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3 7 9
NSU Ms, 1071
THE LATE PIANO WORKS OP FRANZ LISZT, A LECTURE RECITAL,
TOGETHER WITH THREE RECITALS OF SELECTED WORKS
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OP MUSICAL ARTS
By
Raymond Marchionni, B. Mus., M. Mus,
Denton, Texas
August, 1976
i /rv
Marchionni, Raymond, The Late Piano Works of ffranz Liszt,
— lecture Recital, Together with Three Recitals. Doctor of
Musical Arts (Piano Performance), August, 1976, 21 pp.,
15 illustrations, bibliography, 41 titles.
The lecture recital was given April 2, 1973. A dis-
cussion of Liszt's late piano works included information
about specific compositional techniques and innovations
which influenced twentieth-century composers. Five selections
of the late works were performed by memory.
In addition to the lecture recital, three public solo
recitals were performed.
The first solo recital, performed on April 9> 1972,
consisted of works by Haydn, Beethoven, Ravel, and Chopin.
The second solo recital, performed on August 4, 1974,
included works by Beethoven, Debussy, and Brahms.
The final solo recital, performed on April 5» 1976,
consisted of works by Bach, Chopin, and Prokofieff.
All four programs were recorded on magnetic tape and
are filed, along with the written version of the lecture
recital, as part of the dissertation.
Tape recordings of all performances submitted as
dissertation requirements are on deposit in the North Texas
State University Library.
11
TABLE OF CONTENTS
PERFORMANCE PROGRAMS Page
First Solo Recital iv
Lecture Recital. The Late Piano Works
of Franz Liszt v
Second Solo Recital vi
Third Solo Recital vii
LIST OF ILLUSTRATIONS viii
THE LATE PIANO WORKS OF FRANZ LISZT 1
BIBLIOGRAPHY 19
111
North Tex'as State University School of A\usic
present!
Remo AWckionrti, Ftanist ma
Graduate Recital
Sunday, April % 1972 5:00 p.m. Recital Hall
Variations in FMinor (Hob.XVI1: 6 ) Haydn
Sonata in £ b Major, Op. 31 No. 3 Beethoven. Allegro
Scherzo: Allegretto vivace Menueiio: .Moderate e ^mztoso
Presto coniuoco
Intermission
Valses Nobles et Sentimentales Ravel Mode re — ires franc
Jkssez lent Modere
Kssez anime fresqm lent
\ ¥ Moins Vi'f
Epilogue - Lent
Berceuse, Op. 57
Barcarolle, Op. 60 Chopin
Presented in partial fulfillment of the requirements for the decree
Poctor of Musical Arts
North Testis State University School of Music
presents
Remo A^archionni. fWst m a
Lecture Eecitat
"The JLate Piano Works of Franz Liszt"
Monday, April 2,1975 5:00 p.m. Recital Hall
Kua es Gris (Gmy Clouds) 1881
Unstern (False Star) 1880-1886
EnReve (Dreaming) 1885-1886
JLa iu^ubre Gondola I (The Funeral Gondola!)... 1882
Third MephUto Waltz . 1881
Presented in partial fulfillment of the requirements for the decree
Doctor of Musical Arts
NORTH TEXAS STATE UNIVERSITY
School of Music
presents
REMO M A R C H I O N N I ill
G r a d u a t e Piano R e c i t a l
Sunday, August 4, 1974 4:00 p.m. Recital Hall
Sonata, Opus 109 Ludwig van Beethoven Vivace, ma non troppo Prestissimo Gesangvoll, mit iimigster Empfindung
Images, Book I Claude Debussy Reflets dans l'eau Hommage a Rameau Mouvement
INTERMISSION
Eight Piano Pieces, Opus 76 Johannes Brahms Capriccio Capriccio Intermezzo Intermezzo Capriccio Intermezzo Intermezzo Capriccio
Presented in partial fulfillment of requirements for the degree of Doctor of Musical Arts
VI
North Texas State University School ofiWusic
presents
Remo JVWcKionni, Pianist in a
Graduate Recital
Monday, April 5,1976 5'.00 p.m. Recital Hall
Toccata in C Minor J. S. Bach
Andante spianato and Grande l&lonaise brillante, Opus 2 2
Frederic Chopin
Intermission
Sonata Wo. 6, Opus 82 Ser^e Prokofieff
Adecjro modemto
Allegretto
Tempo di va.1ser lentissimo
Vivace
Presented in partial fulfillment of the requirements for ike decree
Doctor of Musical Arts
V l l
LIST OF ILLUSTRATIONS
Figure
1.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Franz Liszt, Les Jeux d'eaux a la Villa d'Este, mm. -nrr-: 7 7 T 7
Liszt, Les Jeux d'eaux a la Villa d'Este, mm. 88-95 . . 7 . . 7 . . .
Liszt, Les Jeux d'eaux a la Villa d'Este, mm. 40-43 . . . . . 7 . . .
Claude Debussy, L'isle .joyeuse, mm. 7-8 . . .
Liszt, Sursum Corda, mm. 66-71
Liszt, Czardas Obstine, mm. 1-21 . . . . . .
Liszt, Czardas Macabre, mm. 49-62
Liszt, En Reve, mm. 35-47
Liszt, Nuages Gris, mm. 46-48
Liszt, Petrarch Sonnet 104, mm. 78-80 . . . .
Liszt, Unstern, mm. 57-70
Liszt, Unstern, mm. 20-23
Liszt, La Lugubre Gondola II, mm. 152-168 . .
Liszt, third Mephisto Waltz, mm. 1-10 . . . .
Liszt, Bagatelle sans Tonalite, mm. 1-21 . .
Page
3
4
5
6
7
8
10
11
11
12
13
15
16
17
Vlll
THE LATE PIANO WORKS OP FRANZ LISZT
The artistic achievements of Franz Liszt have long been
considered an outgrowth of his unique piano virtuosity, con-
ducting, and orchestral experimentation. Acknowledged are
the brilliant piano works, the tone poems with their inno-
vative structure, and the essays on esthetics. The music
of Liszt's final years, however, remains almost totally
neglected and unknown.
Liszt's contemporaries have given us a picture of the
aging composer as an eccentric who produced works embarrassing
to his friends and pupils, and a source of amusement to his
enemies. The music of Liszt's old age drew the remark from
Edward Hanslick: "After Liszt, Mozart is like a soft spring
breeze penetrating a room reeking with fumes."1 Wagner's
criticisms of Liszt's late works were apparently in the same
view. Peter Raabe, one of the earliest reliable biographers
of Liszt and Director of the Liszt Museum at Weimar, explains:
Like all other musicians of sound judgment, Wagner had come to recognize that Liszt's creative genius was on the down grade. He was horrified by the things he saw and heard. However, he felt it im-possible to tell Liszt his real opinion of these senile compositions . . ."2
" Walker, Alan, editor, Franz Liszt: The Man and his Music (London, 1970), p. 350.
"Szabolsci, Bence, The Twilight of Liszt, translated by Andras Deak (Budapest7~T959), pp. 22-23.
Several of Liszt's most intimate pupils rejected the late
works with indignation, regarding them unworthy of the bril-
liant pianist and renowned composer. However, Liszt referred
to his musical "after-life" with confidence. In a letter to
Princess Wittgenstein he stated that "His only remaining
ambition was to hurl a lance as far as possible into the
boundless realm of the future."^ To August Stradal, a pupil,
the seventy-four year old Liszt remarked: "The time will yet
come when my works are appreciated. True, it will be late for
me because then I shall no longer be with you."^
His prediction was borne out when Bela Bartok, in his
lecture at the Academy of Sciences in Budapest in 1934»
pointed out the many novelties in the music of Liszt. He
called Liszt the most powerful force in stimulating and en-
riching the imagination of the new generation of composers.-*
Bartok further states in his autobiography:
The great artist's true significance was revealed to me at last. I came to recognize that, for the continued development of musical art, Liszt's com-positions were more important than either Wagner's or Strauss' . . . Courageous and prophetic gestures, things never said before, it was on account of these that Liszt rises to the height of the greatest com-posers . . ."6
^Walker, Franz Liszt: The Man and his Music, 350.
^Szabolsci, The Twilight of Liszt, 5.
5 Bence Szabolsci, "Liszt: The Composer," The Music
Magazine: Musical Courier. CLXIII (November, l"55T), 8-9. r
Szabolsci, The Twilight of Liszt, 75-77.
In Rome in 1884, the young Debussy heard Liszt play
several of his recently-published impressionistic pieces,
among them, Les .jeux d'eaux a la Villa d'Bste. The dominant
ninths at the outset of the piece (Fig. 1, p. 3), the de-
scending chain of secondary sevenths occurring in the main
body of the work (Fig. 2, p. 4), and an accompanimental fig-
ure (Fig. 3, p. 4), similar to one Debussy later used in
L'isle joyeuse (Fig. 4, p. 5), made a tremendous impact on
the younger composer.
Allegretto
t vtvac*
VrPed.
Fig. 1—Liszt, Les Jeux d*eaux a la Villa d'Este, mm. 1-3,
In his very last compositions Liszt avoided cliches,
virtuosity, and many other elements typical of his earlier
style, and he often spoke of the "strange oscillations" of
Allegretto 9 va _ .
6 T "It" I 0 dl a W a r p i a
sempre staccato
^Vlj. J # = £ i i -
r ^it.i.if"l(
ji
ts a B £
B A
i
rmmii J. J.
tr
i r 5*ig. 2—Liszt, Les Jeux d'eaux a la Villa d'Este,
mm. 88-95. ""
i Moderato
pp sempne
• v v v f j a Pig. 3—Liszt, Les Jeux d'eaux a la Villa d'Este,
mm. 40-43. ~~ 1
Tempo: Modere ©t fcres souple
JI I JLI rr j Pig. 4—Claude Debussy, L1 isle .joyeuse, mm. 7-8.
his musical settings. The piano pieces written between
1881 and 1886 do indeed show daring experiments. Extensive
chromaticism, the Hungarian scale with its two augmented
seconds, the whole tone scale, and declamatory or speech-
like elements characterize much of the melodic writing.
Melody is shortened, often to four notes or less, quite
unlike those of many of the earlier works where thematic
ideas create Classical four-bar and eight—bar phrase struc-
tures. Limited periodic structure, sequence and repetition
of short motives (as in Debussy), short ostinatos, and large
sections transposed literally are common. A rhythmic unit
often remains an isolated end in itself. The juxtaposition
of keys, tritone relations, and chords with added dissonances
veil tonality. Augmented triads appear everywhere. Hints
of chord chains and parallelism in several of the late works 7 .
Pisk, Paul A., "Elements of Impressionism and Atonality in Liszt's Last Piano Pieces," The Radford Review, XXIII, no. 3 (Summer, 1969), 172.
6
anticipate Debussy's techniques. Functional cadences are
frequently delayed or completely avoided. Very thin textures,
single line melodies in extreme registers, and extended tre-
molos in the bass create austerity.
Liszt constantly experimented with the expansion of
tonality. The whole tone scale, which by definition is with-
out tonality, appears frequently in the late works. The
climax of the Sursum Corda of 1877, which is in the third
volume of Annees de Pelerinage, consists of a series of
octaves outlining the whole tone scale:
UK pooo rite».
i
i If-f
a tempo
4
f f f sempr» e ienuto d canto
m
Pig. 5—Liszt Sursum Corda, mm. 66-71.
The simultaneous sounding of major-minor thirds is
another of Liszt's late experiments. Passages built on
chords such as P# A#, C# P# At? are not uncommon in the late
works. The Czardas Obstine of 1884, which uses the major-
minor third, anticipates the music of Bartok:
Presto
9
marcaiissuno
sempre staccato
Pig. 6—Liszt, Czardas Obstine, mm. 1-21.
8
The open fifths at the beginning of the Czardas Macabre
(Pig. 7, p. 8), written with the expressed intent of irri-
tating Hanslick, drew the criticism from one of Liszt's own
pupils who exclaimed, "Is it allowed to write such a thing?
Is it allowed to listen to it?*'® Bence Szabolsci, a Liszt
scholar, suggests that a "conspiracy of silence" surrounded
the composer's late works. To prevent any further hostile
criticism, Liszt's supporters purposely held back many of
these compositions from publication. The Czardas Macabre,
composed in 1881, was finally published in 1951, along with
several of the other late works.^
2 i l § m M i m i P S
tfJ j =§1: f WtF Pi H P
poco a poco cresc.
Pig* 7—Liszt, Czardas Macabre, mm. 49-62.
8, Valker, Pranz Liszt: The Man and his Music. 353.
Ibid-, P. 353-
The nocturne, En Reve, is one of the most conservative
of Liszt's late piano pieces. This two-part miniature is
Mozartian in its melodic simplicity and clarity of texture.
Melodies are conceived in Classical four-bar phrase struc-
tures and are more flowing and lyrical than most of the
other late compositions. Liszt never really obscures the
tonality of B-Major, as the melodic material is accompanied
by a pedal point on the dominant throughout most of the work.
Noteworthy is a final cadence delayed through trills under
which sound non-functional harmonies moving at a slow rhyth-
mic pace (Fig. 8, p. 10).
Also classically conceived in phrase structure, Nua^es
Gris (1881), demonstrates several elements common to Liszt's
late style: a structurally tight motive, intervallic meta-
morphoses, ostinatos and extended bass tremolos, tritone
relations, chains of augmented triads, chords with added
dissonances and thin textures. Written in G;-minor, although
the key is never clearly established, the work ends on chords
which completely cloud the tonality (Pig. 9, p. 11). Both
Debussy and Stravinsky described this work as beautiful and
perfect.
Liszt used the augmented triad in many of his earlier
works. The Petrarch Sonnet 104 exemplifies the device of
substituting the augmented triad for the subdominant. An
augmented chord on C is approached from and leads to an
E-niajor chord (Fig. 10, p. 11). in the late works, the use
10
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£
PJ»
i H § IJ 1 - f ' < — i I
- rtaj?
P J (-A
$ *&=*= A
# , # *
# * t \ "ft
-A A—l)
Pig. 8—Liszt, En Reve, mm. 35-47.
of the augmented chord became a major style characteristic
Nuages Gris and Unstern contain whole sections based on
chains of augmented chords supported by extended tremolos
in the bass (Pig. 11, p. 12).
11
gva
r h A
t o Vi a**"'
I
/£ 1
I V - -+
: P f 11
11 U l
— M
k S4£ -i i H Sf§ - ^
Fig, 9—Liszt, Nuages Gris, mm. 46-48,
•
Pig. 10—Liszt, Petrarch Sonnet 104, mm. 78-80,
Written between 1880 and 1886, Unstern demonstrates
still other aspects of Liszt*s late style. The piece is
cast into two large sections; the first is without a key
center, the second is in B-Major. The tritone (the "diabolus
in musica")» dissonant chord clashes, the whole tone scale,
or intense chromaticism are used in every measure of the
first section, eliminating a sense of tonality. A most
striking feature of this section is a repeated dotted rhythm
which remains a stark and isolated end in itself (Pig. 12,
p. 13). The contrasting B-Major section, marked "sostenuto
12
Ufr.
1 P col pad.
w m >
un poco accelerando
m i v i L
piu ere sc.
=£/ igiy
Pig. 11—Liszt, Unstern, mm. 57-70.
quasi organo," begins without transition and alternates soft
chords with chromatic unison passages. However, the key-
center of this section remains somewhat vague. Within the
first two phrases, the B-Major chord is heard only twice,
and in its second inversion. The B-Major chord never again
appears for the remaining forty-seven measures of the piece.
13
simile
marcato * *
Pig. 12—Liszt, Unstern, mm. 20-23.
Both the final chord, F#-Major with E in the bass (the last
inversion of the dominant seventh), and the final note of
the piece, E, approached from a descending whole tone scale
outlining the tritone, creates tonal vagary. The note E
both begins and ends the composition.
Liszt wrote four pieces honoring Richard Wagner.
Richard Wagner—Venezia and La Lugubre Gondola I and II_ were
written for piano and composed in Venice in 1882. The fourth
piece, entitled Am Grabe Richard Wagners, was written in
Bayreuth in 1883 and scored for string quartet, harp and
piano ad libitum. The two elegies La Lugubre Gondola repre-
sent the Venetian funeral processions which were conducted in
gondolas and, in fact, anticipate Wagner's funeral procession
which occurred some months later.
La Lugubre Gondola I employs bar form—A A B, or
"Stollen" "Stollen" "Abgesang," the form favored by the
medieval German Mastersingers. Liszt*s choice of bar form
14
might in itself have been a tribute to Wagner. Wagner, in
his opera Die Meistersinger von Nurnberg, consistently used
the form. The three acts of Die Meistersinger create a huge
A A B design, the third act equalling in length the combination
of the first two. The scenes of the second act also parallel
those of the first, almost without exception. In addition,
Wagner chooses bar form for many of the songs of the opera,
including the Preislied. Liszt's piece, based on the
barcarolle rhythm, consists of two equal "Stollen," the
second of which is transposed one whole tone lower, and an
"Abgesang" which develops previous thematic material. Trans-
parency of texture, motivic structure, narrow melodic ranges,
and augmented triads also characterize the work. It is not
really clear whether Liszt intended a consecutive performance
of the two Gondola pieces, or if the second remained an
alternative to the first piece, being a variation of it.
It is not unusual for Liszt's late works to end with
unaccompanied melodies. Both the beginning and ending of
La Lugubre Gondola II are written without key signatures.
The final seventeen measures of the work imply the key of
G#-minor (Pig. 13, p. 15).
Building chords in intervals other than thirds is still
another of Liszt's experiments. The seventeenth Hungarian
Rhapsody of 1883 and the Via Crucis of 1879 demonstrate
Liszt's attempt to construct chords in fourths. The third
Mephisto Waltz of 1881 begins with successive tones on the
15
i«j.>rT"ri frf] P ttp 1 ljO | jlV | 11 /' £ i 1
-94
1 -£-l—
PP
1
ajf
-J
ritenuio H*>> i
PP r\
Fig. 13—Liszt, La Lugubre Gondola II, mm. 152-168.
last inversion of a chord built on fourths—C# E# A# and D#
(Fig. 14, p. 16). The basic structure of the chord reads
E# A# D# (G# omitted) and C#, foreshadowing a practice of
Scriabin. The chord could be based on the dominant of F#-
Major, yet, also on the tonic of A#-minor.
To the late period belong several of Liszt's finest
dance compositions. Included among the works are the
Czardas Macabre and the Czardas Obstine, the four Valses
OubliSes, and the second, third and fourth Mephisto Waltzes,
With the exception of these dance pieces, virtuosity plays
little or no part in Liszt's late piano works. The third
Mephisto Waltz integrates many of Liszt's late experiments
16
# 1
Allegro
I
flu-V • 4
ft
I 4- * 3 * - # '
3
Pig. 14—Liszt, third Mephisto Waltz, mm. 1-10,
with the utmost of piano virtuosity. Rather than complying
with any given form, Liszt freely varies materials through
thematic transformations. No key scheme is followed, lost
of the waltz centers in and around 3?#-Major, but ends in the
key of D#-minor. The rhythmic scheme of the opening fourth
motive, a half-note followed by two sets of eighth-note
triplets, serves as the germinal idea for all thematic mate-
rials, again demonstrating Liszt's ability at thematic
economy. The programmatic idea is the same as that of the
earlier and more famous Mephisto Waltz—Mephistopholes en-
chanting his listeners with his violin playing.
17
Allegretto mosso
y -4-!fc==t=
y ~^r /
——p—
poco a poco
scherzando 6'
dim.
i ) ^ * .
!> J J I 7 7 ^ = i r m . 1 L J J J— (112. #• * b d
tf
• t .. t (• .p •jag » — * £ —
J H l*!*
•
.,f S t 1— [,g, t *
£ m v ,.. —w •^Tl m— t • -tf-F—* c 4-p—£ • V > .
Fig. 15—Liszt, Bagatelle sans Tonalitet mm. 1-21.
18
One of the most remarkable of all Liszt's late works is
"the Bagatelle sans Tonalite of 1885, originally conceived as
a fourth Mephisto Waltz. Although Bagatelle sans Tonalite
is Liszt's own title, the composition does not erase all
feeling of tonality in the Schoenbergian sense. The tritone,
juxtaposition of keys, and chromaticism are employed at the
beginning of the work (Pig. 15, p. 17).
Liszt's critics declared that the composer, in his
experimentation "betrayed and ruined pure music."10 However,
in his search for new musical idioms, Liszt opened the door
to the twentieth century. His late works point toward the
music of Debussy, Ravel, Schoenberg, Bartok, and others.
Liszt, whose music spanned practically the entire Romantic
Era, was without a nineteenth century parallel.
10 Szabolsci, "Liszt: The Composer," p. 9.
BIBLIOGRAPHY
Books
Abraham, Gerald, A Hundred Years of Music, New York, Alfred A. Knopf, 1938":
Kirby, P. E., A Short History of Keyboard Music, New York, The Free Press, 1966.
Mellers, Wilfrid, Romanticism and the Twentieth Century, New York, Schocken Paperback ed., 1969.
Salazar, Adolfo, Music in Our Time, New York, W. W. Norton & Co., Inc., 1946.
Searle, Humphry, The Music of Liszt, London, Williams and Norgate, Ltd., 1954.
Sitwell, Sacheverell, Liszt, New York, Philosophical Library, Inc., 1956.
Szabolsci, Bence, The Twilight of Liszt, translated by Andras Deak, Budapest, Publishing House of the Hungarian Academy of Sciences, 1959.
Walker, Alan, editor, Franz Liszt: The Man and his Music, London, Barrie and Jenkins, 1970.
Articles
Anderson, Harry L., "Liszt: The Pianist," The Music Magazine: Musical Courier, CLXIII (November, 19*517, 10-127""^
"Bagatelle sans Tonalite," (author unknown) Musical Opinion, LXXX (August, 1957), 633.
Bar-illan, David, "Is Liszt Next?," HI PI, XVIII (April 1968), 42-45.
Dumm, Robert, "Liszt Lives, Part I," The Piano Quarterly, LXVI (1968), 16:18-21. a *
» "Liszt Lives, Part II," The Piano Quarterly, LXVI (1968-69), 17:20-25. *
19
20
Pagan. Keith, "The Forgotten Liszt," Musical Opinion, LXXXVIII (June, 1965), 533.
"Forgotten Waltz," (no author given) Musical America (December. 1954).
Gibson, David, "Franz Liszt's Christmas Tree," The Dianason. LXII (December, 1970), 28. '
Herring, Harriet T., "Liszt's Influence on Early Twentieth-Century Piano Music," The Radford Review, XXIII. no. } (Slimmer, 1969), 135-14X
Holcmann, Jan, "Liszt: Piano Records," The Music Magazine: Musical Courier, CLXIII (November, 1961), 14-16, 45.
Jacobson, Bernard, "Liszt on Records," HI PI, XVIII (April. 1968), 51-55.
Kammerer, Rafael, "Record Review," American Record Guide, XXXII (September, 1965), 58-59.
Lewenthal, Raymond, "In Search of the Real Franz Liszt," HI FI Stereo Review, XV (November, 1965), 65-69.
"Liszt—Bartok. Report of the Second International Musicological Conference, Budapest, 1961," papers edited by Q. Gardonyi and B. Szabolsci, Music and Letters, IV (1964), 393-95.
"Liszt: Early and Late Piano Works," (no author given) Music and Letters. XXXIV (January, 1953), 83-84.
Muranyi, R. A., "Unknown Liszt Relics," Studia Musicologica. IV (fascicle 2, 1963), 195-200.
Pisk, Paul A., "Elements of Impressionism and Atonality in Liszt's Last Piano Pieces," The Radford Review, XXIII. no. 3 (Summer, 1969), 171-1757
"Rediscovered Liszt," Music and Musicians, XVI (December, 1967), 34-36.
Searle, Humphry, "Liszt's Final Period, 1860-1886," The Royal Music Association Proceedings. LXXVIII (April, T552), <57-81.
Szabolsci, Bence, "Liszt: The Composer," The Music Magazine: Musical Courier, CLXIII (November, 19ST), 8-9.—
Vincej S., "The Apostle of Liszt," Musical Opinion, LXXV (January, 1952), 213-15. —
21
Waters, Edwin W., "Harvest of the Year: Selected Acquisitions of the Music Division," The Quarterly Journal of the library of Congress, XXLV (January, 1967), 5'l-57» 64, 71.
Yeomans, W., "The Late Piano Works of Liszt," Monthly Musical Record (February, 1949)•
Dictionary Articles
Searle, Humphry, "Franz Liszt," Grove's Dictionary of Music and Musicians, V, edited by Eric Blom, MacMillan & Co., rra., 1954.
Unpublished Articles
Goode, William Myrick, "The Late Piano Works of Franz Liszt and Their Influence on Some Aspects of Modern Piano Composition," unpublished Ph.D. dissertation, Indiana University, 1965.
Wiley, Larry Don, "Selected Piano Y/orks by Franz Liszt and Their Influence on the Impressionists," unpublished master's thesis, School of Music, North Texas State University, Denton, Texas, January, 1968.
Music
Debussy, Claude, Selected Works, New York, G. Schirmer, Inc., Vol. 1845.
Liszt, Franz, An Album for Piano Solo II, New York, Kalmus.
Liszt, Franz, Annees de Pelerinage 2m»e Annee "Italie," New York, G. Schirmer, Inc., Vol. 911.
Liszt, Franz, The Final Years, New York, G. Schirmer, Vol. 1845.
Newspapers
Searle, Humphry, "Later Liszt is More Austere," New York Times (November 20, I960) 110:13 Section 2.
Sitwell, Sacheverell, "Incomplete Image," New York Times (November 13, I960) 110:21 Section 2.
Straus, Noel, "New Light on Liszt," New York Times (January 20, 1952) 101:7 Section 2.