Franz Liszt, Brustbild

Signatur des Originals: S 36/G04619

Faust = La damnation de Faust : a dramatic legend composed and dedicated to Franz Liszt : op. 24 /

For solo voices (SATB), chorus (SATB), and piano.

Evocations of Nature in the Piano Music of Franz Liszt and the Seeds of Impressionism

Thesis (D.M.A.)--University of Washington, 2016-06

Lucien Levy-Bruehl, Albert Einstein, Franz Oppenheimer, Arthur Liebert and his son, Paul Tillich, unidentified woman and Mrs. Charles Blondel outside the Grand Hotel Curhaus during the Davoser Hochschulkurse; Davos, Switzerland Portraits Groups

The Davoser Hochschulkurse took place for the first time in 1928. Mainly university teachers from Germany, France, Switzerland (perhaps elsewhere) offered lectures to students recovering from tuberculosis at the health resort in the Swiss mountains. The lecturers were accommodated at the Grand Hotel Curhaus, where the lectures also took place.

Abraham Ettlinger, Portrait. ( 1726-1811 )

This portrait is chronologically first in a series of members of the Ettlinger-Bielefeld family, Acc. 78.50 and 78.53

Sonata Development at the Turn of the Century: From Liszt to Stravinsky

The sonata began to lose its position of predominance among compositions in the middle of the 19th century. Having been the platform for harmonic and thematic development of music since the late baroque period the sonata entered a process of reevaluation and experimentation with form. As a result fewer sonatas were being composed with some composers dropping the genre completely. This dissertation looks at the different approaches taken by the German, French and Russian schools of composition and compares the solo and chamber music applications of the sonata form. In the German tradition Franz Liszt's Sonata in b minor sets the standard for the revolutionary approach to form while the Berg Sonata is a very conservative application of form to an innovative use of extended chromaticism. Both composers chose to write one movement through composed pieces with Liszt working with a very expansive use of form and Berg being extremely compact and efficient. Among the Russian composers, Prokofieff's third sonata is also a one movement sonata, but he falls between Liszt and Berg in terms of the length of the piece and the use of innovative musical language. Scriabin uses a two movement approach, but keeps the element of a through composed piece with the same important material spanning both movements. Stravinsky is the most conservative of these with a three movement sonata that uses a mix of chromaticism and baroque and classical style influences. The French almost stopped composing true sonatas except for chamber music where Franck and Fauré write late romantic sonatas, while Debussy is very innovative within a three movement sonata. Estampes, by Debussy, are taken in almost as an afterthought to illustrate the direction Debussy takes in his piano solo music. While Estampes is by definition a set of character pieces they function like a sonata with three movements.

Matronas, sacerdotisas, mujeres caritativas y mujeres públicas: caridad, género y política en Santa Fe de Bogotá, 1855 - 1886

El texto tiene por objetivo examinar las conexiones que se establecieron entre género y política en tres asociaciones de caridad de la segunda mitad del siglo XIX en Bogotá. El estudio de la Congregación de la Caridad, la Asociación del Sagrado Corazón de Jesús y de la Sociedad Protectora de Niños Desamparados desde una perspectiva que vincule género y política permite captar ambigüedades, contradicciones, conflictos y fisuras presentes y operantes en la constitución de los partidos políticos y en los diferentes proyectos de orden social que estaban en disputa en el mundo político del siglo XIX.

Allgemeines Bücher-Lexikon, oder Vollständiges alphabetisches Verzeichnis der von 1700 bis zu Ende ... [1892] erschienen Bücher, welche in Deutschland und in den durch Sprache und Literatur damit verwandten Ländern gedruckt worden sind.

No more published.

Seiner Majestät des Kaisers Franz Gesetze und Verfassungen im Justiz-Fache für die deutschen Staaten der Österreichischen Monarchie.

v.1.Erste vier Jahre [i.e.1792-1797].--v.2.1798 bis 1803.--v.3.1804 bis 1811.--v.4.1812 bis 1817.--v.5.1818 bis 1820.

Das Subjektpronomen im alt-franz. Rolandslied (Auszug in der von der Fakultat genehmigten Fassung.).

Vita.

Memoir of John William Draper. 1811-1882.

"Publications of John William Draper": p. 383-388.

Franz Liszt’s Piano Sonata in B Minor: Precedents for an Analytical Evolution

Franz Liszt has all too often been discarded as the virtuosic showman, despite the fact that his several of works have often gained great praise and attracted scholarly engagement. However, one also finds striking development of formal design and tonal harmony in many of the works for his principal composition medium, the piano. This paper seeks to explore the practical application of James A. Hepokoski and Warren Darcy’s 'Sonata Theory' upon Liszt’s magnum opus for the instrument, the Sonata in B Minor.

I shall first consider the historical analyses placed upon the work that deal with structural design, as it pertains to the paradigm of Classical sonata-form. Previous research reveals two main theoretical camps; those in favour of a multi-movement analysis (with conflicting hypotheses therein) and those in favour of a single movement sonata-form. An understanding of these historical conceptions of the piece allows one to then highlight areas of conflict and offer a new solution.

Finally, I shall use Sonata Theory to survey the Sonata in B Minor’s landscape in a new light. The title ‘Sonata’ has clear generic implications, many of which are met by Liszt; 'Sonata Theory' provides a model with which to outline the compositional deformations employed by the composer and the implications of this practice. In particular, I offer new perspectives on the validity of the double-function form, insight into the rhetorical layout of a rotational discourse, and propose a nuanced analysis befitting of this striking work.