Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation. It was primarily developed by Franz Liszt and Hector Berlioz. The technique is essentially one of variation. A basic theme is reprised throughout a musical work, but it undergoes constant transformations and disguises and is made to appear in several contrasting roles. However, the transformations of this theme will always serve the purpose of "unity within variety" that was the architectural role of sonata form in the classical symphony. The difference here is that thematic transformation can accommodate the dramatically charged phrases, highly coloured melodies and atmospheric harmonies favored by the Romantic composers, whereas sonata form was geared more toward the more objective characteristics of absolute music.[1] Also, while thematic transformation is similar to variation, the effect is usually different since the transformed theme has a life of its own and is no longer a sibling to the original theme.[2]
Liszt was not the first composer to use thematic transformation. Ludwig van Beethoven had already used thematic transformation in his Fifth Symphony, and Ninth Symphony, where the "Ode to Joy" theme is transformed at one point into a Turkish march, complete with cymbals and drums. Franz Schubert used metamorphosis to bind together the four movements of his Wanderer Fantasy, a work which influenced Liszt greatly. However, Liszt perfected the technique by creating entire structures from metamorphosis alone.[3] He may have already had experience in metamorphosing themes into various shapes in his early operatic fantasies and improvisations[4] and been also led to this practice by the monothematicism Liszt employed in many of his original works, including most of the Transcendental Etudes.[5]
Controversyedit
Conservative critics in Liszt's time viewed thematic transformation as merely a substitution of repetition for the musical development demanded by sonata form.[6] However, the evocative, atmospheric melodies which Romantic composers such as Liszt tended to prefer left him little choice. These melodies, complete in themselves, already bore all the emotion and musical interest which they could hold; therefore, they could not be developed any further. The only apparent course open was to substitute a form of repetition for true development—in other words, to say in a different way what had already been said and trust the beauty and significance of what are fundamentally variations to supply the place of the development section demanded by sonata form.[7] Moreover, Liszt's own view of repetition was more positive than that of his critics. He wrote, "It is a mistake to regard repetition as a poverty of invention. From the standpoint of the public it is indispensable for the understanding of the thought, while from the standpoint of Art it is almost identical with the demands of clarity, structure, and effectiveness."[8]
Legacyedit
In perfecting this compositional method, Liszt made what some critics consider a lasting contribution to the history of musical form[9] since thematic transformation became a regular part of later 19th-century music, especially at the hands of Liszt's followers.[10] Liszt authority Humphrey Searle points out that "the serial methods of Schönberg, for instance, use precisely the methods of Liszt's thematic transformation within the framework of an entirely different [musical] language."[11]Richard Wagner and Gustav Holst heavily used thematic transformation in their compositions.
Cooper, Martin, ed. Gerald Abraham, "The Symphonies", Music of Tchaikovsky (New York: W. W. Norton & Company, 1946). ISBN n/a.
MacDonald, Hugh, ed Sadie, Stanley, "Symphonic poem", The New Grove Dictionary of Music and Musicians, First Edition (London: Macmillan, 1980). ISBN0-333-23111-2
MacDonald, Hugh, ed Stanley Sadie, "Transformation, thematic", The New Grove Dictionary of Music and Musicians, Second Edition (London: Macmillan, 2001). ISBN0-333-60800-3
Searle, Humphrey, The Music of Liszt, Second Revised Edition (New York: Dover Publications, Inc., 1966). Library of Congress Catalog Number 66-27581.
Searle, Humphrey, ed. Alan Walker, "The Orchestral Works", Franz Liszt: The Man and His Music (New York: Taplinger Publishing Company, 1970). ISBN0-8008-2990-5
Searle, Humphrey, ed. Stanley Sadie, "Liszt, Franz", The New Grove Dictionary of Music and Musicians, First Edition (London: Macmillan, 1980). ISBN0-333-23111-2
Walker, Alan, Franz Liszt, Volume 2: The Weimar Years, 1848-1861 (New York: Alfred A Knopf, 1989). ISBN0-394-52540-X
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Thematic transformation also known as thematic metamorphosis or thematic development is a musical technique in which a leitmotif or theme is developed by changing the theme by using permutation transposition or modulation inversion and retrograde augmentation diminution and fragmentation It was primarily developed by Franz Liszt and Hector Berlioz The technique is essentially one of variation A basic theme is reprised throughout a musical work but it undergoes constant transformations and disguises and is made to appear in several contrasting roles However the transformations of this theme will always serve the purpose of unity within variety that was the architectural role of sonata form in the classical symphony The difference here is that thematic transformation can accommodate the dramatically charged phrases highly coloured melodies and atmospheric harmonies favored by the Romantic composers whereas sonata form was geared more toward the more objective characteristics of absolute music 1 Also while thematic transformation is similar to variation the effect is usually different since the transformed theme has a life of its own and is no longer a sibling to the original theme 2 Contents 1 Development 2 Controversy 3 Legacy 4 See also 5 Bibliography 6 ReferencesDevelopment editLiszt was not the first composer to use thematic transformation Ludwig van Beethoven had already used thematic transformation in his Fifth Symphony and Ninth Symphony where the Ode to Joy theme is transformed at one point into a Turkish march complete with cymbals and drums Franz Schubert used metamorphosis to bind together the four movements of his Wanderer Fantasy a work which influenced Liszt greatly However Liszt perfected the technique by creating entire structures from metamorphosis alone 3 He may have already had experience in metamorphosing themes into various shapes in his early operatic fantasies and improvisations 4 and been also led to this practice by the monothematicism Liszt employed in many of his original works including most of the Transcendental Etudes 5 Controversy editConservative critics in Liszt s time viewed thematic transformation as merely a substitution of repetition for the musical development demanded by sonata form 6 However the evocative atmospheric melodies which Romantic composers such as Liszt tended to prefer left him little choice These melodies complete in themselves already bore all the emotion and musical interest which they could hold therefore they could not be developed any further The only apparent course open was to substitute a form of repetition for true development in other words to say in a different way what had already been said and trust the beauty and significance of what are fundamentally variations to supply the place of the development section demanded by sonata form 7 Moreover Liszt s own view of repetition was more positive than that of his critics He wrote It is a mistake to regard repetition as a poverty of invention From the standpoint of the public it is indispensable for the understanding of the thought while from the standpoint of Art it is almost identical with the demands of clarity structure and effectiveness 8 Legacy editIn perfecting this compositional method Liszt made what some critics consider a lasting contribution to the history of musical form 9 since thematic transformation became a regular part of later 19th century music especially at the hands of Liszt s followers 10 Liszt authority Humphrey Searle points out that the serial methods of Schonberg for instance use precisely the methods of Liszt s thematic transformation within the framework of an entirely different musical language 11 Richard Wagner and Gustav Holst heavily used thematic transformation in their compositions See also editLeitmotif Hector Berlioz Johannes Brahms Antonin Dvorak Permutation music Transposition music Modulation music Inversion music Retrograde music Augmentation music Diminution Fragmentation music Faust Symphony Piano Sonata Liszt Symphonic Poems Liszt Bibliography editCooper Martin ed Gerald Abraham The Symphonies Music of Tchaikovsky New York W W Norton amp Company 1946 ISBN n a MacDonald Hugh ed Sadie Stanley Symphonic poem The New Grove Dictionary of Music and Musicians First Edition London Macmillan 1980 ISBN 0 333 23111 2 Reti Rudolph The Thematic Process in Music New York Macmillan 1951 ISBN 0 8371 9875 5 MacDonald Hugh ed Stanley Sadie Transformation thematic The New Grove Dictionary of Music and Musicians Second Edition London Macmillan 2001 ISBN 0 333 60800 3 Searle Humphrey The Music of Liszt Second Revised Edition New York Dover Publications Inc 1966 Library of Congress Catalog Number 66 27581 Searle Humphrey ed Alan Walker The Orchestral Works Franz Liszt The Man and His Music New York Taplinger Publishing Company 1970 ISBN 0 8008 2990 5 Searle Humphrey ed Stanley Sadie Liszt Franz The New Grove Dictionary of Music and Musicians First Edition London Macmillan 1980 ISBN 0 333 23111 2 Walker Alan Franz Liszt Volume 2 The Weimar Years 1848 1861 New York Alfred A Knopf 1989 ISBN 0 394 52540 XReferences edit Cooper 25 MacDonald New Grove 2 25 694 Walker 310 Searle Orchestral 282 Searle New Grove 11 34 Cooper 31 Cooper 30 Quoted in Walker 322 Walker 309 MacDonald New Grove 2 25 694 Searle Music 61 Retrieved from https en wikipedia org w index php title Thematic transformation amp oldid 1167923105, wikipedia, wiki, book, books, library,
