TY  - JOUR
T1  - Critical examination Liszt’s transcription of second movement of Beethoven’s Eroica Symphony (3rd symphony)
TT  - Ludwig van Beethoven’in Eroica Senfonisi ikinci bölüm üzerine Liszt’in transkripsiyonunun eleştirel incelemesi (3. senfoni)
AU  - Djahwasi, Herry
AU  - Wu, Xiangyu
AU  - Nasrifan, Mohd Nizam
PY  - 2025
DA  - October
Y2  - 2025
DO  - 10.31811/ojomus.1744553
JF  - Online Journal of Music Sciences
JO  - ojomus
PB  - Nilgün SAZAK
WT  - DergiPark
SN  - 2536-4421
SP  - 918
EP  - 934
VL  - 10
IS  - 4
LA  - en
AB  - This study provides a critical examination of Franz Liszt’s piano transcription of the second movement (Marcia funebre) of Ludwig van Beethoven’s Symphony No. 3 in E-flat major, Op. 55 “Eroica.” The methodology employs score-based analysis. Through comparative analysis of the orchestral original and Liszt’s solo piano adaptation, this research investigates the transcriptional techniques employed by Liszt to preserve the essential character of Beethoven’s funeral march while adapting it to the technical and expressive capabilities of the piano. The study reveals nine systematic adaptation strategies: close voicing to open voicing transformation, pitch register adjustment, additional octave interval implementation, texture adjustment for sustained instruments, selective omission of ineffective passages, string orchestral reduction for complex polyphonic textures, arpeggios pattern adjustment and modification, rhythm synchronisation, and timpani trill and climax orchestral adaptation. These techniques demonstrate Liszt’s innovative approach to textural redistribution, harmonic preservation, and dynamic expression in piano transcription, contributing to our understanding of 19th-century transcription practices and their role in musical dissemination.
KW  - Franz Liszt
KW  - Ludwig van Beethoven
KW  - Eroica Symphony
KW  - piano transcription
KW  - comparative analysis
KW  - 19th-century music
N2  - Bu çalışma, Ludwig van Beethoven’in Mi bemol Majör, Op. 55 “Eroica” başlıklı 3. Senfonisi’nin ikinci bölümü (Marcia funebre) üzerine Franz Liszt tarafından yapılan piyano transkripsiyonunu eleştirel bir bakış açısıyla ele almaktadır. Çalışmada yöntem olarak partisyon- tabanlı karşılaştırmalı analiz yaklaşımı benimsenmiştir. Orkestra partisyonu ile Liszt’in solo piyano uyarlaması arasındaki karşılaştırmalı çözümleme yoluyla, Liszt’in Beethoven’in cenaze marşının öz karakterini koruyarak bunu piyanonun teknik ve ifade olanaklarına nasıl uyarladığı araştırılmaktadır. Araştırma Liszt’in, yakın ses diziliminden açık ses dizilimine geçiş, perde aralığı düzenlemesi, ek oktav aralıklarının kullanımı, yaylı çalgılar için sürdürülen tınıların piyano dokusuna uyarlanması, etkisiz pasajların seçici şekilde elenmesi, çok sesli dokularda yaylı çalgıların indirgenmesi, arpej kalıplarının düzenlenmesi ve değiştirilmesi, ritmik senkronizasyon sağlanması, timpani tremolosu ve orkestra klimaksının piyanoya aktarılması gibi kullandığı dokuz sistematik adaptasyon stratejisini ortaya koymaktadır. Bu teknikler, Liszt’in metinsel yeniden dağılım, armonik bütünlük ve dinamik ifadedeki yenilikçi yaklaşımını göstermekte; 19. yüzyıl transkripsiyon pratiklerinin müziksel dolaşımdaki rolünü ve bu döneme dair anlayışımızı derinleştirmektedir.
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UR  - https://doi.org/10.31811/ojomus.1744553
L1  - https://dergipark.org.tr/tr/download/article-file/5063771
ER  -