm. 41-42).

uil ur
l l

Example 6.44. Scales with alternating hands in sixths in groups of three, no. 32
(II: 9, mm. 45-46).

G-Dui I Gmajor
45

Example 6.45. Scales with alternating hands in single 6/3 chords, no. 32
(II: 8, rnm. 33-34).
DU

It is apparent that Liszt had a definite plan in mind for the examination of the
technical possibilities of scale structures. Each of his chosen configurations, whether
they are in single notes or two-note structures for example, are examined in the
twenty-four major and minor keys as well as the chromatic form of the pattern. The
varied nature of the exercises demonstrated through the examples is proof of Liszt' s
highly inventive53 and thorough approach to the examination of technique.

53. Boissier, Liszt pedagogue, 82; Boissier, The Liszt Studies, xxiii.
CHAPTER7

Liszt's Treatment of Arpeggio and Broken Chord Configurations

The tonic, mediant and dominant notes of the scale in the major and minor
keys are the primary notes on which Liszt builds the arpeggio and broken chord
technical configurations featured in the Technical Studies. In addition to chords built
on these notes, diminished and dominant seventh chords are included in the technical
details when ascending chromatically from one key to the next. In this way, the
presence of the principles of harmonization and modulation are apparent. Despite the
fact that Liszt has provided no musical indications as to how these exercises are to be
practiced in these and other exercises, the indications of nuance that Liszt supplied in
the Preface 1 to the Technical Studies where he stated that the exercises "should be
practiced with every degree of intensity: crescendo, from pianissimo to fortissimo and
diminuendo, from fortissimo to pianissimo," should be followed. 2 The rhythmic
principle is addressed through the inclusion of both simple and compound rhythmic
passages while these configurations movement across the keyboard require "an
unerring" 3 intellectual understanding of the "topography" 4 of the keyboard and the
ways in which scales form the basis from which arpeggios and broken chord patterns
are derived, thus adhering to the intellectual principle.

Beginning in c major, the first exercise that details the arpeggio features both
broken chord configurations followed by ascending and descending diatonic technical
patterns consecutively in root position, first and then second inversion. The exercise
then backtracks on the ascending progression of inversions, exploring these patterns
in c minor from second to first inversion and then root position.

1. Mezo, Technical Studies I, XXII.

2. Mezo, Technical Studies I, XXII.

3. Walker, The Virtuoso Years, 302.

4. Walker, The Virtuoso Years, 302.

151
Example 7 .1. Arpeggio and broken-chord configurations in single notes, no. 48
(II: 68-70, mm. 1-18).

C-Dut I C major

'
J . . 3_ .,- . .,. .. J I J
'· ~1.
I l
·==·~) .
I . :;/T'
6
6

., -<:41-•
·~·
...
==··
:0 1-<f ~4 4
4J
.
.,
......
1"'i"

3 J I J J :t!: J .I =::.:,
J
!. J ,;.:t!:,!, ~~ ...
--
-t!:-

l II=='··
itT
4 ·~ 4 4
.JT 1'9=!
.... 4 ... ...

I 4
~~u~~:r-T, ~
4 I 4 C-Moll/ C minor
9• . I
'

l ~

II
. ii .._

c:
T
-"===
!
I !
~

I
. I
..

!
..
, I r 'i=l=,
• ~·

'
!
,
I ' .
·~·
,...,i""!""'.i""!""'l'"
--~· •

l I ! ' . I l

.
I l

13 I :..~~ .,. ~.,. . .~ I :.. 1=::!. I -~~i. I , ~:..


-. -
l "!4 .. .... .. 4
~=P~ rr.J r
• I
rr
==
e.
I
'
!53

15

1'1 3 I ·==
I 3
~3 3 ._ I

=·· ij _.J~=,=,-~- 1=·- ,J Jl f"


1 ·-r 4 "1' 4 4

Following the presentation of similar configurations based on the diminished


and dominant sevenths of d-flat major to this passage, the exercise modulates up a
chromatic step where this harmonic pattern is repeated in the new key. This technical
pattern then progresses through the twenty-four major and minor keys whereby all the
possibilities of these structures are exhausted.

Example 7.2. Arpeggio and broken-chord configurations in diminished and


dominant sevenths in single notes, no. 48 (II: 70, mm. 19-26).

19

21

1'
23

4 4
,.
bes-Du_r I D flat major
25 2 3,.. .,.. •· 3 I 3
I .!:~~ I~ )._ 3

- F'"t-'1

rr ·~.fl.
1 :f
., 4 2 .,. •..; .. ,, 'l' •• 4 4
i=L u_r
' 4 -
D4

Liszt's examination now continues to detail the various ways in which chords
can be arpeggiated or broken through specified configurations with patterns that break
up and down following the same harmonic progression previously established The
first of these examines the possibilities of a "stepped" 5 configuration over two
separate exercises. In the second exercise, the semiquaver rhythmic pattern of the first
has been converted into semiquaver triplets, quickening the tempo and thereby
addressing the rhythmic possibility that it may be expressed in both simple and
compound time.

5. That is, those technical configurations that progresses along a diatonic or chromatic
stepwise two-note pattern and then continue through the repetition of the last note of the previous two-
note group.
Example 7.3. Broken chords in stepping configurations and in simple time,
first pattern, no. 49 (II: 94, mm. 1-5).

4 2 1
S 2 4 1 2 4 1
2 4

3 C-Moll/ C minot 4 2 ' 2 3 I


2 J' I 4 I 5 ' 2

5 1 2 4
4 .s I 3{41
4 I 3 2 4

4 I s J I 3
s 3 4 2 '
I
'J 4
2 4 3 s I 4
'J 'J

(2} (1)
f-.1-+-t- 4 2 3 1 4
4 2 J 1 1 ' 1 1
3 2 4 I
1
' 1 J
2 4
'

3 I
4 2 2 s
(1) J I 2 2
I l 2 J I 2 I S J.
!)()

Example 7 .4. Broken chords in stepping configurations and in compound time,


first pattern, no. 50 (II: 106, mm. 1-5).

C-Dur I C major
2

~2 ' 2 '

3 C-Moll/ Cminor I J
I 4

2 J I 4 1· S 2 3 I 4 I

8 .---------.---------.------------
rp. 14!
(4) I< •
~

(4) ~13 ~ ~ !'f+t-L


13243 51l.f'l,J;.d.
rn.n.•u
r .-'1 .L l..lo:O s__l ., ~ 2 -rf -}-f 1
lzf 1 ~1j•J
·~
J I 2 I J I
~ )J 53 4 2 s2'' ,.
5
.J.._4 2
z 3 J rJ; zff3JJ
4 I 5
r4J
14) M (~) (4)

(6)
5 14) J 2 4 , 2 4 J , I '-f-5

• bi.J r:: n--n-


• J .L TJ M"''
2 J I tJ24JS
f'I..LfT.L r
If" u...i
... .~ ..
.....
1::1:0!.1
2 4
.t.s
I (3
IW
2 J24J-l
lliJ2Jj
r
5
[..t,jC
4 2
L2 J I
3 I
5
4 2 3 1 4 2
1...1..!
J I
5
4

4
4 2

bbl C[ s;:y, 2 J 1
J .L TI l""FF

++t--u!, 2 5
2 4 I -~
. .t_
I
The same consideration of rhythmic factors can be found between exercises
nos. 51 and 52; however; whereas in the previous two exercises the technical
configuration broke up ascending and down descending, these exercises reverse this
so that the configurations now break down ascending and up descending. In this way
the fundamental patterns of lateral finger direction in single note arpeggios are
exhausted of their possibilities and the technical gains that can be made from them
revealed.

Example 7 .5. Broken chords in stepping configurations and in simple time,


secondpattern,no.51 (II: 115-116,mm.l-5).

· C-Dur I Cm1jor
~ I 3 I 5 2 4
2

Jl6
C·Moll I Cminor 2
3 J 1 4

1"23251 4
2 3 I 4 I 5 z· 3 J J 2 S I 4 1 J zs I 4 z
/f" ·---. ------- .......... --- ------·- ~
j j2)1 J 2 I 3 2 4 z[3] S 4 3 4 2 3 I • 3 4 2 3

_(6} /{"'••····-------
I J ' 4

_1232413141
Example 7.6. Broken chords in stepping configurations and in compound time,
second pattern, no. 52 (II: 125, mrn. 1-5).

C-Dtu I C major
·2 ' I S 2

I f1J4.6JS I 4 2 S
4 2 '
4 2
J ~ , C-Moll/ C minor 4 .1 ~
32~1
:.
t~l~23~ I 4 I 5 ,
' '
,. 1 2 3 2 5 I. [LJ [ J ..L.J u: ~r 1 , 2 3

r-n ri1 • l.li1


r-----ill'~u:r '*'i • J 2_4 1~2 s· 1 4 1
. bJ..r[ :1
. 4)52)14 t 5 2 3 I 4
32sl4i"'"'s

• I 2
r-r,
3 2

~
S

T, .;
I 3 2_f ~_f
1 ...
_j Ll _j . ... 4 I 2 3 2 4 1
2 3 I
4 2 3 I 5

(6~ 231

·-.-

3 2 s j
3 2

(7~

.. ~ .. lJ_f L.Lf ri1 r"T1


4 ~ 4 I ·3 2 5 1 3 2 4 1
Two-note chord exercises, structured on the same broken chord ascending and
descending patterns established in exercise no. 48, extend the examination of the
mechanism of the finger to the wrist in this technical pattern. These two-note chord
passages allow the pianist to study the technique of bouncing the wrist. Where these
passages progress over the octave, lateral elbow and shoulder action is required so
that these technical patterns provide the pianist with the opportunity to acquire
mechanical flexibility in the forearms and upper arms.

Example 7. 7. Two-note arpeggio configurations featuring adjacent notes in broken


chords, no. 53 (II: 136-137, mm. 1-6).

C-Dur I C major 235324


I 2 3 2 I 2

42162.124
5423245

l ~ 4
2 2
C-Moll/ C minor

2. ! 2I 4
2 'l
4
I 5 4 1 J
4 2 1 2 ~::. 3245423
2124212
423532
212321-'

.. .. rn
I"' ru liW li t[ Jru J J
,.. ,..

421
542
11
421212
S42J:!4
4124
5245
w L[ .u J 4212124
5423245
C..J..
J 2 l 2 I 2
532423

(J) 524542
• 2 4 I 2 4 2 I

. J?24.S423 j 1"'
J
Er. 2124212 H lti s 4 2 J
4 2 I 2 u

.. JD Jn ~. J a:....
[.L
l
t: j2 I 2
Jt:
2
tt ,4124
42142121-
1"'f[ J
S42S42324S24S

5 52345432
.A ' 4I 2 J 4 J 2 I

.. l
2
23454323
11343212
J
2
2
I
J
2 1 ·f' r 1
I I r s
4
4
3
3
2
2
I

[J J J L I I I L.I J .l I I .I I I_ J .a:. £.Ill


fiJI I I -1 i~il I I I l iFrl I I IIli
4
'
J
4
1121234
3232345 1l j i 1 J
4 J I
2 J j Jlilil
(5)

(6) S2l4S432
412343 2 I

. . 3l 'I 2l
.~TTII
l
n .s
4
4 3
3 2
2
1
J
2
10- II I I I r

r TI ..! .. &: .. J..lll I I LJ .. J .. JJ I. I


~TI 1 Tl 11',fTI I I II ll f
3

The mechanical gains that can be made through the practice of otber double-
note configurations continue with an examination of arpeggiations in interlocking
chord patterns in sixtbs and fiftbs in exercise no. 54.

Example 7.8. Two-note arpeggio configurations featuring interlocking consecutive


notes in broken chords, no. 54 (II: 151-152, mm. 1-6).

. C.Durl c· major
4 s 3 s 3 s • • ' 4
s 4 s 4 3 ' • • ' 3

I"
u. . _rrr_ ...:ret ....Jtt ~
[JtL
-e...
~..u t.I
l!:,l!: . . . . l!:,l!:
J

tl
S454S4S
Jt [
s J s 4 5
[ S4SJS4S
3 '

2
. 3 s" 4
' ' . '. ' • 3
a·········---~
·,
3 '
..
CMoll/ C minor
' s 3 .. .
' '
cr
t -n rr: "t[ ti. t.[ -tL -~

·-e. ~ '• l!: ~ .. . l!:..

·. "{' "t[ .54.SJS4.S


!;J.
5354.13
s s
" ' 354354 5 4
(3)
"'A_L 4 4SJSJS.t 4 s 3 s 4 s !!:: s 41'""44

. EJ:
l . a: • JEt. ,.. f re :r
~ .

l!EtJ
.

L t 't ~~ ri.
~. ~
' 5454545
545 4532 .J .s 4545 s
5 4· s 4 s s 4 s 4 4 I s 2 1,
~i~
4S4S45
!!!: ;.. 2 1 l 1 l 1
" '
J 2 I 2 2 I 2 I I I 2 I 2 l 2

!"'
PF~ ~ J-" JJJFrFi iFrFFFi
..,
rrr
r1 I I I I I 1 r I I I r ff~ iff=. T
!llll!lll
{5)
-,. 1 :a • !!!: ,. "4.S45S4S44
I -2 I 2 2 1 2 I I

.,
e~~rr rr~ ~PFi irrfirri irr
,. ,.
r .Ff~F J-" rrr· rl I I
~i~!J~J3j
I I I J--1 I I I I I

(6)
--. ' ll1l 1l'-.~' 1l1l'1 • e.
..
l ~rrr

. .
1

·Frrr rrr
rr_r~rrr

i fffi rrr

rrr
Liszt' s examination of arpeggios in octaves first appears in an exercise which
also features an altogether different technical pattern, namely, repeated octaves.

Example 7.9. Octave arpeggios with repeated configurations, no. 55


(II: 168,mm.l-12).
Liszt' s inclusion of this repeated configuration provides an opportunity to
point out that in the study of pianistic technique, the various operations of the joints,
such as the fingers, wrists, elbows and shoulders, are not separate but interdependent.
In exercise no. 55, the octave arpeggios can only be executed with mechanical actions
from the elbows and shoulders, yet the repeated octaves according to Liszt6 must be
achieved primarily through the bouncing of the wrist. In other words, the fact that the
said elbow and shoulder action requires digital accuracy while the digital accuracy of
the repeated chords can only be achieved with the muscular support of the forearm
and shoulders is proof of their interdependence. Another possible reason for the
inclusion of these repeated patterns is that they allow the hands to vertically prepare
for the horizontal motion of the ensuing arpeggio.

The structural design of this exercise is the template on which Liszt's


examination of arpeggios in both four- and five-note chords is detailed. So that these
structures may be exhausted of their technical possibilities and all the resultant
technical gains made, this investigation runs through all the major and minor keys and
includes the diminished and dominant seventh chords of each of the twelve major and
minor tonalities.

Example 7.10. Octave arpeggios in four and five-note chords with repeated
configurations, no. 56 (II: 178-179, mm. 1-12).

6. Boissier, The Liszt Studies, xvii.


104

The exercises in arpeggio-based techniques that follow come from Book III of
the Technical Studies, which contain a set of twelve exercises, nos. 57a-69 and that
were given the title 12 grofle etaden (12 Grand Studies) by Liszt. Four of these are
dedicated to the possibilities of arpeggio figures in open position. Exercise no. 64
examines digital stretch taken to the intervals of a tenth and an eleventh and therefore
extends the digital possibility of arpeggio figures to include those configurations that
require considerable lateral movement of the wrist from side to side. Beginning from
c, this configuration is examined within the same structural framework as no. 48. It is
then transformed rhythmically into a triplet configuration in the next exercise, no. 65,
and in this instance slowing the digital articulation down.
Example 7 .11. Open broken-chord configuration in simple time, no. 64
(III: 53-54, mm. 1-8).
Example 7.12. Open broken-chord configuration in compound time, no. 65
(III: 64, mm. 1-8).

c.our I C major 3

The last two etudes in the Technical Studies that detail arpeggiated figures
take the mechanism of digital stretch to its technical limit. When these are considered
from a harmonic perspective, they best demonstrate that part of Liszt's methodology
where he suggests to the pianist to be creative and "invent" 7 unusual, if not hidden8
technical possibilities. Although these configurations are unlikely to be encountered
in a score, a conscientious study of them with patience9 will be conducive to enhanced
virtuosity.

7. Boissier, The Liszt Stuudies, xxiii.

8. Walker, Reiflections on Liszt, 203-204:

9. Liszt stated: "Be patient with yourself." Boissier, The Liszt Studies, xix.
Example 7.13. Inventive open broken-chord configurations, no. 66
(III: 64, mrn. 1-4).

Example 7.14. Inventive open broken-chord configurations, no. 67


(III: 75, mrn. 1-4).

The detailing of Liszt' s chosen arpeggio and broken chord configurations in


the Technical Studies can be used by the pianist to acquire greater lateral facility
across the keyboard. They also provide the pianist with the opportunity to study the
ways that harmony can be detailed in both technical and musical ways. Liszt's single
note details develop finger and vertical arm technique while the various
configurations in two-note chords that are arranged in various intervals allow the
pianist to practice horizontal mechanical actions in combinations with lateral
movements.
CHAPTERS

Liszt's Treatment of Chord Configurations

The clearest way in which Liszt's technical details of chord exercises conform
to the six principles identified by this author is through their harmonization. The ways
in which the exercises modulate through the various major and minor keys is another
example of how Liszt's technical trajectory conforms to the principles identified from
the writings of Liszt 1 and Boissier. 2 Because the exercises must be practiced with
dynamics, expression as well as a range of nuances 3 that emulate if not directly
represent musical parameters, Liszt' s principle of the "nuance" 4 is also present. In
these ways, it can be demonstrated that in every exercise, 5 there is always the
presence of one of more of the principles.

Exercise nos. 2 and 3 are two of only three exercises in the Technical Studies
that detail three note chords. The other is no. 31 in which scales in 6/3 chords are
detailed exclusively. Exercise no. 2 is straightforward in that Liszt systematically
explores the various possibilities of three-note chords in their root, first and second
inversion. The exploration of the rhythmic possibilities of these configurations
dominates this exercise as they are detailed in quaver patterns followed by
syncopated, dotted and finally triplet patterns.

1. Mezl\, Technical Studies I, 2.

2. Boissier, Liszt pedagogue, 68; Boissier, The Liszt Studies, xxi.

3. The fourth principle identified by this author.

4. Boissier, Liszt pedagogue, 82; Boissier, The Liszt Studies, xxiii.

5. Those exercise which feature held notes and tapping configurations such as nos. 1 and 47
do not contain the horizontal principle.

168
169

Example 8.1. Three-note chords in 5/3, 6/3 and 6/4 chords in quavers,
no. 2 (1: 45, mm. 1-4).
<;-Our I C major
C-Moll/ C minot
'
2 l'

Example 8.2. Three-note chords in 5/3, 6/3 and 6/4 chords in syncopated
rhythms, no. 2 (I: 46, mm. 13-18).

E-Dur I Emajor

Example 8.3. Three-note chords in 5/3, 6/3 and 6/4 chords in dotted rhythms,
no. 2 (I: 46, mm. 31-34).

31 Cis-Moll/ Csharp minor

Example 8.4. Three-note chords in 5/3, 6/3 and 6/4 chords with quaver
triplets, no. 2 (I: 47, mm. 43-45).
F-Dur IF major
8-Moll/ B flat mi~or
43 ~
170

Exercise no. 3 details three- but also four-note chords in the right-hand
punctuated by two-note bass notes in the left-hand in "cadential progressions." 6
Another difference between exercises nos. 2 and 3 is that no. 3 modulates from each
major key to its relative minor before continuing around the circle of fifths in the
subdominant direction whereas the former exercise progressed from each major detail
to its tonic minor around the circle of fifths. However, the rhythmic detail of exercise
no. 3 follows the same pattern established in exercise no. 2, whereby Liszt explored
the possibilities of that configuration in quavers then syncopated, dotted and finally
triplet rhythms.

Example 8.5. Three-, and four-note chord details with two-note bass patterns
in quavers, no. 3 (I: 47, mm. 1-5).
C-Dur I C major · A-Moll/ A minor F-Our IF major

Example 8.6. Three-, and four-note chord details with two-note bass patterns
in syncopated rhythms, no. 3 (I: 48, mm. 21-24).

Des-Our I D fla1 m1jor B-Moll/ B flat minor


-.
21
' " r ~-~ I ~ L

- ·-
1 "

~ •..;;

fl. fl.~· -fl. I . I

I . I • I '

6. Esteban, Technical Exercises, 36.


Example 8.7. Three-, and four-note chord details with two-note bass patterns
in dotted rhythms, no. 3 (1: 48, mrn. 31-34).

Gil-Moll I G sharp minor £.Our I E major

Example 8.8. Three-, and four-note chord details with two-note bass patterns
with quaver triplets, no. 3 (I: 49, mrn. 43-46).

43 H·Moll/ B minor G-Dur I G m1jor

Exercise no. 4 extends the possibilities of exploring technical passages in


three-, and four-note chords structured around the intervals of a fifth and sixth to the
octave. These configurations are similar to those in exercise no. 3 in that they are
written in "cadential progressions." 7 Another similarity between this exercise and
exercises nos. 2 and 3 is the rhythmic detail throughout the progressions. In addition
to the four rhythmic patterns included in the previous two exercises Liszt introduces
two more rhythmic patterns to this configuration (examples 8.13 and 8.14 below).

7. Esteban, Technical Exercises, 36.


Example 8.9. Four-note chords in quavers, no. 4 (I: 49, mm. 1-4).

C-Oull C major C-MoU /"C minoi· G-Dur I G major

G·MoU I G minot

Example 8.10. Four-note chords in syncopated rhythms, no. 4 (I: 50, mm. 7-10).

A-Our I A m1jor A-Moll/ A minor E·Dut I Emajor E-M~ll/ Bmioor

Example 8.11. Four-note chords in dotted rhythms, no. 4 (I: 50, mm. 15-18).

Fii-MoU I I' sbatp minot


.
CU-Dut I C ahatp mljor
.

Example 8.12. Four-note chords in quaver triplets, no. 4 (I: 51, mm. 33-35).

F-Dur I Fmajor F-Moll/ F minor


33 s·-··· --· · ···: ·---- -·· ····· ···- ··-- · -- -·- -- · ··-··· ·----:------- ·------ --- ------ --- ·--- --- ·-- · --- ···- ·
Example 8.13. Four-note chords in crotchet triplet rhythms, no. 4 (I: 51, mm. 25-28).

1 Es-Dur I Eflat major Es-Moll/ Eflat minor ·


8 ...................................... .

Example 8.14. Four-note chords in quavers and semiquavers, no. 4 (I: 51, mm. 37-39).

A comparison of the three technical exercises, nos. 2, 3 and 4, reveals an


important aspect of Liszt's methodology, namely, the variation of similar technical
ideas to create variety. This view is based on Boissier's8 comment that "He does all
this (technical practice) 9 for hours on end, while at the same time reading to avoid
boredom," implying that Liszt was aware of the "boredom" that may arise from
mechanical exercises and the need to address it through the variation of the
mechanical structures being studied. This is confirmed by the argument of the present
analysis.

The ways in which Liszt addresses the various technical possibilities of chords
in the Technical Studies takes on a completely different harmonic quality in exercise
no. 43 where diminished seventh chords are detailed exclusively. There are two
distinctive configurations in this exercise, the second of which is noteworthy because
of its omission of the need to use the fourth finger.

8. Boissier, The Liszt Studies, xiii.

9. This authors insert.


174

Example 8.15. Diminished seventh chords at a sixth in chromatic scales, first pattern,
no. 43 (II: 43, m. 1).

Example 8.16. Diminished seventh chords at a sixth in chromatic scales,


second pattern, no. 43 (II: 45, m. 9).

The mechanical configurations that detail chord patterns in the Technical


Studies have been presented primarily through the two principles of harmonization
and rhythm. Liszt uses variation in the rhythmic patterns in conjunction with
numerous harmonizations in order to engage the pianist in musical issues that can lead
to a more advanced technical and interpretative facility. Some of the technical
passages place the hands in fixed positions, whereby the pianist must rely on the
·mechanism of the fingers and wrist to articulate the exercises. Others have been
conceived in ascending and descending configurations that require from the pianist
the full use of the arms as they traverse these lateral directions across the keyboard.
Clearly, these and all the other technical exercises are designed to enable the pianist in
mechanical and musical ways that are directly linked to actual performance practice.
INDEX OF TABLES

Table Page

I. Structural detail of the tapping configurations in exercise no. I


(1: 3-45, mm. 1-545) 96

2. Harmonic detail of the arpeggiated chromatic chord leaps over the


octave, first configuration, no. 63 (III: 52, m. 155) 205

3. Harmonic detail of the arpeggiated chromatic chord leaps over the


octave in exercise no. 63 (III: 52, mm. 15.6-158) 207

4. Various leaping structures through the circle of fifths in exercise no. 59


(III: 24-30, mm. 1-65). 256

5. The various single note leaping structures through the circle of fifths
in exercise no. 60 (III: 30-36, mm. 1-1 09) 261

vii
INDEX OF MUSICAL EXAMPLES

CHAPTERS
The Two Prototypical Exercises

Example 5.1. Schmitt: Preparatory Exercises, Op.l6. Single note tapping


configurations, nos. 111-118 (14).
Example 5.2. Schmitt: Preparatory Exercises, Op.l6. Single note oscillating
configurations, nos. 152-157 (16).
Example 5.3. Schmitt: Preparatory Exercises, Op.J6. Two-, and three-note tapping
configurations, nos. 162-169 (16).
Example 5.4. Schmitt: Preparatory Exercises, Op.l6. Two-note oscillating
configurations, nos. 143-148 (15).
Example 5.5. First tapping configuration in single-notes, no. I (1: 3, mm. 1-18).
Example 5.6. Second tapping configuration in single-notes, no. 1 (1: 4, mm. 19-20).
Example 5.7. Third tapping configuration in single-notes, no. I (1: 5, mm. 37-38).
Example 5.8. Fourth tapping configuration in single-notes, no. I (I: 6, mm. 55-56).
Example 5.9. Fifth tapping configuration in single-notes, no. I (1: 7, mm. 73-74).
Example 5.10. First tapping configuration in thirds, no. I (1: 23, mm. 319-336).
Example 5.11. Second tapping configuration in thirds, no. I (I: 24-25, mm. 337-338).
Example 5.12. Third tapping configuration in thirds, no. I (1: 25-26, mm. 355-356).
Example 5.13. Tapping configurations in 5/3 chords, no. I (1: 27, mm. 373-374).
Example 5.14. Tapping configurations in simple octaves, no. I (1: 39-40, mm. 454-471).
Example 5.15. Tapping configurations in octaves with a third, no. I
(1: 40, mm. 472-473).
Example 5.16. Tapping configurations in octaves with a fifth, no. 1
(1: 41, mm. 490-491).

viii
Example 5.17. Tapping broken octave configurations in single notes, no. 1
(1: 43-44, mm. 526-530).
Example 5.18. Tapping broken octave configurations with a third (r.h.), no. 1
(1: 44, mm. 531-532).
Example 5.19. Tapping broken octave configurations with a fifth (r.h.), no. 1
(I: 44, mm. 536-537).
Example 5.20. Four-note chords in various rhythmic configurations, no. 1
(1: 42-43, mm. 508-525).
Example 5.21. Tapping broken octave configurations with a 5/3 chord (b.h.), no. 1
(1: 45, mm. 541-545).
Example 5.22. Horizontal three-note configurations, no. 1 (1: 1, mm. 97-110).
Example 5.23. Horizontal four-note configurations, no. 1 (1: 1, mm. 111-128).
Example 5.24. Horizontal five-note configurations, no. 1 (1: 1, mm. 129-146).
Example 5.25. Tapping diminished seventh configurations in 6/3 and 6/4 chord
positions, no. 47 (II, 62-63, mm. 32-38).
Example 5.26. Symmetrical tapping octave patterns, no. 47 (II: 63, mm. 39-40).
Example 5.27. Symmetrical tapping octave patterns with a minor third, no. 47
(II: 60, mm. 41-42).
Example 5.28. Symmetrical tapping octave patterns with a diminished fifth, no. 47
(II: 61, mm. 43-44).
Example 5.29. Symmetrical tapping octave patterns at a minor sixth, no. 47
(II: 62, mm. 49-51).
Example 5.30. Symmetrical tapping configurations in single notes, no. 47
(II: 60, mm. 1-10).
Example 5.31. Symmetrical tapping configurations in two-note chords, no. 47
(II: 60-61, mm. 11-18).
Example 5.32. Symmetrical tapping configurations in two-note chords, no. 47
(II: 61-62, mm. 19-20).
Example 5.33. Symmetrical tapping configurations in three-note chords, first
configuration, no. 47 (II: 62, mm. 25-26).

ix
Example 5.34. Symmetrical tapping configurations in three-note chords, second
configuration, no. 47 (II: 62, mm. 31-32).
Example 5.35. Symmetrical tapping configurations in four-note chords, no. 47
(II: 64, mm. 47-48).
Example 5.36. Five-note chords in simple and compound rhythmic configurations,
no. 47 (II: 64, mm. 51-52).
Example 5.37. Chromatic two-finger details, no. 5 (1: 5, mm. 25-28).
Example 5.38. First two note configuration with fingers 1, 2 (b.h), no. 5 (1: 54, rnrn. 1-2).
Example 5.39. Second two note configuration with fingers 2, 3 (b.h), no. 5
(1: 54, mm. 7-8).
Example 5.40. Third two note configuration with fingers 3, 4 (b.h), no. 5
(1: 55, mm. 13-14).
Example 5.41. Fourth two note configuration with fingers 4, 5 (b.h), no. 5
(1: 56, mm. 19-20).
Example 5.42. Alternative adjacent note chromatic fingerings, no. 5 (I, 58, m. 25).
Example 5.43. Alternative adjacent note chromatic fingerings, no. 5 (1, 58, m. 28).
Example 5.44. Consecutive three note configurations with fingers 1, 2, 3 (b.h), no. 6
(1: 58-59, mm. 1-2).
Example 5.45. Consecutive three note configurations with fingers 2, 3, 4 (b.h), no. 6
(1: 59-60, rnrn. 5-6).
Example 5.46. Consecutive three note configurations with fingers 3, 4, 5 (b.h), no. 6
(1: 60-61, rnrn. 9-10).
Example 5.47. Consecutive four note configurations with fingers 1, 2, 3, 4 (b.h), no. 7
(I: 61, rnrn. 1-2).
Example 5.48. Consecutive four note configurations with fingers 2, 3, 4, 5 (b.h), no. 7
(1: 62, mm. 7-8).
Example 5.49. Consecutive five note configurations with fingers 1, 2, 3, 4, 5 (b.h), no. 8
(1: 63, mm. 1-2).
Example 5.50. The two-finger exercise in thirds, no. 23 (I: 126a, mm. 1-4).

X
Example 5.51. Various fingering options for the two-finger exercise in thirds, no. 23
(I: 126; b, c, d, e).
Example 5.52. Chromatic two-finger details in thirds, no. 23 (I: 132, mrn. 49-52).
Example 5.53. Consecutive three note configurations in thirds and in triplets, no. 24
(I: 133, mrn. 1-4).

CHAPTER6
Liszt' s Treatment of Scale Configurations

Example 6.1. Springing scales and broken chords at an octave, no. 12 (I: 70, mm. 1-10).
Example 6.2. Rhythmic configurations in scales for the acquisition of speed,
(Mason, 1891, 13).
Example 6.3. Scales in contrary and similar motion at a third, no. 14 (I: 87, mm. 1-12).
Example 6.4. Scales in contrary and similar motion at a third, no. 14 (I: 87, mm. 4-6).
Example 6.5. Scales and broken chords in contrary and similar motion at a sixth, no. 13
(I: 78, mm. 1-6).
Example 6.6. Scales in contrary motion at an octave, no. 21 (I: 112, mm. 1-6).
Example 6.7. Springing scales in double major and minor thirds in similar and contrary
motion at an octave, no. 28 (I: 148, mm.1-10).
Example 6.8. Springing scales in double major and minor thirds in similar and contrary
motion at an octave, no. 28 (I: 148, mm. 9-12).
Example 6.9. Springing scales in fourths in similar motion and in single 6/3 chords,
no. 29 (I: 159, mm. 7-10).
Example 6.10. Springing scales in major and minor sixths, no. 30 (I: 168, mm. 7-10).
Example 6.11. Springing scales in fourths in similar motion and in single 6/3 chords,
no. 29 (I: 159, mm. 3-4).
Example 6.12. Scales in double 6/3 chords, no. 31 (II: 2, mm. 1-6).
Example 6.13. Octave repetition in various intervals, no. 39 (II: 15-16, mm. 1-18).
Example 6.14. Major and minor scales in octaves, no. 39 (II: 16, mm. 19-22).

xi
Example 6.15. Harmonized major and minor scales in broken octaves and with thirds,
fourths and sixths inclusive, no. 41 (II: 28-29, mm. 1-18).
Example 6.16. Scales in broken octaves in upward motion, no. 41 (II: 29, mm. 19-20).
Example 6.17. Scales in broken octaves in downward motion, no. 41 (II: 30, mm. 35-36).
Example 6.18. Harmonized broken octaves with thirds in outward motion on the beat,
no. 41 (II: 32, mm. 51-52).
Example 6.19. Harmonized broken octaves with sixths on the beat in inward motion,
no. 41 (II: 33; mm. 67-68).
Example 6.20. Harmonized broken octaves with thirds in outward motion off the beat,
no. 41 (II: 34; mm. 83-84).
Example 6.21. Harmonized broken octaves with thirds on the beat in inward motion,
no. 41 (II: 36; mm. 99-100).
Example 6.22. Harmonized chromatic broken octaves with sixths on and off the beat in
upward motion, no. 41 (II: 37, mm. 115-116).
Example 6.23. Harmonized chromatic broken octaves with sixths on the beat in outward
motion, no. 41 (II: 37; mm. 119-120).
Example 6.24. Harmonized chromatic broken octaves with thirds off the beat in outward
motion, no. 41 (II: 38; mm. 123-124).
Example 6.25. Harmonized chromatic broken octaves with thirds on the beat in inward
motion, no. 41 (II: 38; mm. 127-128).
Example 6.26. Scales in Liszt octaves, no. 42 (II: 38-39, mm. 1-6).
Example 6.27. Four-note chords scales, no. 44 (II: 45, mm. 1-6).
Example 6.28. Major and minor scales in tenths, no. 60 (Ill: 30-31, mm. 1-8).
Example 6.29. Major and minor (rolled) scales in open chords of a tenth and eleventh,
no. 63 (Ill: 42, mm. 1-12).
Example 6.30. Stepped scales in fourths, no. 25 (1: 136, m. 1).
Example 6.31. Stepped scales in sixths, no. 27 (1: 142, mm. 1-6).
Example 6.32. Scales with alternating hands in single notes, no. 15 (1: 95, mm. 1-12).
Example 6.33. Scales with alternating hands in arpeggio configurations, no. 15
(1: 99, mm. 109-114).

xii
Example 6.34. Scales with alternating hands in two-note groups, no. 15
(I: 98, mm. 73-75).
Example 6.35. Scales with alternating hands in three-note groups, no. 15
(I: 98, mm. 85-87).
Example 6.36. Scales with alternating hands in four-note groups, no. 15
(I: 98, mm. 88-93).
Example 6.37. In five-note groups, no. 15 (I: 98, mm. 97-99).
Example 6.38. Scales with alternating hands in thirds, no. 32 (II: 6, mm. 1-2).
Example 6.39. Scales with alternating hands in thirds and in groups of two, no. 32
(II: 7, mm. 13-14).
Example 6.40. Scales with alternating hands in thirds in groups of three, no. 32
(II: 7, mm. 17-18).
Example 6.41. Scales with alternating hands in thirds in groups of four, no. 32
(II: 7, mm. 21-22).
Example 6.42. Scales with alternating hands in single sixths, no. 32 (II: 8, mm. 25-26).
Example 6.43. Scales with alternating hands in sixths in groups of two, no. 32
(II: 8, mm. 41-42).
Example 6.44. Scales with alternating hands in sixths in groups of three, no. 32
(II: 9, mm. 45-46).
Example 6.45. Scales with alternating hands in single 6/3 chords, no. 32
(II: 8, mm. 33-34).

CHAPTER 7
Liszt' s Treatment of Arpeggio and Broken Chord Configurations

Example 7 .I. Arpeggio and broken-chord configurations in single notes, no. 48 (II: 68-
70, mm. 1-18).
Example 7 .2. Arpeggio and broken-chord configurations in diminished and dominant
sevenths in single notes, no. 48 (II: 70, mm. 19-26).

xiii
Example 7.3. Broken chords in 'stepping' configurations and in simple time, first
pattern, no. 49 (II: 94, mm. I -5).
Example 7.4. Broken chords in 'stepping' configurations and in compound time, first
pattern, no. 50 (II: 106, mm. 1-5).
Example 7.5. Broken chords in 'stepping' configurations and in simple time, second
pattern, no. 51 (II: 115-116, mm. 1-5).
Example 7.6. Broken chords in 'stepping' configurations and in compound time, second
pattern, no. 52 (II: 125, mm. 1-5).
Example 7.7. Two-note arpeggio configurations featuring adjacent notes in broken
chords, no. 53 (II: 136-137, mm. 1-6).
Example 7.8. Two-note arpeggio configurations featuring interlocking consecutive
notes in broken chords, no. 54 (II: 151-152, mm. 1-6).
Example 7.9. Octave arpeggios with repeated configurations, no. 55
(II: 168, mm. 1-12).
Example 7. 10. Octave arpeggios in four and five-note chords with repeated
configurations, no. 56 (II: 178-179, mm. 1-12).
Example 7.11. Open broken-chord configuration in simple time, no. 64
(III: 53-54, mm. 1-8).
Example 7.12. Open broken-chord configuration in compound time, no. 65
(III: 64, mm. I -8).
Example 7.13. Inventive open broken-chord configurations, no. 66 (III: 64, mm. 1-4).
Example 7. 14. Inventive open broken-chord configurations, no. 67
(III: 75, mm. 1-4).

CHAPTERS
Liszt' s Treatment of Chord Configurations

Example 8. I. Three-note chords in 5/3, 6/3 and 6/4 chords in quavers, no. 2
(1: 45, mm. 1-4).

xiv
Example 8.2. Three-note chords in 5/3, 6/3 and 6/4 chords in syncopated rhythms, no. 2
(I: 46, mm. 13-18).
Example 8.3. Three-note chords in 5/3, 6/3 and 6/4 chords in dotted rhythms, no. 2
(I: 46, mm. 31-34).
Example 8.4. Three-note chords in 5/3, 6/3 and 6/4 chords with quaver triples, no. 2
(I: 47, mm. 43-45).
Example 8.5. Three-, and four-note chord details with two-note bass patterns in
quavers, no. 3 (I: 47, mm. 1-5).
Example 8.6. Three-, and four-note chord details with two-note bass patterns in
syncopated rhythms, no. 3 (I: 48, mm. 21-24).
Example 8.7. Three-, and four-note chord details with two-note bass patterns in dotted
rhythms, no. 3 (1: 48, mm. 31-34).\
Example 8.8. Three-, and four-note chord details with two-note bass patterns with
quaver triplets, no. 3 (1: 49, mm. 43-46).
Example 8.9. Four-note chords in quavers, no. 4 (I: 49, mm. 1-4).
Example 8.10. Four-note chords in syncopated rhythms, no. 4 (I: 50, mm. 7-10).
Example 8.11. Four-note chords in dotted rhythms, no. 4 (I: 50, mm. 15-18).
Example 8.12. Four-note chords in quaver triplets, no. 4 (1: 51, mm. 33-35).
Example 8.13. Four-note chords in crotchet triplet rhythms, no. 4 (1: 51, mm. 25-28).
Example 8.14. Four-note chords in quavers and semiquavers, no. 4 (I: 51, mm. 37-39).
Example 8.15. Diminished seventh chords at a sixth in chromatic scales, first pattern,
no. 43 (II: 43, m. 1).
Example 8.16. Diminished seventh chords at a sixth in chromatic scales, second pattern,
no. 43 (II: 45, m. 9).

CHAPTER9
Liszt' s Treatment of Chromatic Configurations

Example 9 .I. Chromatic detail at a third in contrary motion in simple and compound
time, no. 13 (I: 86, mm. 148-152).

XV
Example 9 .2. Chromatic detail at a third in contrary motion in simple and compound
time, no. 14 (I: 95, mm. I45-152).
Example 9.3. Chromatic detail in minor sixths and similar motion, no. I 6
(1: I 02, mm. I -4).
Example 9.4. Chromatic detail in major sixths and similar motion, no. I6
(I: I02, m. 5).
Example 9.5. Chromatic detail in major thirds and similar motion, no. I6
(I: 102, m. 7).
Example 9.6. Chromatic detail in minor thirds and similar motion, no. I6
(1: I 03, m. 9).
Example 9.7. Chromatic detail starting from an interval of a minor sixth in contrary
motion, no. I6 (I: 103, m. 12).
Example 9.8. Chromatic detail starting from an interval of a major sixth in contrary
motion, no. 16 (I: 103, m. 13).
Example 9.9. Chromatic detail starting from an interval of a major third in contrary
motion, no. 16 (I: I03, m. I4).
Example 9.1 0. Chromatic detail starting from an interval of a minor third in contrary
motion,
Example 9.11. Single note chromatic detail in stepping and interlocking configurations,
no. 17 (I: I 04, mm. 1-2).
Example 9 .12. Single note chromatic detail in three-note triplet configurations, no. 17
(I: 105, m. 3).
Example 9.13. Single note chromatic detail in four-note configurations, no. 17
(I: I05, m. 5).
Example 9.14. Single note chromatic detail in five-note configurations, no. 17
(I: I06, m. 7).
Example 9.I5. Chromatic configurations in double minor thirds, no. 28
(I: I58, m. 12I).
Example 9. I 6. Diminished chords through chromatic minor thirds in similar and
contrary motion, no. 33 (II: 10, mm. 3-6).

xvi
Example 9.17. Chromatic configurations in double major thirds, no. 28 (I: 158, m. 122).
Example 9.18. Chromatic major thirds in similar and contrary motion, no. 34
(II: 11, mm. 3-6).
Example 9.19. Chromatic major and minor sixths with minor thirds in diminished
seventh chords, no. 38 (II: 14, mm. 3-6).
Example 9.20. Chromatic double major sixths, no. 30 (I: 176, m. 97).
Example 9.21. Chromatic double major sixths, no. 38 (II: 15, mm. 9-12).
Example 9.22. Chromatic fourths in 6/3 chords in similar motion, no. 29
(I: 167, m. 97).
Example 9.23. Chromatic r.h. fourths in 6/3 chords, no. 35 (II: 11, mm. 3-6).
Example 9.24. Chromatic l.h. fourths in 6/3 chords, no. 36 (II: 12, mm. 3-6).
Example 9.25. Chromatic double major 6/3 chords, no. 31 (II: 6, m. 73).
Example 9.26. Chromatic diminished fifths (tritones) in diminished seventh chords,
no. 37 (II: 12, mm. 1-2).
Example 9.27. Chromatic diminished minor thirds in similar and contrary motion,
no. 33 (II: 10; mm. 3-6).
Example 9.28. Chromatic detail in double sixths at an octave, no. 27
(I: 146, mm. 73-83).
Example 9.29. Chromatic detail in r.h. fourths and in 6/3 major chords, no. 25
(I: 138, m. 13).
Example 9.30. Chromatic detail in l.h. fourths (r.h. cross-over) and in 6/3 major
chords, no. 26 (I: 141-142, mm. 13).
Example 9.31. Chromatic octaves set at a major third, no. 39 (II: 20, mm. 67-70).
Example 9.32. Chromatic octaves with a third included, first configuration, no. 40
(II: 26, m. 49).
Example 9.33. Chromatic octaves with a third inclusive, second configuration, no. 40
(II: 26, m. 50).
Example 9.34. Chromatic detail in diminished seventh chords, first configuration,
no. 43 (II: 43, m. 1).

xvii
Example 9.35. Chromatic detail in diminished seventh chords, second configuration,
no. 43 (II: 44, m. 5).
Example 9.36. Chromatic detail in octave leaps, no. 57 a (III: 12, m. 133).
Example 9.37. Meyerbeer/Liszt, LeMoine, mm. 96-98.
Example 9.38. Chromatic detail in octave leaps with a major third included, first
configuration, no. 59 (III: 29, m. 61)
Exarnple 9.39. Chromatic detail in octave leaps with a major third included, second
configuration, no. 59 (III: 29, m. 61).
Example 9.40. Chromatic detail in leaps and in four-note chords, no. 59
(III: 30, m. 62).
Example 9.41. Chromatic detail in single note leaps over two octaves, no. 60
(III: 36, mm. 104-106).
Example 9.42. Chromatic detail in leaps over the octave from a pedal-note, no. 61
(III: 36-37, m. 1).
Example 9.43. Chromatic detail in diminished seventh chords in minor tenths, no. 63
(Ill: 51, mm. 142-144).
Example 9.44. Chromatic detail in arpeggiated chord leaps over the octave, first
configuration, no. 63 (III: 52, m. 155).
Example 9.45. Chromatic detail in arpeggiated chord leaps over the octave, second
configuration, no. 63 (III: 52, mm. 156-158).
Example 9 .46. Arpeggiated chromatic chord leaps over the octave, third configuration,
no. 63 (III: 52-53, mm. 159-161).
Example 9.47. Chromatic detail with alternating hands in single notes, no. 15
(I: 100, mrn. 121-122).
Example 9.48. Chromatic detail with alternating hands in two-note groups, no. 15
(I: 100, mrn. 127-128).
Example 9.49. Chromatic detail with alternating hands in three-note groups, no. 15
(I: 100, mrn. 129-130).
Example 9.50. Chromatic detail with alternating hands in four-note groups, no. 15
(I: 100, mrn. 131-132).

xviii
Example 9.51. Chromatic detail with alternating hands in five-note groups, no. 15
(1: 100, mm. 133-134).
Example 9.52. Chromatic major thirds with alternating hands, no. 32
(II: 9, mm. 55-57).
Example 9.53. Chromatic major sixths with alternating hands, no. 32
(II: 9, mm. 49-51 ).
Example 9.54. Chromatic major 6/3 chords with alternating hands, no. 32
(II: 9, mm. 52-54).

CHAPTER 10
Liszt' s Treatment of Trill and Tremolo Configurations

Example 10.1. Single-note trill configurations with held notes, first pattern, no. 1
(1: 8, mm. 91-96).
Example 10.2. Single-note trill configurations with held notes, second pattern, no. 1
(1: 12, mm. 148-153).
Example 10.3. Single-note trill configurations with held notes, third pattern, no. 1
(1: 16, mm. 205-210).
Example 10.4. Single-note trill configurations with held notes, fourth pattern, no. 1
(1: 19-20, mm. 262-267).
Example 10.5. Two-note trill configurations with held notes, first configuration with
fingering; r.h. 1,3-2,4 and !.h. 5,3-4,2, no. 1 (1: 29-30, mm. 391-396).
Example 10.6. Two-note trill configurations with held notes, second configuration with
fingering; r.h. 5,3-4,2, !.h. 1,3-2,4, no. 1 (1: 32-33, mm. 412-417).
Example 10.7. Two-, and three-note trill configurations with fingering; r.h. 5,3,1-4,2,
!.h. 5,3,1-4,2, no. 1 (1: 36, mm. 433-438).
Example 10.8. Broken-octave tremolo configurations with mixed rhythms, no. 1
(1: 43-44, mm. 526-529).

xix
Example 10.9. Harmonized broken-octave tremolo configurations with mixed rhythms,
first pattern, no. 1 (1: 44, mm. 532-535).
Example 10.1 0. Harmonized broken-octave tremolo configurations with mixed rhythms,
second pattern, no. 1 (1: 44, mm. 536-539).
Example 10.11. Broken-octave tremolo configurations with mixed rhythms and no held
notes, no. 1 (1: 45, mm. 542-545).
Example 10.12. Oscillations between the first and second fingers in minor thirds, no. 47
(II: 64, mm. 53-54).
Example 10.13. Oscillation between the second and third fingers in minor thirds, no. 47
(II: 65, mm. 55-56).
Example 10.14. Oscillation between the third and fourth fingers in minor thirds, no. 47
(II: 65, mm. 57 -58).
Example 10.15. Oscillation between the fourth and fifth fingers in minor thirds, no. 47
(II: 65, mm. 59-60).
Example 10.16. Oscillations between the first and third fingers, no. 47
(II: 65, mm. 61-62).
Example 10.17. Oscillation between the second and fourth fingers, no. 47
(II: 65, mm. 63-64).
Example 10.18. Oscillation between the third and fifth fingers, no. 47
(II: 65, mm. 65-66).
Example 10.19. Measured trills in thirds, no. 45 (II: 50-51, mm. 1-4).
Example 10.20. Measured trills in fourths and sixths, no. 45 (II: 51-52, mm. 11-14).
Example 10.21. Measured trills in sixths and mixed intervals, no. 45
(II: 52, mm. 21-24).
Example 10.22. Measured trills in octaves with chords, no. 45 (II: 55-56, mm. 53-56).
Example 10.23. Measured trills with held octaves, no. 45 (II: 53, mm. 25-28).
Example 10.24. Measured mixed single-note, two- and three-note chord trill
configurations in triplets, no. 45 (II: 55, mm. 48-50).
Example 10.25. Tremolos and leaps in combination, first pattern, no. 6 from 12 grope
etilden, no. 62 (Ill: 40, mm. 1-8).

XX
Example 10.26. Tremolos and leaps in combination, second pattern, no. 6 from 12 grope
etiiden, no. 62 (III: 40, mm. 15-21).
Example 10.27. Tremolo configurations in Etude no. 12 from 12 grope etilden, no. 68
(III: 82, mm. 1-14).
Example 10.28. Tremolo configurations from Chasse neige, no. 12 from Etudes
d'execution transcendante (1851).
Example 10.29. Tremolo configurations from study no. 1 from Grandes etudes de
Paganini (1851 ).
Example 10.30. Coda of no. 12 from 12 grope etilden, no. 69 (III: 89, mm. 169-177).
Example 10.31. Trill configurations with alternating hands in diminished and diatonic
6/4 chords, no. 46 (II: 56, mm. 1-4).
Example 10.32. Trill configurations with alternating hands in four-note diminished
seventh chords, no. 46 (II: 58, mm. 17-18).
Example 10.33. Trill configurations with alternating hands in four-note chords at the
octave, no. 46 (II: 58, mm. 19-22).
Example 10.34. Four- and five-note trill configurations with alternating hands, no. 5
from 12 grope etilden, no. 61 (III: 39, mm. 22-30).

CHAPTER II
Liszt' s Treatment of Repeated Configurations

Example 11.1. Single note repetition in ascending major and melodic minor scales, no. 9
(1: 65, mm. 1-16).
Example 11.2. Single note repetition in compound rhythms, no. 9 (I: 66, mm. 41-52).
Example 11.3. Single note repetition with fingerings; 5-4, 5-3, 5-2 and 5-1, no. 9
(1: 67, mm. 77-92).
Example 11.4. Single note repetition with fingerings; 5-4-3-2-1, no. 9
(1: 67, mm. 104-109).

xxi
Example 11.5. Two-note chord repetition in thirds and sixths, no. 22
(1: 125, mm. 22-28).
Example 1 I .6. Two-note chord repetition in thirds, fourths, fifths and sixths, no. 22
(1: 125, mm. 32-37).
Example 11.7. Repeated octaves, no. 39 (II: 15-16, mm. 1-18).
Example ll.8. Repeated broken octaves, no. 41 (II: 28-29, mm. 1-18).
Example 11.9. Four-note chord repetitions in arpeggio-based configurations, no. 44
(II: 48, mm. 49-52).

CHAPTER 12
Liszt' s Treatment of Leaping Configurations

Example 12.1. Arpeggio-based octave configurations in leaping patterns, no. 57 a


(III: 3, mm. 1-8).
Example 12.2. Four-note chord configurations in leaping patterns, no. 58
(III: 13, mm. 1-6).
Example 12.3. Broken arpeggio-based octave configurations in leaping configurations,
no. 57a (III: 7, mm. 49-54).
Example 12.4. Broken four-note chord configurations in leaping patterns, no. 58
(III: 16, mm. 37-42).
Example 12.5. Coda in four-note chord configurations and in leaping patterns, no. 58
(III: 23, m. 133).
Example 12.6. Upward leaps ascending and downward leaps descending in thirds over
an octave, no. 59 (III: 24, mm. 1-4).
Example 12.7. Inward contrary motion leaps in thirds, no. 59 (III: 24, m. 5).
Example 12.8. Outward leaps ascending and inward leaps descending in thirds over an
octave, no. 59 (III: 24, mm. 6-9).
Example 12.9. Upward leaps ascending and downward leaps descending in sixths over
an octave, no. 59 (III: 26, mm. 21-24).
Example 12.10. Outward contrary motion leaps in sixths, no. 59 (III: 26, m. 25).

xxii
Example 12.11. Outward leaps ascending and inward leaps descending in sixths over an
octave, no. 59 (III: 26, mm. 26-29).
Example 12.12. Upward leaps ascending and downward leaps descending in 6/3 chords
over an octave, no. 59 (III: 26-27, mm. 31-34).
Example 12.13. Descending similar motion leaps in four-note diminished and dominant
seventh chords, no. 59 (III: 27, m. 35).
Example 12.14. Upward leaps ascending and downward leaps descending in octaves
over an octave, no. 59 (III: 27, mm. 36-39).
Example 12.15. Outward contrary motion leaps in diminished and dominant seventh
chords in octaves and with a third included, no. 59 (III: 27, m. 40).
Example 12.16. Outward leaps ascending and inward leaps descending in octaves over
an octave, no. 59 (III: 27, mm. 41-44 ).
Example 12.17. Outward leaps ascending and inward leaps descending in octaves and
with a third included over an octave, no. 59 (III: 28, mm. 51-54).
Example 12.18. Leaps of a tenth in scales in outward motion ascending and inward
motion descending, no. 60 (III: 31, mm. 9-17).
Example 12.19. Leaps of an eleventh in scales in outward motion ascending and inward
motion descending, no. 60 (III: 32, mm. 26-33).
Example 13.20. Leaps of a twelfth in scales in outward motion ascending and inward
motion descending, no. 60 (III: 32-33, mm. 43-50).
Example 12.21. Leaps of a thirteenth in scales in outward motion ascending and inward
motion descending, no. 60 (III: 33-34, mm. 59-66).
Example 12.22. Leaps of a fourteenth in scales in outward motion ascending and
inward motion descending, no. 60 (III: 34-35, mm. 75-82).
Example 12.23. Leaps of a fifteenth in scales in outward motion ascending and inward
motion descending, no. 60 (III: 35-36, mm. 91-98).
Example 12.24. Leaps of a fifteenth in arpeggios in outward motion ascending and
inward motion descending, no. 60 (III: 36, mrn. 107-109).

xxiii
CHAPTER 13
Liszt's Treatment of Left-Hand Exercises

Example 13.1. Right-hand configurations in lateral thumb movement, no. 10


(1: 68, mm. 1-9).
Example 13.2. Left-hand configurations in lateral thumb movement, no. II
(1: 69, mm. 1-9).
Example 13.3. Stepping scales in fourths with cross-over hands, no. 26
(I: 139, mm. 1-2).
Example 13.4. Chromatic stepping scales in fourths with cross-over hands, no. 26
(1: 141-142, mrn. 13).

CHAPTER 14
Liszt' s Treatment of Technical Configurations
similar to those of Chopin

Example 14.1. Chopin's Etude Op.JO No.2, mm. 1-4.


Example 14.2. Chopin-based right-hand technical configuration, first pattern, no. 18
(1: 107, mm. 1-6).
Example 14.3. Chopin-based chromatic line under the chord, r.h., no. 18
(I: 108, mrn. 14-18).
Example 14.4. Chopin-based chromatic line over the chord, l.h., no. 19
(I: 108,mrn.1-4).
Example 14.5. Chopin-based chromatic line under the chord, l.h., no. 19
(1: 109, mrn. 22-25).
Example 14.6. Chopin-based chromatic line within the chord, r.h., no. 20
(1: 110, mrn. 13-16).
Example 14.7. Chopin's Etude Op. 10 No. 11, mm. 1-6.

xxiv
Example 14.8. Compound rolled chords in scales and arpeggio-based configurations,
no. 63 (III: 42, mm. 1-8).
Example 14.9. Chopin's Etude Op. 10 No. II, mm. 50-54.
Example 14.10. Compound rolled chromatic chords, no. 63 (III: 53, mm. 160).
Example 14.11. Chopin's Etude Op. 25 No.5, mm. 124-132.
Example 14.12. Leaps from single note and four-note chord appoggiatura, no. 63
(III: 51-52, mm. 147-154).
Example 14.13. Leaps from a rolled four-note chord appoggiatura, no. 64
(III: 63, mm. 104-106).
Example 14.14. Chopin's Etude Op.JO. No.1, mm. 1-8.
Example 14.15. Major, minor, diminished and dominant seventh compound
arpeggiations, no. 64 (III: 53, mm. 1-6).
Example 14.16. Liszt, Funerailles, mm. 133-138.
Example 14.17. Chopin, Polonaise inAjlat, Op. 53, mm. 83-88.

CHAPTER 15
Liszt's Technical Studies in Context:
Selected Methods of his Contemporaries

Example 15.1. Tausig: Esercizi Giornalieri per Pianoforte, no. 16


(18-19, mm. 1-9).
Example 15.2. Tausig: Esercizi Giornalieri per Pianoforte, no. 1 (1, mm. 1-2).
Example 15.3. Tausig: Esercizi Giornalieri per Pianoforte, no. 42 (65, mm. 1-4).
Example 15.4. Tausig: Esercizi Giornalieri per Pianoforte, no. 28 (43, mm. 1-4).
Example 15.5. Tausig: Esercizi Giornalieri per Pianoforte, no. 6 (5, mm. 1-12).
Example 15.6. Tausig: Esercizi Giornalieri per Pianoforte, no. 46 (71, mm. 1-8).
Example 15.7. Brahms: 51 Ubungenftir Pianoforte, no. Ia (126, mm. 1-8).
Example 15.8. Brahms: 51 Ubungenftir Pianoforte, no. 14 (141, mm. 1-8).
Example 15.9. Brahms: 51 Ubungenftir Pianoforte, no. 25a (!50, mm. 1-2).
Example 15.10. Brahms: 51 Ubungenftir Pianoforte, no. 3 (131, mm. 1-14).

XXV
Example 15.11. Brahms: 51 Ubungenfiir Pianoforte, no. 3la (156, mm. 1-8).
Example 15.12. Brahms: 51 Ubungenfiir Pianoforte, no. 38 (165, mm. 1-8).
Example 15.13. Brahms: 51 Ubungenfiir Pianoforte, no. 13 (141, mm. 1-8).
Example 15.14. Brahms: 51 Ubungenfiir Pianoforte, no. 34a (161, mm. 1-7).
Example 15.15. Brahms: 51 Ubungenfiir Pianoforte, no. 23a (147, mm. 1-4).
Example 15.16. Brahms: 51 Ubungenfiir Pianoforte, no. 23b (148, mm. 1-4).
Example 15.17. Brahms: 51 Ubungenfiir Pianoforte, no. 23c (148, mm. 1-4).
Example 15.18. Joseffy: School of Advanced Piano Playing, no. 12 (68, mm. 1-4).
Example 15.19. Joseffy: School of Advanced Piano Playing, no. 19b (95, mm. 4-7).
Example 15.20. Joseffy: School of Advanced Piano Playing, nos. 21a and 21b
(100, mm. 1-4).
Example 15.21. Joseffy: School of Advanced Piano Playing, no. 17 (90-91, mm. 7-17).
Example 15.22. Joseffy: School of Advanced Piano Playing, no. 18 (92, mm. 5-10).
Example 15.23. Joseffy: School of Advanced Piano Playing, no. 20b, Allegro
(97, mm. 1-6).
Example 15.24. Joseffy: School of Advanced Piano Playing, no. 8a (44, mm. 1-2).
Example 15.25. Joseffy: School of Advanced Piano Playing, no. 8b (44, mm. 3-10).
Example 15.26. Joseffy: School of Advanced Piano Playing, no. lOa (57, mm. 1-3).
Example 15.27. Kullak: Schule des Oktavenspiels; octaves in rhythms, nos. la, b, c
and d (2-3, mm. 1-9).
Example 15.28. Kullak: Schule des Oktavenspiels; octaves with stretches, nos. 1-4
(27, mm. 1-7).
Example 15.29. Kullak: Schute des Oktavenspiels; octaves with held notes, nos. 1-5
(25, mm. 1-10).
Example 15.30. Kullak: Schule des Oktavenspiels; octaves in broken chords, nos. 1-8
(23, mm. 1-8).
Example 15.31. Kullak: Schule des Oktavenspiels; octaves in scales, (15, mm. 1-8).
Example 15.32. Kullak: Schule des Oktavenspiels; chromatic octave scales,
(19, mm. 9-14).
Example 15.33. Kullak: Schule des Oktavenspiels; octaves in dominant and
diminished sevenths, nos. 40-45 (25, mm. 1-6).

xxvi
Example 15.34. Kullak: Schute des Oktavenspiets; nos. 18, 19, 20 (28).
Example 15.35. Kullak: Schute des Oktavenspiets; nos. 28, 29, 30 (28).
Example 15.36. Kullak: Schute des Oktavenspiets; nos. 7, 8 (29).
Example 15.37. Kullak: Schute des Oktavenspiets; nos. 15-17 (29).
Example 15.38. Lebert and Stark: Grosse theoretisch-praktische Ktavierschute, Band II,
springing scales (3).
Example 15.39. Lebert and Stark: Grosse theoretisch-praktische Ktavierschute, Band II,
6/3 chords with botb hands (132, mm. 1-9).
Example 15.40. Lebert and Stark: Grosse theoretisch-praktische Ktavierschule, Band II,
double sixths (134, mm. 1-12).
Example 15.41. Lebert and Stark: Grosse theoretisch-praktische Ktavierschule, Band I,
nos. 1-8 (65).
Example 15.42. Lebert and Stark: Grosse theoretisch-praktische Klavierschute, Band I,
nos. 1-14 (68).
Example 15.43. Lebert and Stark: Grosse theoretisch-praktische Ktavierschute, Band II,
configurations in glissandi (135).
Example 15.44. Lebert and Stark: Grosse theoretisch-praktische Ktavierschute, Band II,
arpeggio-based broken chords (28).

xxvii
CHAPTER9

Liszt's Treatment of Chromatic Configurations

The importance that Liszt attached to the study of chromatic configurations is


evident by the fact that over half of the Technical Studies feature chromatic details in
almost every possible mechanical configuration. It is for this reason that these details
have been singled out for a separate discussion outside of the exercises in which they
appear. Because the chromatic details in the Technical Studies also provide the pianist
with some of the most pioneering if not "unique" 1 fingering specifications in the three
books of exercises, greater attention will be given to a discussion of these in this
chapter.

A comprehensive study of Liszt' s fingering suggestions in the chromatic


passages reveals that he did not give any mechanical compensation to the supposed
weakest fingers of the hand, namely, the fourth and fifth despite the fact that
according to Boissier2 he acknowledged them as being weaker. Liszt's originality in
this regard was highlighted by Walker3 who supposed that Liszt required the pianist to
"number the fingers from one to ten," as opposed to thinking of them as two sets of
five. This seems to account for Liszt's request to place the thumb and the fifth finger
on black notes in numerous instances, contrary to the former classical schools where
this was not recommended. Another feature of Liszt' s fingering suggestions in
chromatic configurations is his recommendation to use diatonic fingering patterns in
stepwise chromatic patterns in order to affect a better legato, implement facility and
allow for greater speed. In doing this, Liszt demonstrated that by reducing the times in
which the thumb is used, a greater legato line may be produced through the use of as
many consecutive fingers as possible.

I. Boissier, The Liszt Studies, iii.

2. Boissier, The Liszt Studies, xix.

3. Walker, Reflections on Liszt, 204.

175
176

Prior to Liszt's Technical Studies, no pianist/composer gave the study of


chromatic configurations as much consideration in their technical manuals. Neither
Hummel nor Moscheles, for instance, wrote extensive exercises or written details in
their respective treatises on how the mechanical and structural possibilities of
chromatic configurations may be capable of being educationally useful. Czerny
grasped the idea in his Grand exercice de la gamme chromatique, Op. 244; 4 however,
he did not consider this important enough to write a complete school or group of
studies that specialized in its possibilities as he did in respect to other technical
configurations. Other classicists, such as Clementi, Cramer and Kalkbrenner are
similar to Czerny in that, although there are works in their collective didactic output
where chromatic configurations are considered, none of them offered a complete
examination of its technical possibilities. Chopin seems to have understood that a
study of chromatic lines could lead to an advance in technique, as is evident through
his revered Etude Op. 10. No.2. However, this was an isolated case in his output and
as will be shown, 5 Liszt took his configuration and demonstrated several of the
mechanical possibilities of this that Chopin did not. Brahms, Tausig and J oseffy are
other examples of composers who gave the study of chromaticism slight attention in
their technical manuals but nothing more. By giving chromatic configurations a
complete technical consideration in the Technical Studies, Liszt showed that these
patterns could be used as a powerful means through which virtuosity could be
acquired.

In respect to "the boundary between the ancient and modern period of piano
playing," 6 Hans von Biilow outlined the types of changes in fingering that were
necessary as the technical and structural pianistic configurations changed between the
classical and romantic periods:

4. S. Lindeman/George Barth: 'Czerny, Carl: exercises and studies', Grove Music Online ed.
L. Macy (Accessed 15 June 2007).

5. See pp. 265-267 of this paper.

6. Cramer, Fifty Studies, Ill.


177

The modern period, keeping pace with the increasing improvement of the
instrument and the increasing demands on the player, has in the course of
time arrived at a system of fingering, which is in many ways diametrically
opposed to the old style.[ ... ][ ... that fingering is the best which allows of
transposing the same piece into any other key without mechanical
preparation and without previous trouble of deliberation. [ ... ] A fingering
intended to promote this must naturally overthrow all the rules of the old
method; as it must be based simply and solely on a correct rendering of
the physical phrase, without regard to the relation of black to white keys,
7
or of the longer fingers to the shorter

In the same systematic way in which Liszt unfolds his technical investigations
from a single note to double, triple, quadruple and quintuple-note configurations,
whether they are in chords, digital configurations and etc, the process through which
his investigation of chromatic patterns unfolds is no different. All the structural
possibilities of these patterns are exhausted one after the other so that the fundamental
passages in which they can be conceived are considered and the technical gains that
can be achieved through them revealed to the pianist. However, these exercises never
simply state the obvious as is the case with many of the technical examples of
exercises in classical treatises, where for instance, scales, arpeggios and the like are
often given in semiquaver passages that simply transverse a given number of octaves
with the hands set at an octave and nothing more. There are few exceptions to this:
where compositional ingenuity is combined with technical reasoning to produce
fundamental exercises which are akin to musical contexts. Therefore, although the
identification and demonstration of Liszt' s adherence to the six principles, which this
study has identified as being the underlying basis on which he built this treatise is
central to the current argument, the most intriguing feature that comes across in the
analysis of all the chromatic details is Liszt's continual attempt to vary in as many
patterns as possible, the ways in which these can be expressed mechanically. For this
reason, this discussion will discuss these variations as an extension of the argument
that all the possibilities that Liszt considered to be fundamental to the acquisition of
technique found their way into the mechanical patterns contained in the Technical
Studies.

In the diatonic system, the main intervals used to harmonize melodic lines are
thirds, sixths and octaves. Subsequently, all of the scale-based chromatic details in the

7. Btilow, n.d., III.


178

Technical Studies are set with the hands at one of these intervals. Exercises no. 13 and
14, for instance, detail scale-based chromatic figures in similar and contrary motion
respectively whereby no. 13 is set at a sixth and no. 14 at a third. Common to both
exercises rhythmically is the way that they symmetrically divide the chromatic octave
into three sets of four semiquavers in simple rhythm and four sets of three
semiquavers in compound rhythm. These passages exemplify Liszt's conscientious
regard for the various possibilities of the technical patterns he investigates, in this
instance, in respect to meter.

Example 9.1. Chromatic detail at a third in contrary motion in simple and


compound time, no. 13 (I: 86, mm. 148-152).

48 3 I .l
1;. ~ i>J>;.. ~.' ~.3 2 I 3 ·t. 3 3 I 3 2 I 2 3 1 2 3 4 1

~
1: !.~ "!("'
I"*~~* _b.k• ..t~.l'-111'- .

• I 3 I 3
M 3 1 3 I .P"'3 I 3 I 2 3 I l I 3 1 3 1 4
J 2 I 3 Z •

(~49) 1 2 1 <·3 ~#.' .!!>~ilk ~ ~~ 3 2132Jl43 4 3 2 1 3

~ - -" ••
"H*

II
. ~
1 "J 2 I 4 3 2 1 3
2
2 3 1 2
1 2 3 4
2 ·3 4
1 IF' 3
1 2 1 2 3 1
2 3 4 1

c:::::;: :.::,;;~:::::::;::~: 1: 1
179

Liszt seems to have not favored the third finger over the second in respect to
its interchange with the thumb in chromatic successions as can be seen in the
fingering options he has provided in the first bars of this technical detail.

Example 9.2. Chromatic detail at a third in contrary motion in simple and compound
time, no. 14 (I: 95, mm. 145-152).

/45 , ·J J J 2 I 2 I
2

• 2 "i 3 I 3 1 3 I 3 t 3 1 2 3 I 2 I 2n1

fJ,6!

., ~]1"' 1231
2121.)13131 32 ~ 11J 3 I 3
2 j 3 I 3

These fingerings are "unusual and unique." 8 In respect to this, there are
numerous instances in the exercises where Liszt suggests fingering options which are
a departure from what is generally accepted. We may ask, was this nothing more than
an extension of Liszt' s own unparalleled mechanical gift, which for many pianists
may suggest technical inroads that are technically out of the question, or were these
meant to reveal "hidden" 9 mechanical possibilities that Liszt had discovered from his
own experience; that he knew would lead the pianist to advance in ways which would
otherwise not be considered? If it is decided that their "unusual" nature places them
outside of what is technically feasible for the pianist in the preparation of virtuosity,
then these fingerings may be dismissed in favor of one's own. However, in the event
that these fingerings are not in fact "unusual" at all, but the product of an exceptional
understanding of the keyboard, one that is not attainable by most, then these
fingerings may prove to be invaluable in what they can help the pianist to achieve.

8. Boissier, The Liszt Studies, iii.

9. Walker, Reflections on Liszt, 203.


180

The fingering from mm. 149-150 in exercise no. 14 which reduces the use of
the thumb by utilizing as many consecutive fingers as possible, including the fourth,
allows the pianist to achieve a greater legato because the chromatic pattern can be
played in larger groups of notes. These larger "fingering phrases" 10 also enable the
pianist to control crescendo and diminuendo through the application of what is a more
often used and familiar scale-based fingering. The examination of scale-based
chromatic configurations is extended in exercise no. 16 from the previous details of a
major third and sixth to include settings at a minor third and sixth in similar and
contrary motion. The various possibilities in which the hands can be set apart, such as
a third, sixth or octave are also addressed.

Example 9.3. Chromatic detail in minor sixths and similar motion, no. 16
(I: 102, mm. 1-4).

'"""''"' '!" "'""' ' '"""' '":


!! :::::;=::t::;;:

JZIJf]IJ2131~1212JI:!.I.2J.2

. w
J.2IJ131l2 31

i~=~==~::=:··::l
4
-i I J I 2 J I J I 3 I::! J 2 I 4 3 2 I .3·2 I 4 J 2 J 4 I 2 J 1- ~ 3 4 I 2

(4)

)r- ....
or." -,.•, ~

10. This author's expression.


Example 9 .4. Chromatic detail in major sixths and similar motion, no. 16
(I: 102, m. 5).

Example 9.5. Chromatic detail in major thirds and similar motion, no. 16
(I: 102, m. 7).
l ) 2 I J I J
1 2 I 2

"
.[J 4]

4 J 2 I 2 I

Example 9.6. Chromatic detail in minor thirds and similar motion, no. 16
(I: 103, m. 9) .

l' .,.....

Example 9.7. Chromatic detail starting from an interval of a minor sixth in contrary
motion, no. 16 (I: 103, m. 12).

f:. . ....................
a····················-······················--···················
,,... ~
182

Example 9.8. Chromatic detail starting from an interval of a major sixth in contrary
motion, no. 16 (I: 103, m. 13).

Example 9.9. Chromatic detail starting from an interval of a major third in contrary
motion, no. 16 (I: 103, m. 14).

Example 9.1 0. Chromatic detail starting from an interval of a minor third in contrary
motion, no. 16 (1: 103, m. 15).

8 .............. ······· ······· .....••....... ···•········•


-" -~· ..~.. q..~ ..~. ,._, :qj!: ...~... "'"""··

Exercise no. 17 details stepwise chromatic configurations in the same


structural way that. Liszt unfolded his detail of the two-finger exercise and its
extensions from exercise no. 5 through to no. 8, where digital passages of two, three,
four and five notes were examined consecutively from one exercise to the next.
However, instead of repeating the two-note, two-finger configuration already
examined in exercise no. 5, Liszt features a stepping pattern that ascends and
descends by tones, not semitones. This configuration is unique in the Technical
Studies in that there is no other mechanical feature of its kind in the complete treatise.
Example 9 .11. Single note chromatic detail in stepping and interlocking
configurations, no. 17 (1: 104, mm. 1-2).
LL.l I J 2
32413241 J241JJ_)241324 41313241

JIJJ42'JI42J
2 3 I 4 ~· 3 I 4 2 3 I 4

2li4-2JIJ ~ 2 4 .I

4 2 J.J 4 2 3 I 4 2 3 1 3 1 l
J. r 4 ~z J 1 J 423142) I 4 2

J2 13241')1)241)24
J 2' 4 3

Example 9.12. Single note chromatic detail in three-note triplet configurations, no. 17
(I: 105, m. 3).

J 123234!232J412Jl2l2341

.2 J 4 2 3 4 2
J2J214J2J21

4)24324124324 4'

I I I .I I J 4 '

m
I
(3~ rTl r11 ril "TJ ril. 11. J~m~bmrn
: ~
4 3 I 2

• ~ .J. .::1 'I,;I...J .J . L..J.


4 4 4
4 • 4 4 4 4 4 4

The fingering patterns in this example also suggest the possibility of a greater
degree of legato through the reduction in the use of the thumb to every six notes of
the chromatic pattern. The reduction in the use of the thumb to every eight notes is a
logical outgrowth from the previous detail, namely, exercise no. 17, with the fingering
1,2,3,4-2,3,4,5.
Example 9.13. Single note chromatic detail in four-note configurations, no. 17

The fingering in the five-note configuration of exercise no. 17 shows that Liszt
was conscious not to repeat himself as in a similar configuration detailed in exercise
no. 15, the suggested fingerings supply the pianist with another option. This is one of
the many examples where Liszt's understanding of the many possibilities of fingering
11
is revealed.

Example 9 .14. Single note chromatic detail in five-note configurations, no. 17


(I: 106, m. 7).
7 2 I 2 3 4
I 2 13421234]

t 2 3 4 S I !i 1

J214J2124

S4J2J.S432J s4321S I 5 I 5

11. "Liszt, struck by the strange fingering that Mason was using, stopped him and said 'What
fingering is that you are using?' Mason hesitated, then replied: "Klindworth gave it to me." 'Leave
Klindworth's fingering to Klindworth,' he retorted. 'He can do very well with it; you must use this'-
whereupon Liszt jotted down a more straightforward solution."' Taken from The Musical Standard,
August 26, 1916. See also: Walker, The Final Years; 232, 232, n. 10.
185

The most notable aspect of the chromatic double-note details in the Technical
Studies is the way in which Liszt explores their structural and linear possibilities. The
chromatic details of minor thirds, for instance, are examined in both similar and
contrary motion in ascending and descending patterns as well as being set at both an
octave and within the context of a diminished seventh chord.

Example 9.15. Chromatic configurations in double minor thirds, no. 28


(I: 158, m. 121).
121 42 '3 3I 3 . 4 4
~
4 s 4 .
2
'
3 2

2Jlljl]ilS4J
2 4 J .s .4
'
4
·{121)~~
2
l 3

..•.
(/1lj 1 4
2 3 4
'

~- -~ ' L
U!.:l"'"
li
~~

~ 3
I
I
5343~~4
2

Example 9.16. Diminished chords through chromatic minor thirds in similar and
contrary motion, no. 33 (IT: 10, mm. 3-6).

sJ4J4~1 3
1 2 I I 2
3
A tiJ 4.l4SJ4
21 2Ji2 t I

. w. .•. .~

l l I
3
2
4 l I I
3
2
4

5
186

Liszt's detail of configurations in chromatic major thirds follows the same


methodology as mentioned above.

Example 9.17. Chromatic configurations in double major thirds, no. 28


(1: 158, m. 122).

1 2 I 2 I 2 4 J
3 4 3 51 4 ' 4

' 4 J
' 2 l '

'.

Example 9.18. Chromatic major thirds in similar and contrary motion, no. 34
(II: 11, mm. 3-6).
3 4 s 3
' 4
._2_1
3434343~
'J
lui 1., 1 t,.~lkq! ~~bni ~• ~~!q~ ~Aqn~
h. 'b. .L

I
s
2
4
I
J
J
s
i ~ i J "' I) r~· 2
5 '4
j'll 2
J 4
l r, 1 i' ;v i"'i~~· .l l
45J4}· '
I 2
4

There are no left-hand details of chromatic minor sixths in the Technical


Studies. However, a chromatic right-hand passage in minor sixths can be found in
exercise no. 38 where they are combined with minor thirds in similar motion only.
Liszt may have left this awkward left hand configuration out of the Technical Studies
due to the unlike! y nature of finding it in a score. This should not be seen as an
oversight in Liszt' s methodology due to the attention minor sixths are given in
exercise no. 30.
187

Example 9.19. Chromatic major and minor sixths with minor thirds in
diminished seventh chords, no. 38 (II: 14, mm. 3-6).

.....
"H'

lf ":!!i".----- ----------------------------------- --~


5 2s1s4s
.. ..;:. ,i .... ~ -~ 2
4
, • l l l l l 4 '2 .u 4I L. '2
'I 4 .

With the exception of the pitch of Liszt's details of chromatic major sixths,
these configurations are identical when they appear in two separate exercises. The
difference between the two lies in the fingering suggestions provided in them.
Exercise no. 38 presents the more usual fingering, whereby the fourth finger is placed
on the black notes, while exercise no. 30 features a more unique fingering, which
places the fifth finger on the black keys. This is an example of where Liszt' s fingering
options not only exhaust the various possibilities, irrespective of how unlikely they
may seem on first appearances, but also may be a way of demonstrating two things;
firstly, that Liszt wanted the pianist to be "prepared for any occasion," 12 meaning, in
the possession of a technique that is so complete and facile that such fingerings are
easily manageable and secondly, the possibility that by practicing a technical
configuration with a fingering that is even harder than one which is awkward, the
pianist may find that upon returning to the original option that the passage has become
easier to play. As unlikely as this may seem, it was suggested by Busoni when he
stated

Practice the passage with the most difficult fingering; when you have
13
mastered that, play it with the easiest.

12. Boissier, The Liszt Studies, xxiii.

13. Busoni, Essence of Music, 81.


188

Example 9.20. Chromatic double major sixths, no. 30 (I: 176, m. 97).

Example 9.21. Chromatic double major sixths, no. 38 (II: 15, mm. 9-12).

9
Hi
T 1 j
2
4
I
j
2
4 ,

l • j J. ·~ ~~ ,,... q,.i
J 4
j 4
I ~ I 1 2 1 J11 i b.i.
j
.lb. q,i
a·----------------------------;--·.;···s··-j---4·--

l " • ,,.. b•

I
'
2
j
I
4
·~.~~
2
j
I
4
e:.#e:
I

'
2
4
~

'. f
'
nr
4
i" l j~J
2
54
I I
,4S.
~
2
_,l.lo,..q,..
I 2

'
•I
4
2

'
I
4

11

The chromatic configurations in fourths that are arranged in 6/3 chords in nos.
29 and 35 are also structurally similar except in regards to pitch. A comparison of
these with the exercises in chromatic major sixths (discussed above), again shows
Liszt' s awareness of fingering possibilities of which the pianist may need to be made
aware. This comparison reveals the consistency by which Liszt's technical trajectory
unfolds and furthermore, indicates that there is a definite scheme of technical
advancement being laid out for the pianist so that he/she may achieve virtuosity.
!89

Example 9.22. Chromatic fourths in 6/3 chords in similar motion, no. 29

97
(I: 167, m. 97).

...... , , , , , , ,
. .s 4 ,S .l 4
'·:
•~ tt:&: :~ :-;;·~. :::;: :: r::·::
Jl•-''1 . lll214 ,,1,

Example 9.23. Chromatic r.h. fourths in 6/3 chords, no. 35 (II: 11, mm. 3-6).

5 J 4 .s 4
45.3454 l 2 1 I 2
3 2 1 1 2 I 2

2 I J

Example 9.24. Chromatic l.h. fourths in 6/3 chords, no. 36 (II: 12, mm. 3-6).
3

I
'
2
4
I
J ' . ,
4

I 3 1 3
I l 2 I J

,

190

Liszt' s structural extension of the chromatic double 6/3 chords over two
octaves is consistent with other chromatic patterns. The fingering in exercise no. 31 in
the left hand is particularly noteworthy because it is a legato fingering that indirectly
demonstrates Liszt's expectation that the left hand should be as technically competent
as the right.

Example 9.25. Chromatic double major 6/3 chords, no. 31 (II: 6, m. 73).

Although speculative, the chromatic configuration in exercise no. 37 seems to


be a logical extension of the configuration detailed in no. 33, whereby the outer notes
have been "pushed out" 14 by a minor third.

Example 9.26. Chromatic diminished fifths (tritones) in diminished seventh chords,


no. 37 (II: 12, mm. 1-2).

• 3 4 l 4
'
J4J
I 2 I
4s~
2 I •• .. .I,.' •• • 4J4J
2 I 2 I
.5434

lI" r'' ~..J


2 1 I 2 2 I 2 1
1~i.~.e~~. ·~~~.4 ·~ . ~
2 I 2 I 2 I 2 I 2 I 2 I
4 4 I
lti! '~~ 4 3 3 3 4 3 4
:
4 I 2 3
' 3

2
2 I 2
'
I
4
2
' J I
' ~ ·*r i I ' 2 4
I 2 I 2 1 r ·r·~
2

'
I
4
'
I
4
' 4 3 ' 4 ' '

14. This author's expression.


191

Example 9.27. Chromatic diminished minor thirds in similar and contrary motion,
no. 33 (II: 10, mm. 3-6).

J • 4
2 3 l{- --------- -----
2
3 +
2
4
2
J
I
4
2
)
I

1 2 I J J 2 2 2 I I 2
s 4 J 5 s 4
J
3 4 J 4 3 4

-------- ----i

l I
.)
..
2
l 4 s 4 J 4

Exercise no. 37 features fingering suggestions that Liszt made in respect to


both chromatic thirds (no. 28) and sixths (no. 30) scale passages, so that the fingerings
here are adaptations of what is already known. This demonstrates how Liszt uses
fingering options in combination with his chosen technical structures to suggest
"hidden" 15 possibilities, or technical possibilities that might otherwise have remained
16
unconsidered by the pianist. It is evidence of Liszt's own suggestion to "invent"
technical situations which lend themselves to both technical advancement and new
compositional possibilities.

Using the "two-finger" 17 chromatic configuration of exercise no. 5 as a


template on which to build other two-finger technical exercises, Liszt transforms this
former single-note detail into a study in chromatic major thirds in exercise no. 23 (see
pp. 116-117).

15. Walker, Reflections on Liszt, 203.

16. Boissier, The Liszt Studies, xxiii.

17. Mason cited in: Gerig, Famous Pianists, 239-240.


lYL

In contrast to this detail of thirds, where only the major form of the
configuration is presented, exercise no. 27 presents sixths in both their major and
minor form. This makes it possible to surmise that Liszt was conscious of the need to
present similar technical patterns in as many varied ways as possible so that the
pianist would be continuously engaged in the task at hand and not become bored by
the repetition. 18

Example 9.28. Chromatic detail in double sixths at an octave, no. 27


(I: 146, mm. 73-83).

71 l 4
l

77 4I 2' 4I

8~ #_.~,... •.H...... ~ .... ... SJ!e . '


I

~
~


..
.JR .. ,..~. •.ltaJOH..
I!!.."**'
- . :

• ·w· .... ~··•••• ~· . ~

The two stepping chromatic configurations in 6/3 chords featured in exercises


nos. 25 and 26 have the same notes and rhythmic patterns, yet, the ways in which
Liszt addresses these mechanically, albeit within the context of the separate exercises
in which they appear, shows his intention to exhibit the various possibilities that are
available to the pianist in overcoming technical impasse. This is possibly the best

18. Variation is one way that Liszt addressed the issue of boredom. In his formative years he
also suggested reading. Boissier, The Liszt Studies, xiii.
examples in the Technical Studies where Liszt's insight into the numerous mechanical
ways in which a technical problem can be solved is demonstrated.

Example 9.29. Chromatic detail in r.h. fourths and in 6/3 major chords, no. 25
(1: 138, m. 13).

Example 9.30. Chromatic detail in !.h. fourths (r.h. cross-over) and in 6/3 major
chords, no. 26 (1: 141-142, mm. 13) .

.5 4 s 4
(13 4 J 4 3
J 2 3 2
Different mechanical procedures exist between these two technical
approaches. In exercise no. 25, the fourth in the 6/3 chord is given in the right hand
while in exercise no. 26 it is scored in the left and where Liszt has the right hand play
the bass note of the chord over the left. This exercise not only demonstrates that the
pianist has the possibility of taking the fourths progression with either hand but also
details the technical possibility of crossed hands in piano playing.

Although the diatonic double octave chromatic patterns in exercise no. 39 are
all set at a major sixth, it appears that in the interest of variation, Liszt ends the
exercise with a detail of double octaves in chromatic major thirds.

Example 9.31. Chromatic octaves set at a major third, no. 39 (II: 20, mm. 67-70) .

.4

This arrangement of the configuration seems to suggest where the technical


trajectory of this exercise is headed as in the following exercise, no. 40, the possibility
of double octaves with a third included are examined.
Example 9.32. Chromatic octaves with a third included, first configuration, no. 40
(II: 26, m. 49).

49

(4f! • '.. •.

~~
,. W* '!* .. .• "*
-~ ~~ . fl. ~fl. • b. L
:
,.

Because it can be demonstrated that Liszt' s methodology involved the


exhaustion of all the possible configurations of key technical patterns, it is not
surprising to find that half-way through this detail Liszt varies the configuration so
that the third is now on the opposite side of the octave.

Example 9.33. Chromatic octaves with a third inclusive, second configuration,


no. 40 (II: 26, m. 50).

(50) ~

l'
~. ..
5fJ tr··--------------
---.------.-------
' .~ .fl. ~fl. • ~. I

~ "' . ,. •w• •q•


• II-= &bq-& H., •• • " L
I

.. ~- ., ~* 'qil="~ q~ ~3 'q3 " ff' "* q•


The regularity in which diminished seventh configurations appear in the
exercises of the Technical Studies indicates that Liszt favored these as a vehicle
through which their technical possibilities could lead to pianistic virtuosity. Exercise
no. 43 is exclusively dedicated to chromatic technical structures that are based on the
diminished seventh at intervals of a sixth as well as an octave.

Example 9.34. Chromatic detail in diminished seventh chords, first configuration,


no. 43 (II: 43, m. 1).

b4

Example 9.35. Chromatic detail in diminished seventh chords, second configuration,


no. 43 (II: 44, m. 5).

It is noteworthy that in these octave passages the chord is given to the


strongest fingers of the hand, namely, fingers 1, 2 and 3; there is no detail for the
fourth finger. Despite the fact that Liszt has given no tempo indication, this could
imply that it was intended to be a study in chords at rapid tempo due to the greater
mechanical certainty of the fingers being employed in its execution as well as its
detail in double octave structures.

19
In addition to Abniham's statement that the wide arpeggiated configurations
in exercise no. 63 are among the most difficult passages in the Technical Studies, the
leaping double octave chromatic configurations presented in m. 133 of exercise no.
57 a are akin to this if not the most difficult of all those presented.

19. Abraham, Seeking Ways and Means, 41.


Example 9.36. Chromatic detail in octave leaps, no. 57a (III: 12, m. 133).
13!
~.u .. "" ~.. !: ·~ ~ ~~ ~ "F= F=-
I• .., ,,... .. _,..... .. .
.
• r r r r f" f" 1'" 1'" 1'" 1'"

lb• I• lb• • f>d ld


,.t~.l ~q.r ;; tl><' ;; ~... ;; . ;;:tt••;; ;; ;; ;; 4 ;; 4 ;; ;; ;; ;; 4

(lfJJ ~~ F ~ ~ ~- ~ f E t~ ~ ~~ ~ •~ ~ ~~ ~~~~~~
I• ~ ~ ~ 1'" 1'" ~ -r -r 1'" -r -r -r f" f" jo- jo-

.. q~ ~ ~ ~ n~ ~ ~ F: t~ -~ ~~ ~ tE E ~E Et€ttE
:j;o F F F F F F F F F F F j;i: j;i: j;i: jo:
(11 a·---------------------------------------------------------------------------------------------------
:1) e: .. l!:... :l!: l!: ~~~~~~- ~-~ ~ j!: j!: j!: j!: j!: j!:
I• -r 1" jo" ~jo" jo" F j;i: I>F F
~~ t~~ et:~ ~~ ~j!: ~~,.. ~.,.. ~ ~. ~ ~- ~ e. ~ ~ ~

JlfJ l!:: !";: ~: ~: !!;_: !";: !";_: !:: ~: ~: '!:_: ~: ~-: '!:: !";: ~: '!:: !";: FO:

t::== bid' r
o)

==== I::== === c=:d


~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ i ~ ~ ~ ~ e~ ~
" )'" b)'" --~-- "-¥6!= ~
==
1'" I ' 1'" I

"'"'"" === ===


While there are other configurations in this and other exercises that feature
octave leaps in various forms, they are all based on broken diatonic chords across the
intervals of a third, fourth, sixth or octave etc, which are all shorter in spatial distance
than the leaps placed consistently over the octave in m. 133. The difficulty of these
leaps is heightened by the fact that the partial expansion or reduction of the distance
by a semitone in ascending or descending directions respectively that both arms must
traverse from a fixed pedal-point, requires a pinpoint lateral muscular assessment of
the spatial relationships between the two points so that the pianist will strike the
correct keys. This technical structure represents an excursion into the extremes of
pianistic difficulty where there needs to be an unprecedented understanding of the
geometric movement of the arms horizontally across the space of the keyboard. While
it is not the intention of this paper to demonstrate the connections between the
configurations of the Technical Studies and those found in the canon of piano
literature, it needs to be stated in the interest of putting such an extraordinary
configuration into a realistic musical perspective, that there are only rare and isolated
places in the repertoire where such a musical structure can be found. One of the most
technically similar musical examples of it can be found in the piano score of Liszt' s
own transcription of Meyerbeer's Le Moine. 20

Example 9.37. Meyerbeer/Liszt, LeMoine, mm. 96-98.

t~ ~i
~···
~ I !l h. !d ~

... ~~I' ~
• ;; ;;

).
~ ~ :0 ~ ~ :0
~ ~~ q~ ::
,. F' ~F' ~li F
~ ~ ~
J ·~

Liszt' s attention to other forms of chromatic octave leaps continues in exercise


no. 59 where the octave structure is harmonized to produce configurations of three
and four notes. These are detailed in the major keys only but Liszt creates variety in
the way that the three note configurations are presented by including patterns in both
contrary outward and contrary inward motion.

Example 9.38. Chromatic detail in octave leaps with a major third included,
first configuration, no. 59 (III: 29, m. 61 ).

20. Cited in: Gollerich, The Piano Master Classes of Franz Liszt, 161.
Example 9.39. Chromatic detail in octave leaps with a major third included,
second configuration, no. 59 (III: 29, m. 61).

li.... --~---. #~ .. --b~-~- .. -~~-- ~~~~---·:q:~ co• ~~


16 b~~ ~~~ b! q~


_jj"
~" 'l!l" Wl"' W'"
.i k i i; ; E~.t e ~e f: -~ ~ b.ol ~

~ ,~ ~ ~bl ~

These technical passages are followed by four-note chromatic details in


similar motion. Liszt's attempt to avoid harmonic monotony is demonstrated in this
passage through the inclusion of left-hand four-note chord details in first inversion as
opposed to the root position details of the previous three-note patterns.

Example 9.40. Chromatic detail in leaps and in four-note chords, no. 59


(III: 30, m. 62).

62
Following this discussion of the chromatic octave exercises from Book III, it
becomes apparent that the high technical demands placed on the pianist by these
configurations are equal to those found in the diatonic details. If it can be imagined
that these were the types of exercises Liszt practiced in his youth, then it is not hard
to imagine how and why he came to be known as the greatest pianist of the nineteenth
century, 21 if not all time. 22

The chromatic single-note


I
leaping passages in exercise no. 60 and 61 are no
exception to the above statement of difficulty. In exercise no. 60, for example, instead
of setting.the hands at a fifteenth (two octaves), which would have allowed the pianist
to concentrate on one note choice at a time, such as c, Liszt heightens the difficulty of
these passages by harmonizing the leaps in intervals of a compound minor sixth
between the two hands.

Example 9 .41. Chromatic detail in single note leaps over two octaves, no. 60
(III: 36, mm. 104-1 06).

The leaping passages in exercise no. 61 present a similarly difficult


configuration that leaps horizontally outward from a central pedal-note.

21. Lebert and Stark, n.d.

22. Lachmund, Living with Liszt, 165.


Example 9.42. Chromatic detail in leaps over the octave from a pedal-note, no. 61
(III: 36-37, m. 1).

In respect to the leaps in exercise no. 60, the difficulty of this technical pattern
is heightened by the fact that the two hands must leap to two different notes as well as
white and black key combinations at the same time. Liszt takes the spatial judgment
of distance by the hands through lateral space to its limit in such technical exercises,
anything technically beyond these patterns would be more in the realms of wbat is
pianistically impossible.

The first chromatic detail in exercise no. 63 is featured in similar and contrary
motion and structured on diminished seventh chords that are set at a tenth in both
hands.

Example 9.43. Chromatic detail in diminished seventh chords in minor tenths, 23


no. 63 (III: 51, mm. 142-144).

23. These chords are based on a scale progression; however, because most pianists will need
to leap to the top note through an arpeggiation, they have been classified as a leaping configuration.
The chromatic chord structures that conclude this exercise, from mm. 155-
161, are among the hardest configurations to execute in the Technical Studies. These
harmonic configurations reveal digital possibilities that are not possible in similar
structures based on the primary chords of the scale detailed earlier in this exercise,
and it is perhaps for this reason that Liszt includes them here. The various ways in
which the intervallic makeup of these chords is varied from bar to bar throughout this
section of the etude demonstrates Liszt's desire to present as many of the pianistic
possibilities of these configurations that are mechanically beneficial to the pianist.

Measure 155 in exercise no. 63 presents a study in arpeggiated compound 7,


6/5, 6/4 as well as some 5/3 chords arranged in technically interesting harmonic ways.
Each configuration of the hand is made up of groups of two notes arranged either at
the interval of a major third, minor third or a perfect fourth which are spread over
three octaves between the hands.

Example 9.44. Chromatic detail in arpeggiated chord leaps over the octave,
first configuration, no. 63 (III: 52, m. 155).

When considered in the four-quaver groups that move upwards chromatically


throughout the bar, from g-a flat-a-b flat etc, the chord patterns revealed demonstrate
Liszt's interest in the technical possibilities of harmonization outside of the primary
triadic and seventh structures.
Table 2. Harmonic detail of the arpeggiated chromatic chord leaps over the
octave, first configuration, no. 63 (III: 52, m. 155).

Harmonization in m. 155, exercise no. 63 from 12 grofle etiiden


Chromatic First Chord Second Chord Third Chord Fourth Chord
movement from:
G CDom7: G-flat Major 7 B flat Major 6/4 FMajor
6!5
A flat D flat Major 7: G Major? B Major F-sharp Major
6!5 6/4
A DMajor7: A flat Major 7 CMajor GMajor
6/5 6/4
B flat E flat Major 7: A Major? C sharp Major G sharp Major
6!5 6/4
B EMajor7: B flat Major 7 DMajor A Major
6!5 6/4
c FMajor7: C flat Major 7 E flat Major B flat Major
6!5 6/4
C sharp F sharp Major 7: C Major? EMajor B Major
6!5 6/4
D G Major?: D flat Major 7 FMajor C Major
6!5 6/4
c Fminor C Major F minor C major
6!4 6/4

Measures 156-158 in this exercise detail compound arpeggiations that place


wide stretches between the fifth, third and second fingers of both hands. The
intervallic distances that the fingers traverse in these chords include major and minor
thirds, fourths and fifths, diminished fifths and both major and minor sixths. In other
words, all the successive chromatic intervals from a minor third to a major sixth.

Example 9.45. Chromatic detail in arpeggiated chord leaps over the octave,
second configuration, no. 63 (III: 52, mm. 156-158).
It is worthy of note because of its relevance to tbe understanding of Liszt's
methodological exactitude tbat the technical configurations which detail finger
stretches across tbe interval of a major and minor seventh are included in exercise no.
67 (mm. 21-23), so that although these are not part of the harmonic detail of the
arpeggiated chords in this exercise, Liszt' s consistency in the examination of all the
fundamentals "whatever tbey may be," 24 is nevertheless apparent and consistent with
Boissier's statement that

Tout les traits en rnusique, to us les enchafnernents, quells qu 'ils soient, se


reduisent a un certain nornbre de passages fondarnentaux qui sont Ia clef de
25
tout

All the characteristics in music, all the successions, whatever they may be, are
reduced to a certain number of fundamental passages which are the key to
. 26
every th mg.

Because tbe harmonic structures of the chords in exercise no. 63 from mm.
156-158 change from bar to bar, varying digital and mechanical demands are made on
tbe pianist. Liszt introduces half-diminished chords into these passages which cause
the fingers and hands to be placed in positions that would otherwise not occur in tbe
major and minor based configurations of the other exercises due to tbeir intervallic
make-up and the ways that Liszt has arranged them. These tbree bars are unique
within tbe harmonic planning of the Technical Studies because whereas Liszt always
adheres to a single scheme throughout an entire exercise, such as modulating around
tbe circle of fifths from the major to the relative minor etc, Liszt' s scheme changes
every bar in this exercise. The changes in both the harmonic make up of these
technical patterns as well as the method of modulation through which they are
addressed are tabulated below for comparison with the other exercises.

24. Boissier, The Liszt Studies, xvii.

25. Boissier, Liszt pedagogue, 49.

26. Boissier, The Liszt Studies, xvii.


Table3. Harmonic detail of the arpeggiated chromatic chord leaps over the
octave in exercise, no. 63 (III: 52, mm. 156-158).

Harmonization from m.156-158, exercise no. 63


from 12 grofle etuden
Bar 156 Bar 157 Bar 158
1st chord C7 E flat 7 (6/3) A major 7 (6/3)
2nd chord G07 A flat minor D minor
3rd chord C sharp 7 E 7 (6/3) B flat Major 7 (6/3)
4th chord G sharp 0 7 A minor E flat minor
5th chord D7 F 7 (6/3) B 7 (6/3)
6th chord A07 B flat minor Dim. 7 on D sharp
7th chord D sharp 7 F sharp 7 (6/3) B 7 (6/3)
8th chord A shrup0 7 B minor Dim. 7 on D sharp
9th chord E7 G 7 (6/3) . C major (6/3)
lOth chord B07 C minor
lith chord F7 G sharp 7 (6/3)
12th chord C07 C sharp minor

The chromatic compound configurations from mm. 159-161 in exercise no. 63


present the pianist with clear evidence that part of Liszt's methodology involved the
27
identification of "fundamental passage"' which were then exhausted of their
possibilities because in these three bars, the top and bottom notes are identical in each
bar while the chord structures between them are different.

Example 9 .46. Arpeggiated chromatic chord leaps over the octave, third
configuration, no. 63 (III: 52-53, mm. 159-161).
': j,
o~ ~ ~ q~ ~ ·~ ~ j,!:
~ s··-----------------------------~

~r ~~~·! q~ "F: qF=_ ~ j, PfR o. i!: iR oo.


II
! ~ 1--H ... •
,.. j,,._ fR of!: ~ ~ ~ ~· ·~ ~ -~"' ~~ :;~ ·~
io: ~. Pi!: ~"' ·~ ~ ~ .,q~
!:hj: f!: f!: ,._ oo.

~ i •

27. Boissier , The Liszt Studies, xvii.


The chords from mm. 159-160 unfold in a technically progressive order that
must be arpeggiated laterally over wide compound intervals. Common to all these
technical patterns is the omission of the fifth of the twelve major tonalities on which
the three bars chromatically ascend and descend. Measure 159 details three note
structures in each hand with octaves on the outside of the configuration and sixths on
the inside, while measure 160 builds directly on these configurations through the
addition of a fourth note in each hand. The rhythmic expression of these figures in
quavers is consistent throughout; Liszt has not slowed down the configuration by
notating it in crotchets, for instance, so that he requires an unwavering tempo despite
the increase in difficulty that occurs from one bar to the next. The overall technical
implication of this, which may or may not be applicable to other exercises, is that
Liszt did not want the pianist to be musically "detained" 28 by a lack of mechanical
fluency brought about by the increased difficulty of a passage.

Liszt' s attention to chromatic configurations with alternating hands in single


notes in exercise no. 15 is arranged successively from a single note detail to, two-,
three-, four- and five-note groupings. These configurations challenge the mechanical
action of the wrists, guided by the arms as the progressions ascend and descend over
two octaves from middle c. The speed in which the pianist can judge the necessary
vertical drop of each hand in succession determines the fluency of the exercise,
therefore, the mechanical aim of these passages is not only to take "the idea of
horizontal finger equalization to its limit" 29 but to bring this into equilibrium with the
vertical actions involved in piano playing. In this way, the "seemingly dry and
anonymous display of mechanics" 30 in this exercise contains the vertical action of the
tapping configuration (exercise no. 1) as well as the horizontal "two-finger"
configuration (exercise no. 5), and then introduces the spatial motions that occur
above the keyboard, literally "through the air." 31 In other words, it consolidates the
vettical and horizontal action of the fingers with wrist and arm movements and in so

28. Boissier, The Liszt Studies, xiv.

29. Walker, Reflections on Liszt, 205.

30. Walker, Reflections on Liszt, 206.

31. This is this author's expression; however, it is understood that this is not original as this
type of technical thinking can be found in Neuhaus (The Art of Piano Playing, 88).
doing renders these purely mechanical configurations akin to artistic piano playing.
This is one example of where "the links between these studies and Liszt' s piano
compositions are clearly revealed.'m

Example 9.47. Chromatic detail with alternating hands in single notes, no. 15
(I: 100, mm. 121-122).

Example 9 .48. Chromatic detail with alternating hands in two-note groups, no. 15
(I: 100, mm. 127-128).
3 2

i- ~
:¢ u, .•m·gr.; uutl"u~ I e--fArrum
-- gil· -g ~- -- .·
era-'
(/28)

'u~oGta"m ~q;p 1

Example 9.49. Chromatic detail with alternating hands in three-note groups, no. 15
(I: 100, mm. 129-130).

32. Walker, Reflections onLiszt, 204.


Example 9.50. Chromatic detail with alternating hands in four-note groups, no. 15
(1: 100, mm. 131-132).

Example 9.51. Chromatic detail with alternating hands in five-note groups, no. 15
(1: 100, mm. 133-134).

114 J'

* I 2 3

All the chromatic two- and three-note configurations featuring alternating


hands in exercise no. 32 are arranged in alternating patterns of chords in major thirds
and sixths only. This makes it one of the exceptions to Liszt's rule of examining his
chosen technical configurations in both major and minor keys. Nevertheless, the
systematic method by which Liszt addresses similar technical issues is evident in the
way that these passages also ascend and descend over two octaves from middle c, the
same way in which they are arranged in no. 15.

Example 9.52. Chromatic major thirds with alternating hands, no. 32


(II: 9, mm. 55-57).

5
5
1 · · 3 ,J · ; M• '·= ~~"e J;M,qJ ~@ 1#
4 u ;• u~P· bell'• .,... ~~c • ij e , .. .. - ~
Example 9.53. Chromatic major sixths with alternating hands, no. 32
(II: 9, mrn. 49-51 ).

i fli4,i(§ 3tid 'Frd t·il ~ g lji 3/; j•~d 'fll:


' .

i yJ ·¥a ·tellfll 1,rl •:a F.ltp ,a ¥dlfla "B ,.,f1l


Example 9.54. Chromatic major 6/3 chords with alternating hands, no. 32
(II: 9, mrn. 52-54).

The most unique aspect of Liszt's detailing of the chromatic configurations in


the Technical Studies can be found in the various fingering options he provides for the
pianist. These fingerings appear to be designed to aid in the development of finger
strength and independence. They also allow the pianist to study the topography of the
keyboard in ways which lead to a greater understanding of the positioning of the
hands Although these fingerings may seem to be unusual, 33 there is no doubt that
Liszt was aware of all the other options, 34 choosing these because of their greater
pedagogical usefulness.

33. Mach in: Boissier, The Liszt Studies, III.

34. Walker, Reflections on Liszt, 206.


CHAPTER tO

Liszt's Treatment of Trill and Tremolo Configurations

Due to the fact that the mechanical action of the trill embodies in the most
fundamental form the vertical and horizontal mechanical action of the fingers
necessary to all piano playing, the relationship these technical configurations have to
the principles identified by this author are fundamental. There is a complete group of
technical/musical structures based on this configuration in various exercises in the
Technical Studies which in combination with other exercises and with the right
"drill, " 1 may lead to the perfection of digital virtuosity. 2

Trills and tremolos can move between white and black, black and white or be
made up of the same keys. They can feature two-, three-, and four-note chords, be
conceived in single notes or be expressed between two chords. So that the various
types of tremolos that Liszt features in the Technical Studies may be understood
technically and to identify the differing mechanical procedures these require, a
discussion of some of the ideas of some prominent piano pedagogues may be useful in
illuminating the ways that the six principles come to bear on Liszt' s chosen tremolo
configurations and the technical ends they serve.

Cortoe refers to the oscillation between two notes at an interval larger than a
major second as being "nothing more nor less than a trill whose position is widened."
However, unlike the regular single note trill that oscillates between the interval of a
tone or semitone and whose articulation stems from the finger, Cortot states that the
tremolo is determined by "a movement to and fro on the part of the wrist. .. (that) 4 in

1. Boissier, The Liszt Studies, xiii.

2. Boissier, The Liszt Studies, xxi.

3. Cortot, Rational Principles, 83.

4. This author's insert.

210
rapid execution, ends by being merely a sort of trembling which communicates itself
to the fingers. " 5 Cortot6 describes more complex tremolos such as those that involve
an oscillation between a single note and a chord etc., as "a trill of chords" and states
that all tremolos, despite their type, are executed in the same way. 7

8
Matthay' s descriptions of the mechanical actions involved in tremolo
technique concur with those of Cortot in that he mentions that the pianist must
"vibrate the hand (sic), as in shaking a pepper-box" and adds that this can also cause
"a sympathetic vibration of the whole arm - hardly however recognizable by the eye."
Matthal identifies various types of tremolo, namely, "upper-arm rotation" as well as
"fore-arm (sic) rotation" and clarifies his description by stating that upper-arm
rotation tends to be "more clumsy" than forearm rotation. Ortmann recognized both
these forms of tremolo technique. In respect to the forearm tremolo, he 10 suggested
that

This rotation is shown clearly in the turning of a doorknob or the turning


of a screwdriver. If during such a motion the thumb and the fifth finger
are fully extended and abducted (as in an octave stretch) (sic), both
thumb-tip and finger-tip will describe arcs of a circle.

In regard to the upper-arm tremolo, Ortmann 11 stated that

When the intensity demands exceed the muscular strength of the fingers,
arm-rotation may advantageously be added or substituted. But for all soft
and moderately loud degrees, the finger tremolo is much better. It permits
better control of tone and less expenditure of energy, hence it is a better
coordinated movement.

5. Cortot, Rational Principles, 83.

6. Cortot, Rational Principles, 84.

7. Cortot, Rational Principles, 84.

8. Tobias Matthay, Relaxation Studies in the Muscular Discriminations required for Touch,
Agility and Expression in Pianoforte Playing (London: Bosworth & Co., 1908), 118.

9. Matthay, Relaxation Studies, 125.

10. Otto Ortmann, The Physiological Mechanics of Piano Technique: An experimental study
of the nature of muscular action as used in playing and of the effects thereof upon the piano key and
the piano tone (New York: Da Capo Press, 1981), 186.

11. Ortmann, The Physiological Mechanics of Piano Technique, 189.


In tremolo configurations that are structured around a chord and a single note,
Ortmann 12 proposed that

The rule in such cases is to use a finger-stroke without fore-arm rotation.


Even though the tones can all be played with a forearm tremolo, the
differences in tonal intensity and agogic evenness will spoil a finished
tremolo effect.

Gat 13 describes the tremolo in great detail paying particular attention to the
musical situations in which tbe tremolo may arise as well as what may be its desired
effect. He states that the most important principle in tbis technique "is the rotation of
the forearm" 14 and argues that because the force of attack on the key in this technique
"is at right angles to the axis of the key" (that is, from the static horizontal swing of
the wrist rather than from the vertical throw of the fingers), it is both incapable of
being produced with finely controlled dynamic shading and mechanical in sound. He
then states that this technique should only be employed in fast tempi, where "it is
perfectly feasible to shape the dynamic contours of the tremolo as a whole through the
weight-effect of tbe upper arm." 15

The Forearm Tremolo

Gat16 states that this type of tremolo requires a fixed elbow position. However,
he draws attention to the fact that the rotation (rotary movement) towards the fifth
finger is easier tban towards the thumb because supination 17 is controlled by tbe
strongest upper-arm muscle, being the bicep. He also states that very rapid tremolos

12. Ortmann, The Physiological Mechanics of Piano Technique, 191.

13. Gat, The Technique of Piano Playing, 170-174.

14. Gat, The Technique of Piano Playing, 170.

15. Gat, The Technique of Piano Playing, 170.

16. Gat, The Technique of Piano Playing, 170.

17. The rotation of the forearm towards the fifth finger. Ott, Lisztian Keyboard Energy, 108.
are only possible by maximizing "the rotary possibilities of the forearm." 18

The Shaken Tremolo

Gat's 19 description of this type of tremolo is similar to that given for the
forearm tremolo; however, he adds that the upper-arm participates in the swivel
movement through "a passive shaking of the upper arm." He also mentions that
because there is more arm mass participating in this type of tremolo it is louder in
volume due to the fact that the weight of the arm and hand falls on the thumb in
pronation. 20 Gat21 also states that tremolo technique requires a thorough knowledge of
both octave and chord positioning and states that there is "hardly any connection"
between the slow tremolo and the rapid rotary tremolo employed in fast tempi.

Similar to Gat, Hoffmann22 describes the all-encompassing mechanical nature


in which the tremolo can engage the whole arm in Piano Questions Answered. His
comments are particularly significant because of the similarity to one of Liszt' s own
remarks in respect to their speed:

The tremolo cannot be practiced slowly, nor (sic) with a stiff or quiet
hand. The action must be distributed over the hand, wrist, underarm and,
if necessary, the elbow. The shoulder forms the pivot where a vibratory
motion must proceed and engage all the points on the road to the fingers.

In relation to Hoffmann's comments and according to Lachmund/3 it appears


that at least in some instances Liszt preferred trills and tremolos to be taken at a fast
tempo due to his expression "such economy of notes" when played slowly:

18. Gat, The Technique of Piano Playing, 172.

19. Gat, The Technique ofPiano Playing, 171.

20. The rotation of the forearm towards the thumb. Ott, Lisztian Keyboard Energy, I 07.

21. Gat, The Technique ofPianoPlaying,l72.

22. Josef Hoffmann, Piano Playing with Piano Questions Answered, Introduction by Gregor
Benko (New York: Dover, 1976), II.

23. Lachmund, Living with Liszt, 48. See also: Walker, Reflections on Liszt, 211.
4
If anyone played trills or tremolos in a lame manner (Liszt would 'call out')?
"Ah, such economy of notes."

Walker's 25 more artistic consideration of the tremolo highlights the sonic and
musical results that this technical pattern can have, stating that

It can release tremendous volumes of sound akin to those of the orchestra; at


the other end of the spectrum it can bewitch us with the soft magic of its
veiled colors. Everything depends on the player.

Yet, Walker26 has also pointed out the mechanical difficulty in executing a
good tremolo, stating that most pianists perform them "with varying degrees of
failure." Following this discussion, it seems apparent that liszt was aware of all the
mentioned mechanical and musical issues involved in tremolo technique because all
of these are required in the practice of the various tremolo configurations in the
Technical Studies.

The trills with held notes in exercise no. 1 embody the horizontal and vertical
principles as well as those of rhythm, nuance and intellect. In the first instance, they
detail mechanical configurations that develop control and muscular coordination in
adjacent fingers, that is, in the right-hand; 1-2, 2-3, 3-4, 4-5 and in the left-hand; 5-4,
4-3, 3-2, 2-1. These passages are in rhythms that are designed to lead to the
acquisition of finger independence and strength. 27 The indications of the principles of
phrasing and accent, allow for the study of touch, so that within a very short range of
music, a great amount of technical knowledge can be acquired.

24. This author's insert. The expression "call out" is Lachmund's.

25. Walker, Reflections on Liszt, 211.

26. Walker, Reflections on Liszt, 212.

27. Mezo, Technical Studies I, VI.


Example 10.1. Single-note trill configurations with held notes, first pattern, no. 1
(I: 8, mm. 91-96).
G·Moll/ G minor

~ ~·
. l;::::l;:d;d, . . . .
I 2
legato .S~acc.

.... • ........... .
' 4

. ~ '-+-'
. . . • . ·• . 0.
legato · stacc.

. ..
U••U .•...I..l
.• .•
:-l. ~ .. :f: .. ~.

I"'
I legato stacc.

'
Example 10.2. Single-note trill configurations with held notes, second pattern, no. 1
(I: 12, mm. 148-153).


/4B Bs·Dur I Eflu major

. ...... .

150

=
. .. . . . . .. .. . . . ..... .
152
Example 10.3. Single-note trill configurations with held notes, third pattern, no. 1
(I: 16, mm. 205-210).

205 C-Molll C minor

.. 1"1"1 m

Example 10.4. Single-note trill configurations with held notes, fourth pattern, no. 1
(1: 19-20, mm. 262-267).
As·Dur I A flat major
········~·~

r-: --...-J l ••••••••••••••••• 0 ••••••

r .,.., .,..,

f
r
Liszt' s examinations of the possibilities of trill configurations in thirds are
typically exhaustive in that he methodically details the various patterns that are
capable of being digitally realized. The last configuration in this particular group
features a trill configuration where all the five fingers of the hand must be engaged
(example 10.7). In this instance, the thirds that are played by the second and fourth
fingers of both hands and are oscillated with the remaining fingers, being the first,
third and fifth of both hands. This trill configuration represents a culmination from a
digital perspective as it engages all the fingers.

Example 10.5. Two-note trill configurations with held notes, first configuration with
fingering; r.h. 1,3-2,4 and l.h. 5,3-4,2, no. 1 (I: 29-30, mm. 391-396).

Dis-Moll I b sharp minor


--

.~

.. .,..., ......
&-Moll f Eflat minor

- ." .
" --m"urrrr u.r rr:rcu rr:rrn -n.rcu

................. .
. . . . . . I:UCU I:UCU'I:UW.
. . .............
'

~~~~:~
_I"' L :J C J _r C _I"' L I;::I;::I.,J;:i;:d:J C _I"' LI -L
+~" -......... ~ ... ~F=I=
.

.~
'
!395
A '
.

Example 10.6. Two-note trill configurations with held notes, second configuration
with fingering; r.h. 5,3-4,2, l.h. 1,3-2,4, no. 1
(1: 32-33, mm. 412-417).
H-Our I B major

t'> .... -
Ces-Dur I C flat major
- - ......... ·~6... .. - - ...... - -~

.!

.
~

'
.

.r :1 r. .! r -r: ;.r r.

.
A

~- ...... •.
,_
.,,~&~ : : : :


.. ~
...
...
lllll::Jt:
;• _t> ....
-·- ,_ -·- :~ . -~t>

.I:
... .... .... . ... ,_ ... :.,.
.I. o/. ::J .I. I .I.
:

o/. .I. .I.

Example 10.7. Two-, and three-note trill configurations with fingering; r.h. 5,3,1-4,2,
!.h. 5,3,1-4,2, no. 1 (I: 36, mm. 433-438).

Gis-Moll/ G shup minor

As-Moll/ A fla1 minor

.........
. " .
•.

J:: ::~~,=~~~~=~ m:r;:::m:=


The held-note tremolo configurations in exercise no. 1 are all based around the
harmonic structures that stem from root position chords with an added upper tonic
(see below). Liszt seems to have incorporated these tremolo patterns in this exercise
(mm. 526-545) as an introduction to tremolo technique only. Yet, even though Liszt
has limited the range in which this technical idea can be explored, he nevertheless
explores what is available by first examining a broken octave configuration that
features the inclusion of a third in the right hand and a fifth in the left hand from the
bass note. This is followed by a technical pattern which features a fifth in the right
hand and a third in the left hand from the bass. This is the first appearance of this
technical configuration in the Technical Studies.

Example 10.8. Broken octave tremolo configurations with mixed rhythms, no. 1
(I: 43-44, mm. 526-529).

D-Our I D major
52~.

I"'Tr'l7 7 r I r I I
iL 10. 11-. 10. IL . IL IL 10., , 10. 10. 10. IL IL II. II. IL

& ...................................................................................................

ror -,. ro ·JII ·J r· r ·J 1 rr.r L{J ~ _r L{J t:l...rL..CJ C.U L.D


_ a -L a a a a 11. a a A ._ 11- IL IL 11- IL 10. 1'- IL !!

8.'.... .. . ..... --···· ..... ----- .. - .... - .. ------------ -·. --- .. -----·· .... ----·-··· .. ---- ·- .. ·······- ...
The second part of the exercise no. 47 details a trill configuration which
extends the oscillation demonstrated in exercise no. 1 to the interval of a third and
augmented fourth. Liszt's comprehensive method of examining a technical idea is
clearly demonstrated in this section where, in the first instance, he unfolds the trill
technique between the first and second fingers (exercise 10.12), followed by an
oscillation between the second and third fingers (exercise 10.13), then the third and
fourth (exercise no. 10.14) and finally the fourth and fifth fingers (exercise 10.15)
consecutively in contrary motion, thereby covering all the digital possibilities of this
pattern.

Example 10.12. Oscillations between the first and second fingers in minor thirds,
no. 47 (II: 64, mm. 53-54).
53

Example 10.13. Oscillation between the second and third fingers in minor thirds,
no. 47 (II: 65, mm. 55-56).
55

Example 10.14. Oscillation between the third and fourth fingers in minor thirds,
no. 47 (II: 65, mm. 57-58).
Example 10.15. Oscillation between the fourth and fifth fingers in minor thirds,
no. 47 (II: 65, mrn. 59-60).

59

~,_,

Following this, the possibilities of augmented fourth oscillations in contrary


motion are detailed. The presence of the rhythmic principle is evident through Liszt's
inclusion of patterns in simple, then compound time.

Example 10.16. Oscillations between the first and third fingers, no. 47
(II: 65, mrn. 61-62).
61

Example 10.17. Oscillation between the second and fourth fingers, no. 47
(II: 65, mrn. 63-64).
63 --&

~1-'

Example 10.18. Oscillation between the third and fifth fingers, no. 47
(II: 65, mrn. 65-66).

'-3-'
In respect to how the pianist can acquire digital dexterity from these patterns,
the held notes force the player to articulate these configurations 'with a quiet hand,' 28
that is, with no movement from the wrist so that all the digital movement must come
from the mechanism of the knuckle. Esteban29 refers to this when he states that

Emphasis should be given to the raising of the fingers, as this aspect is as


important as the striking of the keys in this type of exercise.

The possibilities of two-note trill oscillations are detailed in various ways in


exercise no. 45. The mechanical difficulty of these patterns comes as a result of
having to articulate two-note patterns against other two-note patterns, which for the
pianist, results in not only an examination of this mechanical possibility but also a
study in concentration, represented in this paper by the intellectual principle.

When mechanical exercises such as those found in the Technical Studies are
considered in a way that reveals what they can provide beyond their "dry-as-dust"30
value implied by some authors, it can be seen that they can lead to real musical and
technical progress. In exercise no. 45, for example, the trill is measured throughout
the entire exercise and the scoring is in two-note chords that feature numerous
intervals and harmonic structures. Therefore, finger control, co-ordination as well as
the balance of dynamics between the hands are the primary technical concerns. This
means that the exercise is not only about trill technique but the interplay of touch and
tone between both the fingers of the hand as well as between the hands and how these
jointly create dynamics.

28. Esteban, Technical Exercises, 166.

29. Esteban, Technical Exercises, 166.

30. Neuhaus, The Art of Piano Playing, 11.


Example 10.19. Measured trills in thirds, no. 45 (II: 50-51, mrn. 1-4).
I l
. "
H n
T4
I 2

l:
' 2

j l

~
-2
r, I 2
"' .. .
u
J. 8 J
i 'j
'

l~

'2

~, 2 I 2
·I 2
J
'
Example 10.20. Measured trills in fourths 31 and sixths, no. 45
(II: 51-52, mrn. 11-14).

4 . . 4 5
.• . .
'l ' . '
cllt!~~t-llt-llt_llt_llt.•llt•llt••j.!, • • • ~•••* •

Example 10.21. Measured trills in sixths and mixed intervals, no. 45


(II: 52, mrn. 21-24).

ul 1
. .

~ ...l!'b'it" ... '<il


. l
........ '* .,•.• ,•. .,.,. "!) .........
·. J
*•*•*•'"'•*•

31. This includes augmented fourths.


The final section of the exercise details octave trills which require
simultaneous mechanical techniques from the finger, wrist and forearm.

Example 10.22. Measured trills in octaves with chords, no. 45


(II: 55-56, mm. 53-56).
53
-. ~b .. ' ~ . . . . . . . . . • ..
a·- --j----- "s"-------- -------- ------------------------ ~--;.-;--

!>- .. !>- . . . . . . .. ...


;-·---.--- -·.--------.-.-.-.----.- -- ~

I"' t:::W
I 2 I
• 2

ol
J
' J
' -• ~ ~
....._ • tJ
'
55.
' t !:' t~
't~!!: f!: !!: ~ ~ ~ ~ ~ l'!: ~ !!: ~ l'!: 4 ~ j: ,i ~ ;._ ~ !'- ~ 1'- !'!= !'- f!: !'- !!: !'- !'!= 1'-

). .. ......................................
~ l .. .. ,.. ..... .. ..
,.' ' ,.'

Exercise no. 45 also explores configurations where technical advances can be


made when held notes are introduced to these structures. These types of technical
patterns force finger independence because the pianist must rely almost entirely on the
mechanism of the knuckle.

Example 10.23. Measured trills with held octaves, no. 45 (II: 53, mm. 25-26).

]5
.s 2 ] 2 3

J 2 3 2
Liszt includes a rhythmic structure that requires all five fingers of the hand in
this exercise. When this is compared with other similar configurations it can be
concluded that this pattern is the logical outcome of Liszt' s systematic examination of
this type of technical configuration from single to double, triple then quadruple note
chords.

Example 10.24. Measured mixed single-note, two- and three-note chord trill
configurations in triplets, no. 45 (II: 55, mm. 48-50) .

. 2 ,
3

The sixth etude from the 12 grofle etiiden (no. 62) features a tremolo
oscillation in combination with a leaping configuration. Despite the fact that this is a
mechanical study, it has distinct musical overtones brought about by the rapid
interchange between major and minor keys. The passages modulate through the
twenty-four tonalities as the tremolo descends chromatically in the left-hand (example
10.25) and harmonically in the right-hand (example 10.26). The quaver line in this
exercise acts like a metronome which makes the pianist articulate the tremolo strictly
in time in a controlled, measured way. This notation implies that Liszt intended this
etude to be a study in both finger and hand control. Because the tremolo is scored in
either single notes or double notes, it is possible that Liszt intended this work to be an
etude for the acquisition of greater measured speed.
Example 10.25. Tremolos and leaps in combination, first pattern, no. 6 from
12 gro[Je etiiden, no. 62 (III: 40, mm. 1-8).

.
*
- _..,
...
,........,
...
,....-:1
...
IJ
t:-
• fll. ~

t- t-
! .,

'

Example 10.26. Tremolos and leaps in combination, second pattern, no. 6 from
12 gro[Je etiiden, no. 62 (III: 40, mm. 15-21).

'1 - - .... .... -


)1: ~~
*" " !
~ . . IE ~,..
E ~~... ~

., •[..... [..... \...- [..... '[..... I,..... [..... I,..... ·c.- c.- c.- c.-
18
The twelfth and last study from the 12 grof3e etilden can be placed alongside
the twelfth study from the Etudes d'execution transcendante, Chasse neige, as well as
the first study from the Grandes etudes de Paganini in that all of these works are
exclusively structured around tremolo configurations.

Example 10.27. Tremolo configurations in Etude no. 12 from 12 grof3e etilden,


no. 68 (III: 82, mm. 1-14).

C-Dur f C major

... ... .... . . ~
"
l'" r- r- .,. .,. r- .,. I"' 'I"' 'I"' I"' r- .,. I"' I"' I"' 'l"'b.::J" -==r

12
Example 10.28. Tremolo configurations from Chasse neige, no. 12 from
Etudes d'execution transcendante 32 (1851). 33

17

19 )l ~ )l il
=~ff= • • =
I"'

v •••••• ~~•+••*• v

. ~ . .~~u f~f
J!15151ii1 J5l!!liFl ~ )•l!jijilj J!!1E!E1!!1 ~ .. cresc. - - -
if =L.=~ ?'!:J!:oL.:O.ifO:~L.O.;oL.oEif~J!:oJ!:=ifoi!oL.=,. 1

v > . . ~ ....... ~ .....

32. Franz Liszt, New Edition of the Complete Works. Series 1, Works for Piano Solo, Studies
I, edited by Zoltan Gardonyi and Istvan Sze!enyi (Budapest: Editio Musica; Kassel: Biirenreiter-Verlag,
1970), 108, mm. 17-23.

33. Except no. 4 (1840). M. Eckhardt/R.C. Mueller: 'Liszt, Franz: Works', Grove Music
Online ed. L. Macy (Accessed 14 July 2007).
Example 10.29. Tremolo configurations from study no; 1 from
Grandes etudes de Paganini (1851). 34

28. #:i. a.q~.-···* .~ .. ~ ........... ~ H . " ~

~~ rinforz.
L::' _. h. . • a. • ..
~~
.
6

29

30

. ~'R•
rinforz. 6

> > >

Jr• ...
• ~ q~

!• -
I
>
r
>
r> • qr • •
>
T -.- • #qf • •
> >

'~.

34. Franz Liszt, New Edition of the Complete Works. Series 1, Works for Piano Solo, Studies
II, edited by Zoltan Gardonyi and Istvan Szelenyi (Budapest: Editio Musica; Kassel: Biirenreiter-
Verlag, 1971), 106, mm. 28-32.
Because exercise no. 68 requires an "unflagging physical resistance," 35
whereby every point in the mechanism of the arm must be engaged, it is possible that
Liszt saw it as a climax to the entire three volumes of Technical Studies. 36 It is
scored in 3/2 time and features oscillations between three- and four-note chords and a
single note in both hands. There is no consideration given to the placement of the
tremolo within a musical context, which is in keeping with the mechanical purpose of
the set, namely, the exposition of a series of works which deal with the most advanced
pianistic technical problems. Liszt' s detail follows the harmonic positions of the
major, minor, diminished and dominant sevenths chords of the twenty-four tonalities.
Be then includes a nine bar coda to end the work, which points towards his suggestion
to be inventive37 in the examination of technique as it is built around the unusual
harmonic progression of an augmented triad, being, c-e-a flat.

Example 10.30. Coda of no. 12 from 12 groj3e etiiden, no. 69 (III: 89, mm. 169-177).

a····-··-·-··--·--·----··-·-··--····-····--------··-----·-········----··---···-·· ~-1

35. Ott, Lisztian Keyboard Energy, 246.

36. Walker, Reflection on Liszt, 215. Walker's comments here may be derived from those
made by Abraham (Seeking Ways and Means, 47).

37. Boissier, Liszt pedagogue, 82; Boissier, The Liszt Studies, xxiii.
Esteban refers to exercise no. 46 as a "Trill study for alternating hands. " 38
There are three techniques that can be developed through an examination of this
study, namely; coordination between the two hands brought about by the alternating
chord pattern, control of tone, and the overcoming of the inherent difficulties that
arise when the hands have to play in close position with one hand over the top of the
other. These configurations demonstrate how Liszt has addressed the various forms of
39
"the mechanism" of the wrists, elbows and shoulders, in the first instance, through
the examination of a technical structure based on 6/4 chords.

Example 10.31. Trill configurations with alternating hands in diminished and


diatonic 6/4 chords, no. 46 (II: 56, mm. 1-4) .

..
): ~ . ·r ·r i r r r l:::p:

.. b;~""
,.
3

): : 6:::[ r r r r r r J r r r
6~
1- r

• :"

Later in the exercise, a configuration in four -note diminished seventh chords is


detailed.

Example 10.32. Trill configurations with alternating hands in four-note


diminished seventh chords, no. 46 (II: 58, mm. 17-18).
17

~ Oj
" "" 2

~

" -~.,

38. Esteban, Technical Exercises, 163.

39. Liszt in: Mez6, Technical Studies I, 2.


The placement of the rests before the last configuration may have been
intended to give the pianist an opportunity for a mechanical/physical release so that
he/she might regain the strength to play the last phrase in a fast tempo. This
conclusion seems likely due to the fact that "Liszt himself liked the tremolando to be
played as quickly as possible." 40

Example 10.33. Trill configurations with alternating hands in four-note chords at the
octave, no. 46 (II: 58, mm. 19-22).

19
• ,. ,. ,. ,. ,. ,. . fl. L ~ ~ ~· ~

l
~


"' ..,. 1 1 ~ q:j ~ 1 :1 ~ ;; ;; :; ;;

2I ~~ ,. ,. ,. ,. ,. ,. ,. ~,. ,. ,. ,. l~ ~ ~ ~

l ~ ~ 1 :J "":1 :s :1 :s ~1
l

~ ~ ~ ~.
I

• :; ;;

This particular configuration is set out in a different structural way in exercise


no. 61, where Liszt has extended its possibilities to include a five-note chord.

Example 10.34. Four- and five-note trill configurations with alternating hands, no. 5
from 12 grope etiiden, no. 61 (III: 39, mm. 22-30).

40. Walker, Reflections on Liszt, 211.


2: 8-------------------------------"---------------------------------------------------------
,h. • • • !Jl.l! •!! I! ..,.,~,
" ,b" It

1•., oJ. J. J. J. .U. .lo .lo .lo 1 ... b.)._ ..1o. ..1o. ..1o. r .rr

The four-note trill configurations with alternating hands in the fifth etude from
the 12 grofJe etilden could be intended to represent a fortissimo climax similar to that
suggested by Walker, 41 in no. 68. In this respect, this technical configuration presents
a direct link 42 between the Technical Studies and the preparation of virtuoso
repertoire.

As has been demonstrated, the complete exercises and etudes (Book III) that
are dedicated to the examination of both trill and tremolo techniques in the Technical
Studies set before the pianist a complete overview of all the possibilities of these
configurations that may be encountered in actual repertoire. The study of these
passages engages the pianist in the various types of mechanical actions that these
techniques can present, such as: the acquisition of evenness in digital oscillations, the
rotation of the hand and wrist, the rotation of the forearm as well as the engagement
of the shoulder in the most advanced tremolo configurations. The usefulness of the
trill and tremolo studies in preparing the pianist for actual repertoire then is
immediately clear; because they present configurations that are identical to those
found in actual pieces, they are ideal for the study and mastery of these techniques.

41. Walker, Reflections on Liszt, 215.

42. Walker, Reflections on Liszt, 204.


CHAPTERll

Liszt's Treatment of Repeated Configurations

The principle identified by this author that is most represented by Liszt' s


repeated configurations is the vertical action or "the mechanism" 1 required to
articulate these passages from the finger, wrist, elbow or shoulder. This is true for all
the repeated configurations whether they are written in single notes or two-, three-,
2
four- or five-note chords. Walker has stated that ''Liszt provides an entire
smorgasbord of note repetitions in his Technical Exercises (sic)," in other words, a
wide variety of repeated configurations and it is apparent after an examination of
these in conjunction with the commentaries of Boissier 3 that Liszt saw in these
configurations a valuable technical tool for the acquisition of finger and wrist facility.

The repeated configurations in exercise no. 9 have been written in the twelve
major keys followed by similar detail in their respective relative melodic minor scales
in ascending passages only. Why Liszt has not include descending repeated note
passages in this exercise is unclear. However, this may have been an attempt to create
variety in the structure of the exercises from one to the next. It is clear from an
examination of many of the other exercises discussed in this paper that Liszt did in
fact detail all the chosen techniques featured in the Technical Studies in ways that
provide interest for the pianist, such as scales where the hands are set apmt in thirds or
sixths. In exercise no. 9, Liszt has also set the hands apart at a sixth, which makes it
consistent with his method demonstrated elsewhere.

1. Liszt in: Mezo, Technical Studies for Piano II, 2.

2. Walker, Reflections on Liszt, 210.

3. Boissier, The Liszt Studies, xvii·xviii.

236
Example 11.1. Single note repetition in ascending major and melodic minor scales,
no. 9 (I: 65, mm. 1-16).

. 21 1
1. !l: ;: "f JJ
............
2 I 2 I 2 I 2 I .. .. .. ..

~~ -

2 J 2 I 2 I 2 I ... :; f !J w~ 'ill f
"'

9. 3 I 3 1 3 I 3 I .. .. .. !1:. f "~ ;: 1 J J ~'J J J


. :

"
r J I 3 I 3 I 3 I
;; If l fir 1!,, II= If "' I"'

Principles of rhythm are addressed in this exercise through the inclusion of


repeated details in compound time.

Example 11.2. Single note repetition in compound rhythms, no. 9 (I: 66, mm. 41-52).
321321
4~ 3 2 1 3 2 I .. !l: ;: ... !II ;: ill

~~ -·~
J 2 1 3 2 I
(•¥' 1'. • l,f,;, $. iii= ~

4~ II:·~ J. J. 432432 oi<!llfl#:-1.

j~ 'T'I'
4 3 2,:!!2 .. wwww w·-· Iii= .
~ I~

Some of the fingerings Liszt has supplied in this exercise seem to be more
intended to lead to a greater level of mechanical flexibility and suppleness than meant
to be used in the preparation and performance of actual repertoire. The fingerings 5-4,
5-3, 5-2 and 5-1, for instance, would most likely create more problems than they solve
for most pianists; however, if the acquisition of digital certainty was Liszt's intention
by including these, then these fingerings may provide the most technically sound way
to achieve it. This is because these scales can only be played successfully once the
pianist has acquired complete mechanical control over the co-ordination between the
brain and fingers, whereby they are literally at his/her command.
Example 11.3. Single note repetition with fingerings; 5-4, 5-3, 5-2 and 5-l, no. 9
(I: 67, mm. 77-92).

"f l'lli ~ If' ,,,,;!


L? 5JSJS3.53

rB!..·~'!ll.:i:f hJJJ~
!! ,•• ,.
5 I !5 I S I S 1

S I S .1 - S · ·1 S .... 1¥
:; t f j
$ jf If'
,... ,.

Another unique fingering suggestion, whereby the five fingers of both hands
are required to play five-note repeated configurations in consecutive order, finishes
the exercise. This configuration is similar to the above example because it is possible
that Liszt included it for what it may yield mechanically.

Example 11.4. Single note repetition with fingerings; 5-4-3-2-1, no. 9


(I: 67, mm. 104-109).

s 4 3 1 1 ... . ...

~J-,--'' ' '


S 4 3 2 I 55 5 f,_.toc~•·J. j..:..

The exploration of the possibilities of repeated technical configurations


continues in exercise no. 22, where two-note configurations are detailed in major and
minor thirds, fourths, fifths as well as major and minor sixths. The unique feature in
these technical details is Liszt's requirement for the pianist to change his/her
fingerings while articulating the two-note patterns, which also encourages flexibility
in the wrist.
Example 11.5. Two-note chord repetition in thirds and sixths, no. 22
(I: 125, mm. 22-28).

22 S434 S434 5414

cc::: ::::::::c;;:::::::::1:;;:::::::: ~
25

)'·~--·'
-
I

__., ___ ~'

.__ _3.. ~
I

..
:

..
~

Example 11. 6. Two-note chord repetition in thirds, fourths, fifths and sixths, no. 22
(I: 125, mm. 32-37).

35

2 I 2 I
' 4 ' 4 l J l J

Liszt's technical details of repeated octaves are written at various intervals


4
over eighteen bars. Boissier stated that Liszt did exercises such as these "for hours on
end" and they seem to be associated with his statements that they develop "the
mechanism" 5 of the wrist. 6

4. Boissier, The Liszt Studies, xiii.

5. Boissier, The Liszt Studies, xix.

6. Boissier, The Liszt Studies; xvii, xviii.


Example 11.7. Repeated octaves, no. 39 (II: 15-16, mm. 1-18).

;.7' .......
,

l' .._
...........
10 5 4 s 4

5 4 5 4

Exercise no. 41 details a repeated broken octave configuration that is clearly


based on mm. 1-18 of exercise no. 39; however, the harmonization ofthese passages
develops the technical idea given in the previous exercise adding another musical
dimension.
Example ll.8. Repeated broken octaves, no. 41 (II: 28-29, mm. 1-18).

l............
4.

. ... .. .. .. ... ..
7. 1h l
-
~ ""' .... ..... ..... >If.
"' •h

l l
I S
10. F=l=~
"
). d
1:::1::1::: IR'
. . .. .. .. ...

13. 1,!. ... .,. ...... .,. .. .. .. .. . .


.. ~
. .. . ..
-

ti~ ~
• • *• .. • b

~==
/6
Liszt's consideration of repeated four-note chords follows on from the
progressions dedicated to scales in these structures in exercise no. 44. These passages
are not only based on a continuous ascending and descending arpeggio pattern but
also progress through the twelve major and minor keys in ascending chromatic order.
They allow the pianist to become more familiar with "the physical "imprinting" of the
7
keyboard" in terms of how this can be realized through four-note harmonizations in
root, first and second inversion.

Example 11.9. Four-note chord repetitions in arpeggio-based configurations, no. 44


(II: 48, mm. 49-52) .

4~ .~ ~:e::e _,~t e:e:


•• ••
)~ ... .. ......
I .,.. .,.. .,. .;.
.......
~1"3-

,,.,, ... ...... ~ .

Des-Dur I D flat major Cis-Moll/ C sharp minor

Liszt' s presentation of various repeated technical configurations appear to be


primarily concerned with the acquisition of both finger and wrist flexibility and
suppleness. The fingering suggestions in exercise no. 9, such as 5-l and 5-3 for single
note repetition, is evidence of this while they may also indicate that Liszt did not want
the pianist to use these configurations for the acquisition of speed. The technical
exercises that feature various combinations of chords are primarily concerned with the
development of wrist action. These passages provide the pianist with the opportunity
to examine this technique in a more concentrated way than is usually possible through
the practice of similar configurations in actual repertoire. When practiced slowly,
Liszt' s repeated technical details can also be used for the acquisition of dynamic
control and good tone.

7. Walker, Reflections on Liszt, 215.


CHAPTER12

Liszt's Treatment of Leaping Configurations

Liszt's acknowledgement that leaping horizontal configurations are


technically difficult for students of the piano is recorded in the Diaries of Carl
Lachmund. 1 It is not surprising then that Liszt consigned his details of these technical
patterns to the last book of Technical Studies, titled the 12 grope etiiden, which
arguably contain the most advanced mechanical techniques in the entire series of
exercises. 2 Exercises nos. 57a3 and 58 are similar in their overall formal design. It is
as if Liszt has created a technical skeleton in exercise no. 57 a, which he then "fleshes
out" with chords in exercise no. 58. This approach to the examination of technique
adheres to Liszt' s systematic unfolding of mechanical ideas, whereby he uses
structural templates between similar or related technical configurations in the
Technical Studies.

Example 12.1. Arpeggio-based octave configurations in leaping patterns, no. 57 a


(III: 3, rnm. 1-8).
f!: f!: !'!=~ !'!= ~
~
C-Dur I C major !:.
• f!: !: ~ !: ~ !: !: j!: .

I~ ~

.. -
·~
~ -~
• ,.. • . . 1!: j!: ~ j!: ~ !'!= j!: !: . !: !:

..
~

3 · C-Moll.l Cminor
'
~

j!:
ji: r r
j!:

f'

F. r:. F. ~ ~!:~j!: L ~j!:~. ~


- -r:
f' r
j!: ._!: . 1!:

l•
r r r
,.. • !!: ,.. !: ~ !:.,.. !: !: !: j!:
-•
!:
• -• r
ji: •ji: 1i' f' f'

1. Lachmund, Living with Liszt, 49.


r-
- -r .J: r 'F

2. This author's proposaL

3. The technical detail in exercise 57b is identical to 57a. For this reason a discussion of
exercise 57b is not included in this Thesis.

243
s. ! ~ .. 1!: ,. ~ ~ ... b,. ~ ..
1!: b~
E:
~ ~ ~
E... :t!: ...... t: ... jj= L

,. ,. ,.
..
~
1>"
.,..· e:·
1!o 1!: ~~ ~ ~ ~t:

Ji= 1""Ji' ~ ~ 1--


,. r- r- r

'• b~H~ ~1!: L-~~~ ~ ~


;: . r:~~ .. ~ ~- ... ~ ~ ~

,.
w

~~~t:t!:~ ~ ~~~ ... ~ ~ !!: !!: . ,..


-r- f

Example 12.2. Four-note chord configurations in leaping patterns, no. 58


(III: 13, mm. 1-6).

__ 1!._ C-Dur I C major .. ' L~ .. ! .. ! ( ~,! !·! ! •


I

-
~-
I~ ~r~-- ~
,, 6

I'"' I* iJ J J J,..J J .. J iJ 4/ 14/ 14/


:
~~-~ ~ ~ ~- ~
..
,. . ~

i 3.
I
C-Moll J_Cminor

=
~ ~ ~ ! lh h ~ ,,.., ~-"' ,.. ~

I~ e:. ,. f' _f'

141 iJ ~- JJ
J' J • 1.! 1.!

--~ ~
:t ':t :t f' f' ~

s, b. lit • J J i=FF b 1:* • t 1:

•. . ..
j'· ~~ i=FF.i :1· 1.1_.
•• I<Ol.

~:- ~ ~ :t -1-~ ' 1 I:::!::: :I -~


Predictably, both exercise nos. 57a and 58 modulate through the twelve major
and minor keys. Liszt changes the configuration being addressed halfway through
these exercises so that at the point where the exercises reach G-flat major in both
cases (no. 57a at m. 49 and in no. 58 at m. 37) he transforms the previous
configurations by changing them structurally into broken configurations, thereby
exploring the technical possibilities of leaping configurations that involve various
forms of mechanical rotation from the wrist, elbow and shoulder. 4

Example 12.3. Broken arpeggio-based octave configurations in leaping


configurations, no. 57 a (III: 7, mm. 49-54).
Ges·Dur I G flat major
49 Piti presto

Example 12.4. Broken four-note chord configurations in leaping patterns, no. 58


(III: 16, mm. 37-42).

4. Gat, The Technique of Piano Playing: 177-179, 186.


Once this technique has been exhausted through a comprehensive exploration
of the remaining keys, Liszt adds a coda in both exercises to conclude these etudes. In
exercise no. 58, this is expressed in 3/4 time and in compound rhythm.

Example 12.5. Coda in four-note chord configurations and in leaping patterns, no. 58
(III: 23, m. 133).

.. 1!: 1: ~ si::·~~

.
• i
~
l J j
•r• 6
:J
' :J :J

The possibilities of leaping chord configurations are explored in a way which


is unprecedented 5 in piano literature in exercise no. 59, being the third study from the
12 grof3e etiiden. This exercise is a study in various forms of chord leaps in both
similar and contrary motion. In the ascending passages, the similar motion is upward
while in descending passages the similar motion is downward.

Example 12.6. Upward leaps ascending and downward leaps descending in thirds over


,., •
I
an octave, no. 59 (III: 24, mm. 1-4).

4
• • • , II ~. ~ ~ .. • ~

..
• II ~ ,
:t 11 .. l
~ ~ II :J

'I 11 1
[j ll
c.Moll/ Cminor

5. The research of this author into the pianistic methods of other pianist-composers, such as;
Tausig, J oseffy as well as Lebert and Stark, has shown that in respect to these configurations no writer
has detailed leaping chord passages such as those found in exercise no. 59 as Liszt has.
In the transitional 2/4 bars of this exercise where the etude modulates from
one key to the next, the hand motion is varied to include patterns in inward contrary
motion.

Example 12.7. Inward contrary motion leaps in thirds, no. 59 (III: 24, m. 5).

.
f •
... ... •

Following this modulation, Liszt again varies the leaping pattern whereby the
possibilities of outward and inward lateral leaps in contrary motion are detailed.

Example 12.8. Outward leaps ascending and inward leaps descending in thirds
over an octave, no. 59 (III: 24, mm. 6-9).

•,
8'"-•• .................. ..


GDu
- r /G major

v· •
• • J:
~

• ~ !

~

.

7." •

rw·
s··.···- ------------ .. .,

.~

~

~ .
.~ -~
' I '
G Moll/ G minor
I . I
"'·
t
q, 8"""''"""'"'"'

n. ', ~
."
~
.
' I II

s·-·--. ------ ------------- ~

For the remainder of this etude, the structures under technical examination
successively change over shorter distances in measures so that the multifarious ways
in which leaping chord structures can be subject to a technical examination are set
before the pianist. These chord structures adhere to the principles through their
harmonization in intervals of thirds, sixths, octaves and etc, and also by the way they
modulate through the diatonic and chromatic forms of the scale. These technical
patterns are also a study in the lateral horizontal movement of the arms across the
keyboard in various intervals and directions as the following discussion will endeavor
to show.

In exercise no. 59 the possibilities of leaping sixths follow the same method of
examination as that set out for the thirds patterns. In the first instance, Liszt details
upward leaps ascending and downward leaps descending in sixths over an octave.

Example 12.9. Upward leaps ascending and downward leaps descending in sixths
over an octave, no. 59 (III: 26, mm. 21-24).

l ~
2~ " -:ii! 1:!\ ~ I~ ~ ~ I~ k "

1' i~~-·~ L ~
,. ~ ~ ,. ,. ~ ~ !!:· .. ~~·

~
..
E-Moll/ Eminor
I!\ ~ ~lq~ • ..r;
2{ "
-~ 5'
~

l~ ~ 1!: ~ ~. ~~·~,ff·
• ~tt,. j!: (! q,. b~

' ~· e~ i

The 2/4 bar used to modulate this pattern is varied from the former inward
contrary motion structure to one in outward contrary motion.

Example 12.10. Outward contrary motion leaps in sixths, no. 59 (III: 26, m. 25).

2~ "

I'~ #• • •
~

~~

~ _.r /"' /"'


The last passage that details leaping sixths is structured on the outward
ascending and inward descending pattern.

Example 12.11. Outward leaps ascending and inward leaps descending in sixths over
an octave, no. 59 (III: 26, mm. 26-29).
8 ............ .
·.
,.
H-Our I Bmajor
~
'~ H
~ e ~
' • ...;

l,~

:

8" ........ ,~ .
. ~ ~ ~.

' ~

H-;JIIB;;"" ~ tE I' ~ ~ 8 -~ ...;


2~ • w· ~ !: .. h.
...; I. "·' ...

l .,
:
.~

2~. 8~ ...~-~.. -~~~ •• ~-


' ~ ~

1=1=1:::_
!: ~


~

• ~ ~ ~; ~ L_

t ~ !:
"
l ~

:
~- ~, ~~ ~ ~- . ~

The possibilities of leaping 6/3 chords follows the above methodology.
~

However, there is no detail of the third pattern shown in example 12.8.

Example 12.12. Upward leaps ascending and downward leaps descending in 6/3
chords over an octave, no. 59 (III: 26-27, mm. 31-34).
Fis·Dur I F1harp major
Example 12.13. Descending similar motion leaps in four-note diminished and
dominant seventh chords, no. 59 (III: 27, m. 35).

Having explored the technical possibilities of leaping thirds, sixths and 6/3
chords through Liszt's chosen lateral patterns, octaves and octaves with a third are
then detailed.

Example 12.14. Upward leaps ascending and downward leaps descending in octaves
over an octave, no. 59 (Ill: 27, mrn. 36-39).

The transitional bar at this point, whereby the exercise modulates to the next
key, features outward contrary motion leaps in diminished and dominant seventh
chords in octaves with a third included.
Example 12.15. Outward contrary motion leaps in diminished and dominant seventh
chords in octaves and with a third included, no. 59 (III: 27, m. 40) .

• '" u i • b.

i -~ 'l>i
I''
1i

q~~ ~ ~ l

The remaining octave configuration repeats the outward ascending and inward
descending patterns established in the details of thirds, sixths and 6/3 chords that
followed in each instance, the 2/4 bars Liszt dedicated to the modulation of the
exercise.

Example 12.16. Outward leaps ascending and inward leaps descending in octaves
over an octave, no. 59 (III: 27, mm. 41-44).
As·Dur I A flat m2Jor

~ " ~ " .€,. ~ 8 ..~~- .. ~- ..!: ....... ~i,.L · ,. • ~ .


.L Jl'e
. ~ • :0 . • -- • :0 • ~

/u-Moii/A:u;~' ~" q~~ ~€-~ 8 .. ~ ....~.. -~.... ~ .. :;; ~:F jll F (It ~

. ~ . •

Liszt's method of building multiple technical details around a set structure is


again made clear through a comparison of the above octave leaps with the detail of
octaves with a third.
Example 12.17. Outward leaps ascending and inward leaps descending in octaves
and with a third included over an octave, no. 59 (III: 28, mm. 51-54).
BD ~ 8 ___ , ______ , ________ , ___ , _____________ : ~.

'"' I Bfl ' tmajor


51 l ~ !
\

~-··Jl~, -~.! 1:
~

l
• • • .J:. f • •
.r ·-o~ ,. ~ ~ ~- ; i ~ ~ • ~
I" [-of

~ 1 ~ .r !":_ -~ ~ l

B-Moii/Bflatminor ~ s···-····-··-···········-····---·· . . . . . . - .,

~ !~ ~ 'H IllS ! ! ~ oi ~

~
r IJ E ~
II< • f • 1>4

-ol ,. ~ ~ ~ ~~- i. ~
1: ~~- ·~ ~ ~ ~
"'
~
l 1 ~- ::r !":_ -~ l
I
'

A tabulation of the changing technical structures in this exercise not only


demonstrates the overall systematic methodology Liszt employs to examine the
various possibilities of a given technical idea but in this exercise also illustrates the
significance, in terms of the amount of musical space assigned to it, that Liszt
ascribed to each individual configuration.
Table 4. Various leaping structures through the circle of fifths in exercise no. 59
(III: 24-30, mm. 1-65).

Progression of Leaping Configurations


following the circle of fifths in exercise no. 59
Leaps of a third
CMajor-> C minor
GMaior Gminor
DMaior Dminor
A Major A minor
Leaps of a sixth
EMaior Eminor
B Major B minor
Leaps of a 6/3 chord
F-sharp Major F-sharp minor
Leaps of an octave
CMajor C minor
A-flat Major A-flat minor
E-flat Major E-flat minor
Leaps of an octave with a third
B- flat Major B- flat minor
FMajor Fminor
Coda: first section, chromatic leaps of an octave with a third.
Coda: second section, chromatic leaps in four-note chords.

Other than the eight measures of scales given to scales in tenths at the
beginning of etude no. 4 of the 12 grof3e etuden, exercise no. 60 is exclusively
dedicated to single note leaping details. The first configurations present the
possibilities of scales in lateral leaping tenths.

Example 12.18. Leaps of a tenth in scales in outward motion ascending and inward
motion descending, no. 60 (III: 31, mm. 9-17).

; F·Dur I Fmajor
n, ~ ~ _g_g ~ t":. -" r: {' 1: .. ,.
l'" ~
e ~ ~
§:
E_ t ,. (!: ,. -- ~-

-
I! 0-Moli/Dmin",.._ ~~ #~ ~ t":
I=
-~ !;
E§ ~ ~ ~ ~ ,_ ~ I!;_

I~

~ I
- ,. '"' r: F= ~ ~ ~ r: ,_ """"==
,. "'
• • :.J

17

The remainder of the exercise explores leaps in elevenths, twelfths,


thirteenths, fourteenths and fifteenths successively, in other words, "by extending the
intervals from the tenth to the 2nd (sic) octave." 6 The first two quavers in m. 26 are
written at an interval of a tenth. This may have been intended to prepare the pianist
for the next interval, being an eleventh; however, this is speculative as this style of
technical patterning is not featured anywhere else in the etude.

Example 12.19. Leaps of an eleventh in scales in outward motion ascending and


inward motion descending, no. 60 (III: 32, mm. 26-33).

26
.
&-Dur/ Bflat major.
~ ~ ~ ~
~ ~a·--·······--·····-·····-·····--
I=_ 1!:. ~ ,._ .. ' ~ ~ ,_

t· -c
=:=~=~~
-
~ E
•:;; ~ • --~ ~ ~
~~---r:~
-=

6. Franz Liszt, New Edition of the Complete Works: Supplements to Works for Piano Solo;
Technical Studies val. III, compiled by Adrienne Kaczmarczyk and Imre Mezo, edited by Imre Mez6
(Budapest: Editio Musica; Kassel: Barenreiter-Verlag, 2005), 30.
C·Moll/ <;:minor
29

Liszt' s detail of leaps at an interval of a twelfth, thirteenth and fourteenth


follow the already established pattern; being set out in upward leaping configurations
ascending and downward leaping configurations descending. The technical aim of
these configurations seems to be for the purpose of training the pianist in the
judgment of the lateral distance between two notes.

Example 12.20. Leaps of a twelfth in scales in outward motion ascending and


inward motion descending, no. 60 (III: 32-33, mm. 43-50).

,."
D..cs· Dur /D£1 m:a.j r
~ e ~ ~
~

=== . . ~ ~ ~ ~
Example 12.21. Leaps of a thirteenth in scales in outward motion ascending and
inward motion descending, no. 60 (III: 33-34, mm. 59-66).

Example 12.22. Leaps of a fourteenth in scales in outward motion ascending and


inward motion descending, no. 60 (III: 34-35, mm. 75~82).

77 " ~ ~ ~ ~ "
-.,
Fis·Moll/ Fsharp minor

,.
.. " ~

~~ .,.. '" -,.


-~ ~ t~ ;:
:;
• -- ~ I~ :0
~ i. Ito.
"~
=== .,.. .,.
....... .... ,. :0 :ii
:;c<il ~,.
:ii • .. II'
- ~

The last of the leaping configurations in this exercise detail leaps at the
interval of a fifteenth in the same way as all the other leaping details.
Example 12.23. Leaps of a fifteenth in scales in outward motion ascending and
inward motion descending, no. 60 (III: 35-36, mm. 91-98).
G-Dur I G majot

9L ~ L !
~ !:~ ~ ~ ~ ,._ ~ ,._
• ~~

~~ =:==~I= ~
~ h ~
~- E~ ~
~
1
~ ,._ "' I • ~ _..L
-1 ~ ~ ~ ~=

1:=1:=1:= 1 "' • 1 ~ . ~ ~ ~
•· 0

-
M II IE minor
' ·

"~ ~ ~ ~ =~ ~- ~ q!; • •

~~·
,._ "~
i ~-· :; " ...
-~
~

!;. ! . ~- ~
~
-~ ~ e
~
"' :;; i
~
=
-~ ii i D• #;:6' 1_ l" • ii

What is unique in this last detail is the inclusion of leaping configurations


based on arpeggios. This is the only instance in the Technical Studies where this type
of technical pattern can be found.

Example 12.24. Leaps of a fifteenth in arpeggios in outward motion ascending and


inward motion descending, no. 60 (lll: 36, mm. 107-109).

I~f ~ E ~r~·---~~ !:
~ .. !: E ~ r·~------~--~~


-~

-~ ~ ~ !!: ·. .. ~ ~ ~ ~ .. ~
I~ ~ ~-·

•. r fi i • -
f"_ ..J: r ~ 1"" ~ ~
:;
A tabulation of this exercise reveals Liszt's systematic technical planning.
Following the scale patterns in tenths, Liszt dedicates two major and two minor keys
to each compound leap, from those of a tenth to a fifteenth as the exercise passes
through the circle of fifths. Apart from the leaping arpeggio configurations that end
the exercise, the same amount of space is given to ascending and descending leaps.
Liszt must have attached considerable significance to these single note leaping
configurations based on the degree to which he has detailed it.

Table 5. The various single-note leaping structures through the circle of fifths in
exercise, no. 60, (III: 30-36, mm. 1-109).

Key Time Interval Scale Leaps Leaps Single-note


Signature Tenths ascending* descending** configurations
C Major 3/4 •
A minor •
FMaior !Oths~ • • •
D minor • • •
B-flat Major • • •
G minor • • •
E-flat Major llths~ • • •
Cminor • • •
A-flat Major • • •
F minor • • •
D-flat M'\ior 12ths~ • • •
B-flat minor • • •
G-flat Major • • •
E-flat minor • • •
B Major 13ths! • • •
G-sharp minor • • •
EMajor • • •
C-sharp minor • • •
A Major 14ths~ • • •
F-sharp minor • • •
DMajor • • •
B minor • • •
GMajor !Sths~ • • •
Eminor • • •
CMajor • • •
C chromatic • • •
C arpeggio • •

* Ascending leaps from a lower register note to a higher register note.

** Descending leaps from a higher register note to a lower register note.

/
The leaping configurations in the Technical Studies provide technical details
that allow the pianist to study the lateral movement of the arm across the keyboard.
Single note, two-, three and four-note digital structures are set before the pianist in
configurations based on the various major, minor, diminished and dominant seventh
chords (harmonizations) of the twenty-four tonalities as well as in diatonic and
chromatic scales. The six artistic and mechanical principles are all present in these
configurations, the most pertinent being the intellectual principle as in all leaping
configurations, it is the ability of the pianist to judge spatial distance that will
determine the accuracy of their execution.
CHAPTER13

Liszt's Treatment of Left-Hand Exercises

While concerned principally with Liszt's treatment of left-hand exercises,


included in this chapter is a discussion of the one exercise in the Technical Studies
which is exclusively dedicated to the right-hand, namely, exercise no. 10. This
exercise and no. 11, which is scored for the left-hand alone, are dedicated to the
training of the passing of the thumb, that is, to the facilitation of its lateral movement
under the hand. The acquisition of this fundamental mechanical action is a necessity
in all pianistic technical practice because of the fact that it is part of the execution of
scales and arpeggios, which for Liszt embody the fundamental 1 fabric of all music. So
that the thumb can be isolated and technically developed independently of the other
fingers, Liszt has immobilized the hand in these exercises through the inclusion of
held notes. This may signify that they were intended entirely for the training of the
thumb, possibly without any significant musical consideration. This might seem
unlikely; however, we know from the writings of Boissier that Liszt did in fact require
this type of technical practice "entirely apart from the rest" 2 in some instances.

Il exige que Valerie {asse tous les jours deux heures d'exercices materiels
sans compter le reste.

He required from Valerie two hours of practice (sic) on mechanical studies


4
daily, entirely apart from the rest

I. Mason in: Gerig, Famous Pianists, 239-240.

2. Mach, The Liszt Studies, xiv.

3. Boissier, Liszt pedagogue, 30.

4. Boissier, The Liszt Studies, xiv.

260
Example 13.1. Right-hand configurations in lateral thumb movement, no. 10
(1: 68, mm. 1-9).
mano destra sola .

·4e i1fm:&ll·idmruagu=E·~ad·lihb\
I I I 1 I I I 1 I .1 f 1

According to Lachmund, 5 Liszt stated

I am fond of basses. One should bring them out at times, not only because
they give significance to the harmony, but, as the melodic material lies so
continuously in the treble, such a diversion of interest is in itself refreshing.

Similarly, Boissier6 stated that

Notez bien qu'il est aussi scrupuleux pour les nuances de Ia basse que pour
celles du dessus, ...

He is as scrupulous with the nuances of the bass as he is with those in the


7
treble.

In light of this, it emerges that Liszt saw the development of the left hand as
equal to the development of the right hand. This is also consistent with Liszt' s
requirement for the pianist to achieve complete mechanical strength and independence
in all ten fingers. 8

5. Lachmund, Living with Liszt, 80.

6. Boissier, Liszr pedagogue, 83.

7. Boissier, The Liszt Studies, xxiii.

8. Boissier, The Liszt Studies; xxv, xxvi.


Example 13.2. Left-hand configurations in lateral thumb movement, no. 11
(I: 69, mm. 1-9).

' 3
' ' 4

Exercise no. 26 is written in the major keys only with a measured trill
configuration at the end of each bar. This is an example of how Liszt adds variety to
several exercises, by incorporating more than one technical configuration in each of
his chosen technical passages. The fact that the left hand has the upper melodic note
in this exercise seems to indicate that it was Liszt's intention that it could also be used
for the development of the left hand's finger strength and independence. 9

Liszt has placed the right hand at the interval of a third below the bottom note
of the left hand, which means that the right hand is directly over the top of the left. It
is an awkward position that may lead to the question, why did Liszt choose to have
the right hand placed so close to the left when there are other possibilities, such as, a
sixth or an octave below? The current author proposes that Liszt chose to present the
most difficult option of this technical pattern because following the study of it, and
the acquisition of the freedom of movement that it requires, the pianist would find that
other similar technical configurations would be more technically manageable.

9. Mezl\, Technical Studies for Piano II, VI.


Example 13.3. Stepping scales in fourths with crossover hands, no. 26
(I: 139, mm. 1-2).

t ::::::::::::1
Exercise no. 26 ends with a chromatic detail of this 6/4 configuration, which
allows the pianist to examine this pattern in both diatonic and chromatic forms.

Example 13.4. Chromatic stepping scales in fourths with 'cross-over' hands, no. 26
(I: 141-142, mm. 13).
(13)

'4 43 '4
3 2 3 2

4 l l l
Liszt' s presentation of technical configurations for the left hand appear to be
designed to address specific technical issues. Exercise no.ll provides the pianist with
the opportunity to study the passing under of the thumb exclusively. Exercise no. 26
presents two techniques; the training of the left hand to play melody notes as well as
the technique of crossing the hands. The careful attention to the techniques that are
being presented in each exercise seems to be evidence of the fact that Liszt had a
definite technical trajectory in mind, one which would "lead the advanced student of
piano to the very epitomy (sic) of technical proficiency." 10

10. Mach in: Boissier, The Liszt Studies, iii.


CHAPTER14

Liszt's Treatment of Technical Configurations


similar to those of Chopin

Exercise no. 18 is the first exercise in the Technical Studies that features a
technical configuration that is similar to if not derived from a configuration previously
explored by Chopin. In respect to this, Esteban 1 stated that

This exercise was probably suggested by the Chopin etude op.IO, no. 2 (sic).
It nevertheless has the advantage over the etude in that the left hand is given
equal emphasis.

Example 14.1. Chopin's Etude Op.JO No.2, 2 mm. 1-4 .

·J~~ ~·l!tj~q~ b~:!~#~~qim~~ qi~h~ ·~. ~b~ ~


sentpre legato
·~
' • 5
1\ 3 4 •


l tJ


;~

• '
,r V cresc. ,!

:;1
,._ bi

'r a. lh.J•.J•
5 5
•• • ' •' • 5 •
• •• •• ••••
3 6 5
• 5
• 5 •

·~
-===
···~
~ ··~ fl~
.
tJ '

: • .... "'

1. Esteban, Technical Exercises, 71.

2. Frederic Chopin, EtUden: Nach Eigenschriften Abschriften und Erstausgaben


Herausgegeben von Ewald Zimmermann, Fingersatz von Hermann Keller, Neue Verbesserte Ausgabe.
(G. Henle Verlag, Miinchen, 1983), 18.

265
It is significant that in exercise no. 18, which is for the right hand alone, Liszt
does not feature the chromatic line above the chords, as is the case in Chopin's Etude
Op. 10 No. 2. In exercises nos. 18 and 19 the chromatic line has been placed in
various positions both under and over the chords.

Example 14.3. Chopin-based chromatic line under the chord, r.h., no. 18
(I: 108, mm. 14-18).

Example 14.4. Chopin-based chromatic line over the chord, !.h., no. 19
(I: 108, mm. 1-4).

m.s.J I 2 I 21212t2.12JI
2 I 2 I
'
Example 14.5. Chopin-based chromatic line under the chord, !.h., no. 19
(I: 109, mm. 22-25).

II

Liszt introduces an altogether new chromatic idea whereby the fingers must
articulate the chromatic line within the compass of the punctuating chords in exercise
no. 20.

Example 14.6. Chopin-based chromatic line within the chord, r.h., no. 20
(I: 110,mm.13-16).

13

2 3 4 s

The seventh study from the 12 grofle etiiden (exercise no. 63), features two
technical configurations which are not unlike those used by Chopin in some of his
other etudes. The first of these is similar to the technical configuration in Op. 10 No.
II, where Chopin has detailed compound rolled chords.
Example 14.7. Chopin's Etude Op. JONo.ll, mm. 1-6. 3

cre.sc.
I ~

%>. * %>.
*

%>. * %>.
*
Example 14.8. Compound rolled chords in scales and arpeggio-based configurations,
no. 63 (III: 42, mm. 1-8).

C-Dur I Cmajor
.. ,..-,:.ee: ~e~,.. .. .. ·== !: f ~ ~

- .. '"' .-
II
..
' I•
-
,. I"

~ ~ '"' ~
r 1":. r
~

l J.
'-J
~

...r
'i •

C-Moll/ C minoJ
... .., ~

-
ji: ~

f ~ ~ ~ ~ !: .., ~q~ ~ ~ ~ ~ -,:. b,-. ..

.•
• t.
!: s: !:
- • .. ~ !: ,... .,.. ...
.r

-.
fi'_ ,.. .r ;; • ... . r" • j

~ ;: l ~ . !: ~ ~ ~ ~
I•
-
r_ ...... t.
~~s:!:,..
-
1 F J.

-
ji: ,..
- ·---......r t..'"·· ---.r

3. Chopin, Etiiden, 57.


Example 14.9. Chopin's Etude Op. 10 No. 11, mm. 50-54. 4

s··············································, s·················r.;,
", A ~; J:::m .
~l
~~
~- e • :f
rz ~~~
l ~

"'
~
fi
h

• l1
p

q, lHP•:l•
-==>
h
.smorz.
~l l!:!l!:lh~.

-===-
r..

'!'
<rw.
.l~i'ti:. l1e
'
!'":\

.,..
<rw.

Example 14.10. Compound rolled chromatic chords, no. 63 (III: 53, mm. 160).

The second technical configuration in the seventh study (exercise no. 63),
seems to emulate one of Chopin's structural gestures, where melodic notes are
approached by a leaping action from an appoggiatura such as those found in Op. 25
No. 6. It is noteworthy that this type of technical configuration was also used by
Chopin to end his Etude Op. 10 No. 11 (example 14.9).

Example 14.11. Chopin's Etude Op. 25 No.5, mm. 124-132. 5

p > >. > >


' I

'l'w.
* <rw. *

4. Chopin, Etilden, 59.

5. Chopin, Etilden, 86.


Example 14.12. Leaps from single note and four-note chord appoggiatura, no. 63
(III: 51-52, mrn. 147-154).

152

Liszt extends the possibilities of this technical pattern in etude no. 8 from the
12 grofJe etuden (exercise no. 64), by indicating that he wants the appoggiatura-like
chords to be rolled.

Example 14.13. Leaps from a rolled four-note chord appoggiatura, no. 64


(III: 63, mrn. 104-106).

t ~
8".'
1~5 t~~ ob'_. 'k~ 8~~

• J_
. •
I .,-~
- •
I
-

I'
.
I ,:)
~· . I
~
• I l
.JI


There is also a technical similarity between the opening of the eighth study
from the 12 grofJe etaden (exercise no. 64), and Chopin's Op. 10. No. 1 in that both
composers have detailed compound arpeggiated configurations ascending and
descending across the keyboard.

Example 14.14. Chopin's Etude Op.10. No.1, mm. 1-8. 6


8'•>••···············:;:·············~ >
1
' • ' ~~
legato ' >
5
,t> th >

tffl.>"*
! • .-f L .,..> ..
~ .

... ...
'l?w.
*

l :e
'J.'w. * #~ f
s··s···········: 5· 8''''''''''''''''5'''''''''': 6
*
' ~,!•• ,' :l~ I I i=l=;::t

.... ·~ b_. "· :.! ' ,' il_


= '

l :
"""""'
.....,
I
.ffi ..... -- ......- ... -~;

n
u
- u
* ------~* 'l?w.
'l?w:>:-.
*
Example 14.15. Major, minor, diminished and dominant seventh compound
arpeggiations, no. 64 (III: 53, mm. 1-6).

6. Chopin, Etuden, 7.
When it is realized that many of Liszt' s exercises, written down in the
Technical Studies of 1869-1871, were already in place in his technical trajectory by
1831-1832, 7 while all of the Etudes that make up Chopin's Op. 10 were written
around the same time, being from 1830-18328 and furthermore dedicated to Liszt, we
may ask who in fact had an influence on whom? 9 Is it possible that there was very
likely a mutual borrowing of ideas between the two? The fact that Boissier does not
describe leaps from an appoggiatura in her commentaries on Liszt's technical process,
for instance, does not preclude them from the technical trajectory Liszt had in place
by his early twenties. A more thorough discussion of this topic is not possible within
the limits of this paper. Nevertheless, there is clear evidence that Liszt did at times
derive some of his ideas from the work of Chopin supplied by Liszt himself.
10
GoII erich gives an account of a performance of Liszt' s Funerailles in the
pedagogue's presence, where, in reference to the bass octaves he said

That is essentially an imitation of Chopin's famous polonaise; but here I have


done it somewhat differently.

7. Abraham, Seeking Ways and Means; 14, 16.

8. K. Micha1owski/J. Samson: 'Chopin, Fryderyk Franciszek: Works, Other', Grove Music


Online ed. L. Macy (Accessed 16 July 2007).

9. This author has arrived at this angle of enquiry due to the fact that there were instances in
Liszt's life where he gave ideas to others who then incorporated these into their own works and had
them published without acknowledging the fact that it was from Liszt that many of their ideas had
come from. A remarkable exception to this can be found in the work of Lebert and Stark who warmly
acknowledged Liszt's contributions to their work. Contrary to this; however, is evidence in respect to
Biilow's edition of the Beethoven sonatas. According to Amy Fay (Music-Study in Germany, 218)
"Biilow probably got many of his ideas from Liszt." This seems to be confirmed by an incident
recorded by Giillerich (The Piano Master Classes of Franz Liszt, 86), where he stated that on one
occasion when Liszt was looking through this edition by Biilow he stated that "Today, these last works
of Beethoven are made much easier through Biilow's edition." Earlier he also said jokingly "This
edition is especially very instructive for me," and laughed." Zimdars (The Piano Master Classes of
Franz Liszt, 194, n. 13) has footnoted this citation, stating: "Since Biilow studied with Liszt, it is likely
that some of the advice in his edition originated with Liszt."

10. Giillerich, The Piano Master Classes of Franz Liszt, 6!.


Example 14.16. Liszt, Funerailles, mm. 133-138Y
J33 se"'!pre pili di moto > ..
> >

sempre piU cresc.

IJ6

8_-------- -----------------------------------------------. ----------.- ~-- ------------------------------

Example 14.17. Chopin, Polonaise inA-flat Op. 53, mm. 83-88. 12


sotlo voce
n• -~
4
2 • I'-
----
I" ~pp '!1 7: 7
83

:
eJ ~-

·*
. .......... . ·..,;,;... . '-. . .,;,.,; ,',.,;..·

#
- --
-.t ::J ~ #-.f * -.t .- ::J ~

In comparing these two composers in the above examples, that part of Liszt's
compositional process which involved the synthesis and development of ideas he
discovered around him and that had not been thoroughly exhausted of their
possibilities 13 is apparent. In the case of Chopin and from the point of view of
historical hindsight, Liszt had the opportunity to elaborate on Chopin's ideas as
Chopin died in 1849 while Liszt lived until1886.

11. Franz Liszt, New Edition of the Complete Works: Series I, Works for Piano Solo, vol. 9,
compiled by Zoltan Gardonyi and Istvan Sze!enyi (Budapest: Editio Musica; Kassel: Blirenreiter-
Verlag, 1981), 81.

12. Fryderyk Chopin, Fryderyk Chopin Complete Works: According to the Autographs and
Original Editions with a Critical Commentary, vol. 8, Polonaises, tenth edition, edited by Ignacy J.
Paderewski, assisted by Ludwik Bronarski and J6zef Turczynski (Cracow: National Printing Works,
1972), 62.

13. Watson, Liszt, 180.


CHAPTER IS

Liszt's Technical Studies in Context:


Selected Methods of his Contemporaries

There are two purposes for the inclusion of this discussion in this paper. The
first is to place Liszt's Technical Studies within a context where they can be compared
with other late nineteenth century technical methods. In respect to this, it is not
possible to go into any considerable detail due to the restrictions of this paper;
however, some of the notable similarities and differences between Liszt's Technical
Studies and the method works of some of his pupils and contemporaries, such as
Tausig, 1 Joseffy, 2 Brahms, 3 Kullak 4 as well as Lebert and Stark 5 are given as a
preliminary study into the nature of virtuoso piano methods of the nineteenth century.
The second purpose is to outline the fact that these method works often give
contradictory information, which is confusing to many who use them. Attention was
drawn to this by Walter Brooks in his letter to the editor of The Musical Times and
Singing Class Circular:

1. Carl Tausig, Esercizi Giornalieri per Pianoforte (Ristampa: Ricordi, 1993).

2. Rafael Joseffy, School of Advanced Piano Playing: (Exercises) (New York: Schirmer,
1930.).

3. Johannes Brahms, Siimtliche Werke: Ausgabe der Gesellschajt der Musikfreude in Wien.
Band 15; Studien und Bearbeitungenjar Klavier (Wiesbaden: Breitkopf & Hartel, 1965).

4. Theodore Kullak, School of Octaves for the Piano, Op. 48, part I, U, revised by 0. Thiimer
(London: Augener's Edition, 1913).

5. Sigmund Lebert and Ludwig Stark, Grosse theoretisch-praktische Klavierschule (Grand


Theoretical and Practical PIANO-SCHOOL [for Systematic Instruction in AI Branches of Piano-
Playing from the First Elements to the Highest Proficiency), Vol. II (C.G.Riider: Leipzig, 1866).

274
[ ... I do not suppose that teachers will ever agree about the fingering of
irregular passages - such as cannot be referred to any one (sic) technical head
But (sic) with scales in single and double notes, and arpeggi (sic)- matters of
technique, pure and simple - the case is different. Here uniformity would be a
boon indeed, and to this end may I suggest a few points which cry aloud for
settlement. First, with regard to scales. The principle of Kalkbrenner, Plaidy,
and Halle was to finger every scale, whether commencing on the tonic,
median!, or other degree, like C major wherever possible. Tauzig (sic) an
essentially modern authority, favoured (sic) this view, which, nevertheless, is
generally supposed to have been exploded when Herz put forward his rile of
"the same finger for the same note, whatever degree the scale may begin with.
[ ... different manuals present most glaring discrepancies in fingering.
[ ... ]At best there must be an auricular illusion. [ ... ]There is a wide field here
for scientific investigation. [ ... ] Another moot point is the fingering of the
chromatic scale in double minor thirds. Comparing Tauzig's (sic) fingering of
6
these with Mr. Macfarren's, I can only wonder

The age of this letter dos not detract from its relevance to the current study as
it was written at a time when all the above mentioned methods were in popular use.

Although many of the composers of piano music in the late eighteenth and
early nineteenth century, including: Clementi, Cramer, Hummel, Kessler, Heller and
Kalkbrenner wrote definitive methods, books of etudes or both, none of them wrote
extensive books of exercises which reduced a technical idea to an absolute
fundamental, or mechanical "principle" so that a specific technique could be studied
outside of a musical context. Other than the preliminary scales and arpeggios and in
some cases elementary patterns in thirds, for instance, that some of these
pianist/composers include in their methods, they have not provided a complete
exposition of advanced techniques that can be used to lead to pianistic virtuosity. 7
One of the exceptions to this was Czerny, who, in his 160 achttaktige Ubungen, Op.
821, demonstrated how quasi-musical exercises could be used to develop the purely
technical aspects of advanced pianism.

In many instances it is impossible to determine who may have been the first to
invent specific technical configurations. The dates of publication of these
pianist/composer's method works are not reliable as a source for determining whose

6. Walter Brooks, "Pianoforte Fingering: A Plea for Greater Uniformity," in, The Musical
Times and Singing Class Circular, Vol. 30, no. 559 (1889), 557.

7. I am referring to the methods of Clementi (c. 1801), Hummel (1827) and Fetis/Moscheles
(1840).
ideas belonged to whom. In the case of Liszt, his Technical Studies were written
c.1868-1871, yet they were not published until 1886. The 51 Obungenfiir Pianoforte
by Brahms were published in 1893 yet, in a letter to Robert Freund, the composer
stated that the work was written thirty years earlier. 8 No fixed date is available for
Tausig's Esercizi Giornalieri per Pianoforte but these were published posthumously
in 1872. 9 In one instance, Walker 10 has demonstrated that Tausig used an exercise by
Brahms in his own Esercizi Giornalieri per Pianoforte, while Marvin Tartak 11 in his
review ofTausig's didactic opus has also stated that, in respect to Tausig:

His notes on daily exercises were collected after his death and published
12
(Tiigliche Studien, 1879 ); Liszt's Technical Studies (sic) in 12 volumes
(1886) are remarkably similar and we are probably indebted - in form,
anyway - to Taus1g. ' s practices.
. 13

Nevertheless, through a comparison of Liszt' s approach to technical


advancement with the contributions of some of his contemporaries, we can gain a
general perspective on whether his technical details were standard, different or
unique.

Another important consideration in the discussion of Liszt's place in the


advent of the mechanical method-work is that it is possible that, with the exceptions
of Czerny and Schmitt, Liszt may have been the first to pioneer the entire concept
irrespective of what his students and contemporaries did. The problem in proving this,
as pointed out above, lies in the fact that Liszt did not begin to notate the trajectory of
his technical method until 1868. This means that many of his pupils and
contemporaries may have learned technical ideas from him, devised their own
exercises based on these ideas, and then had them published before his own had come

8. Walker, Reflections on Liszt, 71.

9. Walker, Reflections on Liszt, 71, n. 35.

10. Walker, Reflections on Liszt, 70-71.

11. Martin Tartak, Review of Zwei Konzertetiiden, Op. 1 by Carl Tausig, in, Notes. 2nd Ser.,
Vol. 33 (1977), 687.

12. 1872 in fact. Walker, Reflections on Liszt, 69.

13. This author believes the opposite based on the fact that it was Liszt who taught Tausig.
to light. This, according to the accounts of many of Liszt's contemporaries, was in
fact the case (see below). Based on their accounts, it is clear that Liszt was quite
literally the very fountain-head of pianistic technical thought in the nineteenth-century
who cast a shadow of influence over all those who lived during his lifetime and also
after.

One of the first appearances of a significant method-work where a definite


Lisztian technical influence can be demonstrated is in the Esercizi Giornalieri per
Pianoforte 14 by Carl Tausig. Tausig (1841-1871) was accepted as a pupil by Liszt
when he was 13. 15 Liszt's musical assessment of him was so positive that in a letter to
Sayn-Wittgenstein dated 1855, Liszt described him as

... an amazingly gifted boy ... ) He plays everything by heart, composers


(fairly well) and seems to me destined to make a brilliant reputation for
16
himself very quickly-

Tausig' s exceptional understanding of keyboard technique is demonstrated by


the fact that after a year of studies with Liszt, he was playing such works as Mazeppa
and Eroica. 17 In 1866 18 Tausig founded a conservatory in Berlin in conjunction with
Heinrich Ehrlich but the enterprise did not last long and the conservatory was closed
in 1870. 19 It was here that he taught the American author and pianist Amy Fay who
recorded a considerable amount of information about him for posterity. 20 The likely

14. This was compiled, edited and published by Heinrich Ehrlich (1872): Walker, Reflections
on Liszt, 69, 71, n. 35.

15. Walker, The Weimar Years, 178, n. 22.

16. H. E. Hugo, The Letters of Franz Liszt to Marie zu Sayn- Wittgenstein, translated and
edited by Howard E. Hugo (Westport, Connecticut: Greenwood Press, 1971), 68.

17. Etudes de Execution Transcendante no. 4 (Mazeppa) and no. 7 (Eroica). Walker in:
Lachmund, Living with Liszt, 180-181.

18. Edward Dannreuther/R: 'Tausig, Carl [Karol]', Grove Music Online ed. L. Macy
(Accessed 13 November 2006).

19. Fay, Music-Study in Germany, 70.

20. Fay, Music-Study in Germany; 10, etc.


influence of Liszt on Tausig's Esercizi Giornalieri per Pianoforte 21 can be seen in
the way the exercises are formatted. Many of Tausig's exercises, for instance, follow
Liszt's principle of examining a technical configuration in all the major and minor
keys from c.

Example 15.1. Tausig: Esercizi Giornalieri per Pianoforte, no. 16 (18-19, mm. 1-9).

• ' • a • • • 4. 6 4 G

"

I· rr
!J

• 8
• • •
-~

J,


If
.',!1.

' 8 4. 8

21. All the examples of Tausig are taken from: Esercizi Giornalieri per Pianoforte, 1993.
In chromatic exercises, Tausig structures the technical idea on an ascending
and descending progression of all the twelve chromatic tones in the same way that
Liszt does in the Technical Studies.

Example 15.2. Tausig: Esercizi Giornalieri per Pianoforte, no. 1 (1, mm. 1-2).

Another similarity between these two works is the way in which Tausig
modulates from one key to the next. 22 In most cases Tausig does not include a detail
based on the diminished seventh (example 15.3.); however, in some exercises
(example 15.4.), he employs a harmonic progression that is identical to the one used
by Liszt. 23

Example 15.3. Tausig: Esercizi Giornalieri per Pianoforte, no. 42 (65, mm. 1-4).

22. This involved the study of a technical idea in a major key then the minor followed by the
dominant seventh of the next key leading chromatically stepwise up the next key centre, i.e., c major --->
c minor --> a-flat major seventh ---> d-flat major etc. An example of this can be found in: Boissier, The
Liszt Studies, xx.

23. An example of this by Liszt can be found from pp. 152-153 of this paper.
~ ~ ... ... ... ... ... • • ...

r J

,
f"

~,
...
Example 15.4. Tausig: Esercizi Giornalieri per Pianoforte, no. 28 (43, mm. 1-4) .

• a ••
2 8 I I a 8 .8 'I

Another similarity between the methods of Liszt and Tausig lies in the fact
that once a technical feature has been identified as the subject for examination in an
exercise, such as the appoggiatura (example 15.5), an exercise is written for the
perfection of that feature devoid of musical elaboration or context. Yet, here too is
where the two composers differ; the appoggiatura is not a principle but an effect and
for this reason Liszt has not detailed it in the Technical Studies.

Example 15.5. Tausig: Esercizi Giornalieri per Pianoforte, no. 6 (5, mm. 1-12).
A somewhat remarkable feature of Tausig's method is the almost complete
omission of exercises detailing octave techniques. It is worthy of note that the one
octave exercise that Tausig does include in this work is a study in "Liszt octaves." 24

Example 15.6. Tausig: Esercizi Giornalieri per Pianoforte, no. 46 (71, mm. 1-8).

~
... --: r== =-- - -- -
~ ~

II"' _If
.
!'· #• ~

-
• 1=::: qli
== ~ 1 .. IH.. •
#li q.

"
~ ~.:r 1.::1:;,;
-
5 11"'5 .... ....

24. Walker, Reflections on Liszt, 206.


The 51 Vbungenfiir das Pianoforte, WoO 625 by Brahms (1833-1897) were
written from the 1850's through to 1893 when they were then published. 26 There are
few structural or methodical points of similarity between the pedagogical work of
Liszt and Brahms. The 51 Vbungen are more akin to a set of essential finger
exercises, which like the method of Dohnanyi features "material in condensed form" 27
rather than the exhaustive examination of pianism that Liszt wrote. The finger
iibungen by Brahms begin with exercises that incorporate both scale and arpeggio
configurations. This type of attention to mixed techniques can also be found in the
Technical Studies of Liszt. However, whereas Liszt details his chosen mixed scale and
broken chord configurations in all the major and minor keys, the similar
configurations by Brahms are confined to the chords I, IV and V in D major only: 28

Example 15.7. Brahms: 51 Vbungenfiir Pianoforte, no. la (126, mm. 1-8).

Similar to certain configurations in the Technical Studies where the passages


are designed to stretch the fingers at interval which are rarely encountered in a score
29
but can nevertheless lead to a greater degree of digital flexibility, Brahms
incorporates some exercises where large digital stretches, from the fifth to the second

25. The exercises by Brahms are cited from: 51 Obungenfor Pianoforte (51 Finger Exercises)
woo6 (Leipzig : Breitkopf & Hartel, 1965).

26. G. S. Bozarth: 'Brahms, Johannes: Works', Grove Music Online ed. L. Macy (Accessed 5
October 2006).

27. Ern6 Dohnanyi, Essential Finger Exercises, for obtaining a sure piano technique
(Budapest: Editio Musica, 1950), 5.

28. A similar configuration by Liszt can be found from pp. 119-120 of this paper.

29. Such as exercise no. 67 from the Technical Studies.


finger (r.h.) in exercise no. 14, force the pianist to consider the technical possibility of
playing legato with consecutive fingers across wide intervals as opposed to jumping.

Example 15.8. Brahms: 51 Ubungenfilr Pianoforte, no. 14 (141, mm. 1-8).

.
, ·.nEJ·'
t tat a '
t--11..1 I r- I IJ I IJ I 1..11

(IV kggiero 1t ~ ~ ~ ~~~ tt ... . 1~1· •

'r,.. t 41 at • a• tat

Exercise no. 25a features "finger slides." Similar sliding configurations can be
found in the actual piano works of Brahms, such as in the Variationen iiber ein Thema
von Paganini, Var. 8, and in this regard, may help prepare the pianist for the
performance of Brahms's repertoire in the same way that Liszt' s exercises can be
used to prepare for his own works. However, because they are not a technical
"fundamental" but more a fingering possibility, these patterns have no representation
in the Technical Studies.

Example 15.9. Brahms: 51 Ubungenfiir Pianoforte, no. 25a (!50, mm. 1-2).

Brahms's exercise for thirds in no. 3, mm. l-2, also clearly demonstrates an
unusual approach to the advancement of pianistic technique. The consecutive
fingering: (r.h) 5/4 to 5/3 is irregular so that other than the mastering of this
irregularity, it has little or no application in actual repertoire outside of Brahms' own
works. Liszt also features some irregular fingerings in the exercises of the Technical
Studies, such as those found in exercise no. 9, where he indicates 5-1, and 5-4, for
instance, for single note repetition. Here is an instance where both composers seem to
be using technical material to help the pianist acquire flexibility and suppleness.
Example 15.10. Brahms: 51 Ubungenfiir Pianoforte, no. 3 (131, mm. 1-15).

Brahms's use of both the dominant and diminished seventh chords in


combination is possibly more musically imaginative than auy such example written
by Liszt. In exercise no. 31a, for instance, the chords seem to be intended to reveal a
more imaginative effect thau merely presented for the purposes of modulation.

Example 15.11. Brahms: 51 Ubungenfiir Pianoforte, no. 31a (156, mm. 1-8).
In exercise no. 38 by Brahms, the chord of the seventh is omitted altogether,
while the diminished seventh is used to modulate stepwise up the scale from c.

Example 15.12. Brahms: 51 Obungenfiir Pianoforte, no. 38 (165, mm. 1-8).

Brahms' approach is different from Liszt' s in that he often details his chosen
technical configurations up or down the various degrees of one given diatonic scale
only.

Example 15.13. Brahms: 51 Obungenfur Pianoforte, no. 13 (141, mm. 1-8).


Example 15.14. Brahms: 51 Obungenfiir Pianoforte, no. 34a (161, mm. 1-7).

B .~ ~
~• ---
r -r ..,. r ,.. 1!
I"' ~ - J~J+.J,J.
J~ ~j
~ 1~. 1+1.
v

·~
..-
ffiffi ~~-~+- .m m ~

-
~•B

~ ~•H ;;; ..,;;;;;;;;,


,;;;;;;;;;;;;-

' r ~ r ~- r

Common to both Liszt and Brahms is the way in which they detail tbe two-
finger exercise in thirds. However, Brahms's examination of this configuration is
confined to b major only, whereas Lisze 0 examines it in all the major and minor keys
and includes a chromatic detail of the configuration at tbe end of his exercise.

Example 15.15. Brahms: 51 Obungenfiir Pianoforte, no. 23a (147, mm. 1-4).

Example 15.16. Brahms: 51 Obungenfiir Pianoforte, no. 23b (148, mm. 1-4).

30. A similar configuration by Liszt can be found from pp. 116-117.


Example 15.17. Brahms: 51 Ubungenfiir Pianoforte, no. 43c (148, mm. 1-4).

Unlike the extensive detail Liszt gives to such techniques as octaves, sixths,
repeated notes as well as three-, 31 four- and five-note chords, there are no exercises in
the 51 Ubungen fiir Pianoforte that detail these technical features. Despite the fact
that Brahms's exercises do not detail many of the technical configurations that Liszt
does, the opposite is also ttue. In this regard, it is apparent that the technical emphasis
in Brahms's finger exercises is quite different to that which Liszt gives to the
examination of piano technique. A more thorough examination of Brahms's 51
Ubungen fiir Pianoforte would most likely reveal that his exercises are idiosyncratic
in that they may have been written as an extension of his own technique and possibly
for the purposes of revealing ways to master those technical aspects of his own piano
repertoire that may be problematical for the pianist.

Before studying with Liszt in Weimar from 1870-1871, the Hungarian pianist
Rafael Joseffy (1852-1915) was a student of such luminaries as Moscheles and
Tausig. 32 It is evident from the recollections of Carl Lachmund that Liszt retained
fond memories of his former pupil, who, after moving to New York became an
influential piano pedagogue in his own right. 33 It was here that Joseffy wrote his
School of Advanced Piano Playing 34 (1902). 35 It would be an oversight to think that
Joseffy was not influenced by his former teacher's pedagogical principles. 36 Evidence

31. Exercise no. 38 is the exception here; however, this exercise is a finger study that uses
three-note chords to isolate specific fingers as opposed to a three-note chord study in itself.

32. Walker in: Lachmund, Living with Liszt, 307.

33. Lachmund, Living with Liszt; 33, 307, 348.

34. The Technical Exercises by Joseffy are cited from: School of Advanced Piano Playing
(Exercises) (New York: G. Schirmer Inc., 1930).

35. Charles Hopkins: 'Joseffy, Rafael', Grove Music Online ed. L. Macy (Accessed 5 October
2001).

36. Walker, Reflections on Liszt, 216.


of an influence can be seen in his method by the way in which he structures technical
exercises based purely on mechanical principles devoid of a musical context as well
as the way in which specific technical configurations are detailed in all the major and
37
minor keys. Similarities between Liszt's Technical Studies and Joseffy's School of
Advanced Piano Playing are numerous. Some of these include the use of exercises
38
with held notes (example 15.18.), chord leaps in thirds 39 (example 15.19.) and rolled
chords over the octave40 (example 15.20.).

Example 15.18. Joseffy: School of Advanced Piano Playing, no. 12 (68, mm. 1-4).

f '.... ~
4
"ff r · Hr' r ~r r f'
8 4 !J
r r Hr JJ.5 ~,. 1 ,. ,. 'f ,. •r

Example 15.19. Joseffy: School of Advanced Piano Playing, no. 19b (95, mm. 4-7) .

I 4
~>..
••
b.
J llh.J ~ l"''"i" ~ b... .

"
~- "'·
v
I"' H'
.ytaccato

·~~• ·~·.
• • •••• • 1: #iq1 #Rl •• .. "'""'"~

I ... ll #,. ,.. ... .. qs:.. ... ll J:



-
'II

l ..
I"'

:

~t
....... l..&.bf

1.~
I"'F"'F'
p ,. R'
f • t _.

....
eto,

37. Joseffy, School of Advanced Piano Playing; 47, 58, 63, 69 and etc.

38. A similar configuration by Liszt can be found from pp. 222-223 of this paper.

39. A similar configuration by Liszt can be found from pp. 246-247 of this paper.

40. A similar configuration by Liszt can be found on p. 166 of this paper.


Example 15.20. Joseffy: School of Advanced Piano Playing, nos. 21a and 21b
(100, mm. 1-4).
a~ bll! ~ 0...1 ,,..
,.,.

I ltl ......
-. -ur ~
.

~IJ"" -l.!UJ ll>f' [J r J.


.i. ~l'!""lm
- .,, 1 nu, ~.

b~ [! i : l
8 ;t•t},';' .... . ~

·~-!

.,. - - - lu ere.
-.... •p
Like Tausig before him, Joseffy was one of the first pianist/composers to
detail nineteenth century pianistic effects, such as various forms of appoggiatura
(example 15.21.), glissandi (example 15.22.) and embellishments (example 15.23.).
These features were not detailed by Liszt because they do not embody a pianistic
principle. In the following example (16.21.), for instance, Joseffy detailed the
appoggiatura in single notes, thirds, sixths and octaves. This aspect of his method was
most likely an attempt to be comprehensive and in this regard his methodology is
identical to Liszt's. However, he did not explore these configurations in all the major
and minor keys, a primary feature of Liszt's method.

Example 15.21. Joseffy: School of Advanced Piano Playing, no. 17


(90-91, mm. 7-17).

A J I J I
ltl ., •• •• ., •
., - .,
• 3
' • • a •
p
• ' • a ••
f
...J,]r_ ~ J ~~ J ____..
. .•• .,
,}J_ / :-Jio:.. . .),

., • • " a • • ., • • • • a . ' ' • • • 8 ••

. fl

., "'"
.
-....... '• .• 3
• ten
=~ te11

ltl • " " • • ....., ,r 1:.-...:!.I • ,


f
•' • . •• ten .
p
.... ""'
•~ ...
• ten.

., •
• •1 a ' . I ., iii -
!ji
• • ~~. •a
)o,_. .~ • ten. ;/)~_n

., _J
• .' ••
a a ' "-l.7
p•• ••
I
••
I
' '"
.1 • .•~~.'· >• -
'
_b
I t
• ten .

•• •••
3
-
• • • •
••
I ••
I

ten,

o I I
• •• ••
• •

Example 15.22. Joseffy: School of Advanced Piano Playing, no. 18 (92, mm. 5-10).

8 ................... ,.:,· ................. ,

I ..
'

8"""""""""""""""""""""\

~~=====-~ 8 ............................................ ,
Example 15.23. Joseffy: School of Advanced Piano Playing, no. 20b, Allegro
(97, mm. 1-6).
~ Aile ~ ,___________ I I.
J -------------- J. ~J-----J

r h

• •.
.


-~ . '1
•j~IJ\j~j,

.....~
..

-"
~
...
. . .


•·
.I!

I
"- J.W..IJ\JI.I~
. I

I
'

' -"
r

• I •.1
'

'
Jl
et~_r
.J ~Jrj ..~J.IJrJ.Id ,J,.


)~ .h/ 'li.J
I

-~ ~- N ~ r~
,)IJ etc.

' ~ • ·a ' 'a·

Some of Joseffy's exercises illuminate the ways in which specific techniques


may be acquired, such as, the isolation of the thumb from the fourth and fifth fingers
41
in octave playing. Once again, because this is an aspect of octave playing and not a
fundamental, this type of technical configuration is not represented in Liszt' s
Technical Studies.

Example 15.24. Joseffy: School of Advanced Piano Playing, no. Sa (44, mm. 1-2).

''
~
.. ~~
®----rrrii~
ISG55
....
Example 15.25. Joseffy: School of A,dvanced Piano Playing, no. 8b (44, mm. 3-10).

41. J oseffy was not the first to do this. His teacher Theodore Kullak did so in his Schute des
Oktavenspiels. It is possible that Joseffy got this idea from Kullak (Octave Playing I, 7-9).
Another unique feature in this method is the fingering which Joseffy suggests
for the attainment of single-note repetition. As stated in the discussion of the more
unusual fingering suggestions that both Liszt and Brahms include in their respective
exercises, it is likely that the fingering that Joseffy gives for this technical
configuration was meant to help the pianist facilitate finger suppleness and flexibility.

Example 15.26. Joseffy: School of Advanced Piano Playing, no. lOa (57, mm. 1-3).

42
Similar to Brahms, Joseffy introduces various tempo and articulatory
43
indications, such as 'Allegro', 'Vivace', 44 'Andante tranquillo', 45 and 'staccato e
46
leggiero', which Liszt did not include anywhere in the Technical Studies. The
reason for Liszt' s exclusion of such musical indications is clear; they are expressive
indications that are not "fundamental" to any given passage unless that passage is
stated in a purely musical context. Nevertheless, when these are combined with the

42. Such as; ben legato (34a), leggiero eben legato (40b) and Andante e Allegro (43a).

43. Joseffy, School of Advanced Piano Playing, 73.

44. Joseffy, School of Advanced Piano Playing, 79.

45. Joseffy, School of Advanced Piano Playing, 97.

46. Joseffy, School of Advanced Piano Playing, 38.


dynamics, 47 accents, 48 phrasing49 and indications of touch, 5° which Liszt did include
in his exercises, the mechanical configurations are given a musical subtext so that the
development of technique never becomes a purely mechanical study.

More so than the technical methods of Brahms and Tausig, the School of
Advanced Piano Playing by Joseffy is a complete system which, like Liszt's, is
comprehensive in its recognition of the various principal aspects of virtuosic
technique. The inclusion of extensive octave studies, which may also be used to study
broken-octaves 51 and that are not found in the works of Brahms and only once in
Tausig's method, the above mentioned exercise for octaves, the musical and
expressive indications as well as other exercises that detail specific techniques such as
the use of the thumb, 52 sliding from the black keys 53 as well as exercises for separate
hands 54 must surely rank this method with the very best of nineteenth-century
pedagogical piano systems.

Theodore Kullak (1818-1882) was one of the most significant piano


pedagogues of the nineteenth century. 55 His written contributions to pianism include
numerous salon and concert pieces as well as several didactic works, such as the
Schute des Oktavenspiels Op. 48 (pub.1848). 56 In 185057 Kullak founded the Berliner
Musikschule (Sternsches Konservatorium from 1857) with the conductor Julius Stern

47. Joseffy, School of Advanced Piano Playing, 38-39.

48. Joseffy, School of Advanced Piano Playing, 29.

49. Joseffy, School of Advanced Piano Playing, 112.

50. Joseffy, School of Advanced Piano Playing, 85.

51. Joseffy, School of Advanced Piano Playing, 45.

52. Joseffy, School of Advanced Piano Playing, 88.

53. Joseffy, School of Advanced Piano Playing, 90.

54. Joseffy, School of Advanced Piano Playing, 56.

55. Fay, Music-Study in Germany, 168.

56. H. Leuchtmann: 'Theodor Kullak (1 )', Grove Music Online ed. L. Macy (Accessed 20
March 2007).

57. Kullak, School of Octave-Playing, Section I: Prelimiunary School (U.S.A.: Schirmer,


1926), 1.
(1820-1883) and the musicologist/theorist Adolf Marx (1795-1866). After leaving this
post in 1855,58 Kullak founded the Neue Akademie der Toukunst. 59 The fact that at
the time of his death, this institution had over 100 teachers and over 1,10060 is widely
documented. Other than the critical remarks Liszt made in repsect to Kullak having
never made a "sacrifice on the altar of art" 61 and despite the fact that he made an
enormous amount of money from teaching, their works and approach to the
exposition of technique have much in common. Amy Fay 62 has illuminated this
commonality by stating that

Kullak ... is a wonderfully finished (sic) teacher. He is a great friend of


Liszt's, and Liszt has taught him a good many things.

According to Kullak63 "octave playing depends chiefly upon the cultivation of


the wrist." His definition of the mechanical action of the fingers and hands, in octave
playing, as "rising and falling" 64 is identical to the horizontal knuckle and wrist
principles that Liszt' s octave exercises demand. Kullak states that: "The up and down
movement of the hand must be executed as uniformly as possible."65 Liszt also states
that he considered the practice of "octaves repeated rapidly and for a long time on the
same key" 66 "making sure that every note ... is executed evenly" 67 was one of the
technical exercises that he considered to be very impmtant. Kullak approaches octave
technique in a variety of ways; making use of rhythm (example 15.27 .), wide stretches

58. His position was succeeded by the Liszt disciple Hans von Biilow (1830-1894).

59. Kullak, School of Octave-Playing, 1.

60. Kullak, School of Octave-Playing, 1.

61. Liszt in: Lachmund, 1995; 226, 226, n. 8.

62. Fay, Music-Study in Germany, 142.

63. Kullak, Octave Playing, 2.

64. Kullak, Octave Playing, 2.

65. Kullak, Octave Playing, 2.

66. Boissier, The Liszt Studies, xiii.

67. Boissier, The Liszt Studies, xx.


(example 15.28.), held-notes (example 15.29.) and broken chords (example 15.30.).
Liszt does all this but over a much greater spread of complete exercises.

Example 15.27. Kullak: Schute des Oktavenspiets; octaves in rhythms, nos. 1a, b, c
and d68 (2-3, mm. 1-9).

Example 15.28. Kullak: Schute des Oktavenspiets; octaves with stretches, nos. 1-4
(27,mm.1-7).

68. It is apparent that there is a typing error here as the score has 'b' instead of 'd.' Kullak,
School of Octave-Playing, 2-3.
Example 15.29. Kullak: Schule des Oktavenspiels; octaves with held notes, nos. 1-5
(25, mm. 1-10).

Example 15.30. Kullak: Schule des Oktavenspiels; octaves in broken chords,


nos. 1-8 (23, mm. 1-8).

There are numerous similarities between Kullak' s and Liszt' s fingering and
technical configurations in octave technique. Like Liszt, 69 Kullak recommended the
use of the third and fourth fingers in octave playing, 70 but clarified this point by
stating that these fingers "are employed only in a very subordinate manner."71

69. Lachmund, Living with Liszt, 80.

70. Kullak, Octave Playing, 9.

71. Kullak, Octave Playing, 2.


Example 15.31. Kullak: Schute des Oktavenspiets; octaves in scales, (15, mm. 1-8).

~
I 4 , f ~~ -~ ~ ~! ~;. f 1 ~ ~ ·teJ.. ~ •
1 ~
" I I 1 -\

' I .,
, .. ' ..'f~.
• •• IS4~4
&~4
+ .
:

4 • !
• 3 t : IS ••
'II: ; : i t t..,:..i ·~ ,!q,-.# ": :~~~! ••• ·~:. ••
"
tl t 0 .. 6 ~~~.,
f · ~&o~t4&
: ·~~-
:
.
' .. 14 .......
li-t
III
fl IS 4 IS
& 6-t
4&64
4
6 .4 IS

3-t

8 ••

[tl
"
J4 6 ·~

't~
1: t •

•'IS
..: ..... : ....
~ .. 6 6
r .. &6
..... ;,. '~~t::. ..

llIll
4 6
~6 .. ;:"
8-tr.•& ..
....;
6 ! 4
--
----~
••
1
: :

Similar to Liszt's technical recommendations, Kullak suggests that the pianist


studies octave scales in all the major and minor keys. 72 He also ends his octave scale
configurations with a chromatic detail.

Example 15.32. Kullak: Schute des Oktavenspiets; chromatic octave scales,


(19, mm. 9-14).

l I"
"
Ifil
\1

•••4
• 6
tt"\1
5 ·--
••

8
-- ~~
•• •• •• •• •


Ih• lb. ... .~ ... ~.. fl. . 8" .... . ...... ~ii~~·~~~·

1"'R1"'L!!I" ~ ,...

72. Kullak, Octave Playing, 15-19.


8 fi"",i~·· 3
rH"~~ ~~ ~",."· .],
IS 4

·~ ~" \ :t..i !
rJl
F
:

~.-..~Hn J-r= ~~~~:iii=- ~~··~" ~~·


:
I~·

•.. •' .
.

_fl. • • • !Hl ~"~~~ t)I>U~· • t •' '


~·~ ,. ,,. .. :

)'· •H• •
_.. ~ _t

~,. !": :~r


--~. •
• ' • £t 4 tl 4 D • :P.~~~r~;t •.• •
4 & 4 &
I

a 4

While Kullak's detailing of arpeggio configurations does not feature chords of


the dominant and diminished seventh, he nevertheless singled these out for study in
other exercises.

Example 15.33. Kullak: Schule des Oktavenspiels; octaves in dominant and


diminished sevenths, nos. 40-45 (25, mm. 1-6).

40. s··'··········ii············:
"r;~· "r;"- "r;•t

The notation of various octave-based configurations in Kullak' s manual goes


beyond what Liszt has presented in the Technical Studies. 73 Kullak includes many
varied configurations for the right and left hands separately; this may indicate that
Kullak saw this technique as a valuable didactic tool, one which could not only be
used to develop finger technique but also help the pianist engage the elbow and
shoulder in lateral movement across the keyboard.

73. Kullak, Octave Playing, 27-30.


Example 15.34. Kullak: Schute des Oktavenspiels; nos. 18, 19, 20 (28).

Example 15.36. Kullak: Schute des Oktavenspiels; nos. 7, 8, 9 (29).

Example 15.37. Kullak: Schute des Oktavenspiels; nos.15, 16, 17 (29).

In light of the fact that Amy Fay identified Liszt' s influence on Kullak as well
as the high recommendation von Bi11ow gave Kullak's work, 74 we may ask if
Kullak's descriptions of technique can illuminate the ways in which we approach
Liszt's octave exercises? It is possible, for instance, that Kullak's 75 identification of
two distinct ways in which octaves can be played accounts for the varied technical
configurations that Liszt has presented in his Technical Studies and furthermore,
indicates how these might be practiced?

Should the finger ... be decidedly lifted from the key, the result is stroke-
touch in its strictest sense. If, however, this distance is scarcely or not at
all perceptible, we have a species of tone-production which I will call ...
pressure-touch, since there is in the hand rather a sense of pressure than of
striking. 76

7 4. "This is the most meritorious work, and in our opinion no other can take its place: it fully
deserves the often misapplied title "L'indispensable du pianiste.". Btilow in: Cramer, n.d., III(?).

75. Kullak, Octave Playing, 4-5.

76. Kullak, Octave Playing, 4.


Kullak also states that

In stroke-touch we are concerned with the up and down movements; in


pressure-touch with the rising and falling of the hand, the fingers
remaining stationary 77

Because Liszt does not suggest his exercises are to be practiced in any
particular mechanical way, it seems feasible that Kullak's suggestions can be used to
study tbem.

Writing from Rome in July 1868, Liszt stated tbe following about the French
edition of Lebert (1821-1884) and Stark's 78 (1831-1884) Grosse Theoretisch-
Praktische Klavierschule (Grand Theoretical and Practical PIANO-SCHOOL [for
Systematic Instruction in All Branches of Piano-Playing from the First Elements to
the Highest Proficiency):

Judging methods like trees, i.e., by their fruits, I consider the results
obtained by your method the most convincing testimony of its excellence.
It educates real artists, not parasitical dabblers. The fact that three editions
have been published within a few years, and so highly approved of by the
musical authorities of Germany, shows the deserved success, and the
generally recognized value of your method.
Among its numerous merits I would particularly mention the
gradation, variety and musical interest of the studies. Paragraphs 24, 25,
etc. of part first (sic), and the 24 small compositions (or rather
constructive amusements) following the scales are perfect models in this
style. Space will not allow the numerous commendations which would be
the result of a more detailed examination of the different parts of your
work. To be both brief and sincere, let me then congratulate you,
gentlemen, upon having successfully simplified, and at the same time,
advanced, the instruction on the piano, in intelligently profiting by the
best results obtained by your predecessors, and in consciously completing
these results by your own experience.
Accept, then, the expression of my highest esteem and
cons1'deratwn.
. 79

77. Kullak, Octave Playing, 11.

78. Last issued in 1914. Gollerich, The Piano Master Classes of Franz Liszt; 178, 185.

79. From photographic reproductions at: www.epier.com. "Grand Theoretical and Practice
PIANO - SCHOOL For Systematic Instruction" by Dr. Sigismund Lebert and Dr. Louis Stark. This
antique book is undated but it is from the late 1800's. ''Translated from the Fifth German Edition by
C.E.R. Muller, A.M." Published by Oliver Ditson Company, Boston (n.d.). (Accessed 15 March 2006).
In the Preface to the Eighth Edition, Lebert and Stark have expressly
acknowledged that Liszt made contributions to their method that "highly ornament" 80
their work:

That our school satisfies the demands of the present time is proved by the
important fact, that Fr. Liszt (sic), the pianist of all pianists, besides ever
taking a lively interest in it, has honored it by several contributions from
81
his master-hand.

They also state that

A new school was also called for by the grand improvement in piano-
playing, which in later years has received from masters like Fr. Liszt (sic)
its ultimate perfection not only in power and sonorousness (sic), but also
82
in ingenious combinations of the most heterogeneous timbres.

In light of this, it is not surprising to find that there are numerous exercises in
the method of Lebert and Stark that can also be found in Liszt's Technical Studies.
Some of these include; configurations in springing scales in sixths and 6/3 chords 83
(example 15.38.), 84 configurations in 6/3 chords shared between the hands 85 (example
15.39.),86 and configurations in double sixths 87 (example 15.40.). 88

80. Lebert and Stark, PIANO-SCHOOL, n.d.

81. Lebert and Stark, PIANO-SCHOOL, n.d.

82. Lebert and Stark, PIANO-SCHOOL, n.d.

83. Lebert and Stark, Grosse theoretisch-praktische Klavierschule, 3.

84. Similar configurations by Liszt can be found from pp. 127-128.

85. Lebert and Stark, Grosse theoretisch-praktische Klavierschule, 132.

86. Similar configurations by Liszt can be found from pp. 127-128.

87. Lebert and Stark, Grosse theoretisch-praktische Klavierschule, 134.

88. A similar configuration by Liszt can be found on p. 127.


Example 15.38. Lebert and Stark: Grosse Theoretisch-praktische Klavierschule,
Band II, springing scales (3).

Example 15.39. Lebert and Stark: Grosse Theoretisch-praktische Klavierschule,


Band II, 6/3 chords with both hands (132, mm. 1-9).

Example 15.40. Lebert and Stark: Grosse theoretisch-praktische Klavierschule,


Band II, double sixths (134, mm. 1-6).
The technical method of holding down notes in order to improve the digital
strength and independence of "very weak fingers and ... thick, clumsy fingers" 89 are
featured in various forms in Lebert and Stark's method. An examination of these
technical passages reveals that the writers seem to have attempted to exhaust the
possibilities of finger direction so that as many digital combinations would be
accounted for.

Example 15.41. Lebert and Stark: Grosse theoretisch-praktische Klavierschule,


Band I, nos. 1-8 (65).

'
" LjJ 5JJJJJ JJJ3JJ JJJ :II &j JJJ J JJ j JJ JJJ. JJJ:II
~3. • ' . 4. 5.
JJJJjJjJJJJJJjJj :lljJJJJJWJJJJJjJ]J =lljJJJjJJJJ;JJJ]J ):II
'6. . .
. jJJ]JJjJ]J]JJjJj:ll J llijjJJjJJ}JJqJJ):IIjJJj-QJJjJJjJj; 0u
7. 8.
Lebert and Stark's approach to the acquisition of thirds playing is similar to
the above in that the configurations they present provide finger direction possibilities
that are clearly designed to set before the pianist as many mechanical actions as may
be technically useful. This approach is not the same as Liszt's, who presents technical
configurations in their fundamental form and therefore, does not detail digital
possibilities that are derived from these.

Example 15.42. Lebert and Stark: Grosse theoretisch-praktische Klavierschule,


Band I, nos. 1-14 (68).
~
4
2~ 4

:11@1 Ji :II /;j ;Q =II h J] :lljijjJJjjJJjjj;j:ll


3 ' . 4 5.
~bJJj@jjjijJjijj
K _;;;..-o .~ ,~ •"-"---" ---.:..._.::...__;:-
&4 4 8 4 .

89. Lebert and Stark, Klavierschule, Band I (Leipzig: Peters, 1914), 65.
Liszt' s technical method of examining a configuration in all its structural
. forms is apparent in Lebert and Stark's exercise in glissandi. In this exercise, the
possibilities of single note glissandi, glissandi in thirds, sixths, 6/3 chords as well as
octaves are presented. Here, the purpose seems to be to place before the pianist all the
possibilities of this type of configuration so that he/she may prepare for every type of
them that may be encountered in actual repertoire.

Example 15.43. Lebert and Stark: Grosse theoretisch-praktische Klavierschule,


Band 1/, configurations in glissandi (135).

One of the more striking similarities between Liszt's and Lebert and Stark's
methods is the presentation of various technical configurations in all the major and
minor keys.
Example 15.44. Lebert and Stark: Grosse theoretisch-praktische Klavierschule,
Band II, arpeggio-based broken chords (28).

D moll.

Gmoll ..

U d.ur.

...etc.

Despite the obvious influence and "several contributions "90 Liszt made to the
method of Lebert and Stark, the success of this work, in respect to its many
reproductions, is proof that it could stand alone on its own merit. The ways in which
digital exercises have been set out with written instruction given to help the pianist
master them and the inclusion of many pieces which transform the exercises presented
into short musical studies, make this method, according to this writer, one of the most
comprehensive and useful method works apart from Liszt's.

90. Lebert and Stark, PIANO-SCHOOL, n.d.


CHAPTER16

Conclusion

An examination of the written technical procedures given to Boissier 1 by Liszt


m 1831-32 demonstrates that by the age of twenty Liszt had already pioneered his
own methodology for technical advancement. A comparison between these
descriptions and the types of exercises found in the Technical Studies as well as the
ways in which these are addressed, such as the study of an idea in the twenty-four
major and minor keys, reveals that the methodology in both cases is the same. In light
of this, it is without doubt that the systematic way in which Liszt presents technical
configurations that are "fundamental" 2 to "the art" 3 of piano playing in the Technical
Studies 'were retrieved from buried memories of long-ago work routines. ' 4

Liszt's own words in the Preface to the Technical Studies, 5 in conjunction


with the writings of Boissier make it possible to suggest that the Technical Studies are
based on six "fundamental"6 artistic and mechanical principles which Liszt used to
address the various ways in which virtuosic pianistic execution could be acquired.
This has been demonstrated through the presentation of numerous musical examples
in this thesis taken from the exercises of the Technical Studies. Once these principles
were identified, it was shown that Liszt' s methodology consisted fundamentally of
examining the structural possibilities of the technical configurations which he saw as
being fundamental to the acquisition of pianistic virtuosity. According to Boissier/

1
Boissier, 1976.
2
Boissier, 1976, 49; Boissier, 1973, xvii.
3
Liszt cited in: Mezo, 2006, 2.
4
Walker, 2005, 214.
5
Liszt cited in: Mezo, 2006, 2.
6
Boissier, 1976, 49; Boissier, 1973, xvii.

7. Boissier, Liszt pedagogue, 78; Boissier, The Liszt Studies, xxii.

306
the examination of all the structural possibilities of the "fundamental passages" 8 of
"the art" 9 of playing the piano was a primary part of Liszt' s methodology for
examining and developing pianistic technique c.1831-1832. This thesis has presented
the technical configurations of the Technical Studies in a way that demonstrates that
Liszt did exhaust the various possibilities of his chosen technical configurations. This
appears to validate the comments made by Boissier so that her writings can be used to
illuminate the technical trajectory of Liszt's technical treatise.

Based on the findings and consequent presentation of the arguments of this


paper, the current author suggests that Liszt's trajectory for the attainment of pianistic
virtuosity is based on the following systematic methodology:

1. The study of the vertical mechanism of the finger, wrist, elbow and shoulder
through a range of technical configurations that embody all the fundamental
principles of pianistic execution. These vertical principles are mechanically
realized through the major and minor diatonic scales as well as; chromatic
scales, arpeggios and broken chords and all the other technical
configurations presented.

2. The study of the horizontal mechanism of the finger, wrist, elbow and
shoulder in a similar way to the above. The presentation of configurations that
require the lateral movement of all the parts of the arm in passages such as
scales, arpeggios, broken-chords arranged in thirds, sixths and octaves, for
instance, have been arranged so that that the pianist may master keyboard
topography; in other words, they are for the instruction of how the hand
executes according to the geometry of the keyboard.

3. Through an examination of technical configurations that modulate, in the


majority of the exercises, through all the major and minor keys. In many
instances, these configurations are developed and varied, from section to
section or from exercise to exercise, through harmonizations which are

8. Boissier, Liszt pedagogue, 91; Boissier, The Liszt Studies, xxv.

9. Boissier, Liszt pedagogue, 82; Boissier, The Liszt Studies, xxiii.


derived from major and minor chord stluctures as well diminished and
dominant seventh chords.

4. Through the study of all aspects of artistic piano playing, namely, the principle
of the nuance. This involves that the pianist must, in all exercises, execute the
technical pages in the light of the consideration of touch; both staccato and
legato, the consideration of dynamics, i.e., loud, soft as well as crescendo and
diminuendo as well as the consideration of accent and phrasing.

5. Through the study of technical configurations in simple and compound


rhythmic stluctures. These rhythmic figures are designed to bring about
precision, strength and finger independence.

6. The intellectual instruction and development of the pianist through exercises


which require that he/she must examine the given technical configurations
with clear artistic and mechanical judgement. The role of the ear is paramount
in the education of the pianist through technical exercises because of the need
of the pianist to be able to determine effective touch, i.e., nuances.

Liszt's presentation of technical configurations, which exemplify the


"fundamental" 10 mechanical actions of piano playing up to, including and arguably
beyond his own time, makes it possible to propose that the exercises of the Technical
Studies can be consulted and studied by piano students today when they find that in
their own respective endeavors to achieve pianistic virtuosity, they are blocked by
technical impasse. Boissier's writings, from 1831-1832, reveal to the pianist why
Liszt's Technical Studies are worthy of examination because:

10. Boissier, Liszt pedagogue, 9!; Boissier, The Liszt Studies, xxv.
II est evident qu'il prend dans Ia musique tout par le principe; soit /'execution
en domptant par avance tons les encha!nements de notes imaginables, soit
/'expression en se fac;onnant il toutes les nuances, soit le dechijfrement en
s'accoutumant a tous les passages fondamentaux et a toutes les modulations.
Cette habitude de creuser ses impressions, celles des autres, de fixer sur le
discours, toutes les passions, leur jeu, leur developpement, leurs contrastes
11
constituent une etude preque psychologique qui acheve le talent.

It is evident that he approaches every aspect in music by its fundamental


principle, be it the execution of every conceivable combination of tones,
carrying out all combinations of shadings or, finally, sight-reading, by
becoming familiar with all fundamental passages and all modulations. This
ability of his to imprint on the keyboard, as on a canvas or a discourse, all
passions-their full play, their development, their contrast-constitutes an almost
12
psychological study which perfects talent.

While there have been other papers on Liszt's Technical Studies which have
attempted to explain his artistic and mechanical trajectory, for the first time, this
author has presented a complete examination of the ways that this pedagogue detailed
his chosen technical configurations. The Technical Studies are designed to set before
the pianist an exhaustive regime which examines all the fundamental passages and
patterns that are possible within the limits of pianistic execution. Liszt' s technical
trajectory unfolds in a methodical way. As demonstrated, Liszt appears to have
organized his Technical Studies through 6 principles which were designed to be
exhaustive in their representation of artistic and mechanical pianistic issues; in other
words, it is clear that the exercises in the Technical Studies were designed to reveal to
the pianist musical and mechanical fundamentals that are essential in the study of
pianism. Furthermore, for the pianist who wants to use technical exercises to push
beyond conventional training, he/she will find that Liszt has supplied a complete
treatise for that purpose in the three volumes of Technical Studies allowing the
student to pursue pianistic excellence.

11. Boissier, Liszt pedagogue, 91.

12. Boissier, The Liszt Studies, xxv.


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