Musical and Visual Perspective in the Work of Musician and Painter (Franz List, Vernet)

Mohammed Ali Mallah, Taiser Hamdy Tubishat


This study deals with the expressive relationship between the musical and plastic arts. It emphasizes the possibility of moving the physical silence from the visual picture.
In the literature of art, there are meetings between the artists in the music and art. These meetings are rarely turned to serious studies out specific results. In this study, the composer Franz Liszt and painter Horace Vernet' met in the work of art that represents the musical work horse Fugitive (Mazeppa), which borrowed (music) artist of the epic Hungarian music and paints (painter) Horace Vernet' on several different stages.
This study aims at describing one of the most important and difficult musical piece for piano of the composer Franz Liszt, who is considered one of the pioneers of romantic music, who laid the foundations of classical Hungarian national music. It mentions the four stages of musical evolution, written by Franz Liszt, as shown by the study summary like simple musical career, and then continue as analytical study of a piece of music “Mazeppa”, that shows the use of copyright for music soundtrack inspired by the legendary epic poetry. The study mentions also the technical difficulties faced by pianists at performing of the etude. Then a study of the musical piece that showed the use of the author of music sound track taken from the legendary epics Hungarian poetry. The study also explained the difficulties faced by the pianist in this piece and its causes as well as audio-visual expression of their agreement and through a series painter Horace Vernet's works that came to reflect the content, which belongs to the romantic school.


Musical Porspective, Visual Perspective, Musicaian, Painter

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