李斯特的先知運動──從後期樂派中尋找共鳴

Franz Liszt’s Transcending Composition Approaches-The Artist who Transformed from Time and Place

李斯特的作品隱喻他每一個不同階段的人生境界，其後期作品更貼近象徵主義與現代派的特徵。而其中的奧秘來自於李斯特從生活中反映出他脫離現實縹緲無界的意境，本文以三首鋼琴作品──《伊斯蒂山莊的噴泉S.163》、《灰色的雲S.199》以及《凶兆．災難S.208》為主要分析，從中找尋李斯特的超前衛藝術理念，大膽創新地採用與以往不同的作曲手法與音樂元素為他是浪漫樂派代表人物來做新的解釋，而這些創新的手法與後期作品有著不謀而合的機緣。

Franz Liszt was known for its virtuosity in music composition and piano technique. However, his music, toward the end of his life, presented a stark contrast, has made a dramatic turn toward as it becomes unaffected and grim.The article analyzes the contents of three pieces “Les Jeux D’eau a la villa d’Este”, “Gris Nuage” and “Unstern”, raise questions as to how Liszt foresees the composition techniques of the future, presented in ways of impressionistic characters.This article also made comparison to impressionistic pieces aforementioned.