Departmental Bulletin Paper リストによるヴァーグナーのオペラ編曲法と「トランスクリプション」、「アレンジメント」、「ピアノ・スコア」の独自名称
Liszt's Art of Transcribing Wagner's Operatic Works and His Unique Terms "Transcription," "Arrangement" and "Piano Score"
リスト ニ ヨル ヴァーグナー ノ オペラ ヘンキョクホウ ト トランスクリプション アレンジメント ピアノ スコア ノ ドクジ メイショウ

上山, 典子  ,  カミヤマ, ノリコ  ,  Noriko, KAMIYAMA

Among many which Franz Liszt (1811-86) transcribed for piano, operatic excerpts that cover almost every works of Richard Wagner (1813-83) occupy a special position. From Tannhäuser-Ouvertüre transcribed in 1849 to Feierlicher Marsch zum heiligen Gral aus Parsifal set in his later years of 1882, Liszt's lifelong involvement with transcribing Wagner's works amounts to 15 pieces (+ 1 radically rev. version), which are more than any other composers' theater works that Liszt handled. There are such pieces as Tannhauser-Ouverture and Isoldens Liebestod with incredibly elaborate techniques, or Einzug der Gäste auf Wartburg (first version) which follows the original quite well, so that the publisher of Wagner's Tannhäuser score almost sued Liszt's piano reduction for an infringement of copyright. On the other hand, there are such transcriptions as Phantasiestuck uber Motive aus Rienzi, a dramatic and excitingly creative fantasy on borrowed themes from the original, and peculiar, even bizarre Parsifal with chopped and distorted motives from Wagner's music. The techniques and styles of transcribing vary from piece to piece. This article deals with Liszt's transcribing of Wagner's opera which were taken up almost continuously over a period of several decades, and pays special attention to the terms, "Transcription," "Arrangement," and "Piano Score," all of which originate from Liszt himself. By examining each concept of them and suggesting three types of transcribing based on these terms, it would be evident that Liszt has used a certain type for a particular period of time.

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