Thematic transformation

Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation. It was primarily developed by Franz Liszt and Hector Berlioz. The technique is essentially one of variation. A basic theme is reprised throughout a musical work, but it undergoes constant transformations and disguises and is made to appear in several contrasting roles. However, the transformations of this theme will always serve the purpose of "unity within variety" that was the architectural role of sonata form in the classical symphony. The difference here is that thematic transformation can accommodate the dramatically charged phrases, highly coloured melodies and atmospheric harmonies favored by the Romantic composers, whereas sonata form was geared more toward the more objective characteristics of absolute music. Also, while thematic transformation is similar to variation, the effect is usually different since the transformed theme has a life of its own and is no longer a sibling to the original theme.

Liszt was not the first composer to use thematic transformation. Ludwig van Beethoven had already used thematic transformation in his Fifth Symphony, and Ninth Symphony, where the "Ode to Joy" theme is transformed at one point into a Turkish march, complete with cymbals and drums. Franz Schubert used metamorphosis to bind together the four movements of his Wanderer Fantasy, a work which influenced Liszt greatly. However, Liszt perfected the technique by creating entire structures from metamorphosis alone. He may have already had experience in metamorphosing themes into various shapes in his early operatic fantasies and improvisations and been also led to this practice by the monothematicism Liszt employed in many of his original works, including most of the Transcendental Etudes.

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