Musical Borrowing
An Annotated Bibliography

Individual record

[+] Pesce, Dolores. "Expressive Resonance in Liszt?s Piano Music." In Nineteenth-Century Piano Music, ed. R. Larry Todd, 355-411. New York: Routledge, 2004.

Liszt sought to achieve union of form and content in his piano music, as discussed in detail according to genre, including his piano cycles, sonatas, ballades, etudes, and fantasias. The section "Ballades, Polonaises, Mazurkas, and Other Dances" examines works by Liszt that take Chopin as a model to pay homage to him. These genres that represent Chopin par excellence were neglected in Liszt's earlier works but became more prominent after Chopin's death in 1849, suggesting homage to the Polish composer. The middle section of Liszt's Polonaise No. 2 in E Major, for instance, is modeled on Chopin's Polonaise in A Major, Op. 40, No. 1, referring to the thematic material accompanied by the characteristic polonaise rhythm from the corresponding section of the model, both capturing a martial quality. Liszt's first Ballade incorporates many elements from Chopin's works and styles, including his first Ballade, Op. 23, the Funeral March, and periodic phrasing unusual for Liszt.

Works: Liszt: Ballade No. 1 in Db Major (393), Polonaise No. 2 in E Major (393, 397).

Sources: Chopin: Ballade No. 1 in G Minor, Op. 23 (393), Grande valse brillante, Op. 18 (393), Sonata No. 2 in Bb Minor, Op. 35 (393), Polonaise in A Major, Op. 40, No. 1 (393, 397).

Index Classifications: 1800s

Contributed by: Hyun Joo Kim

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