Although Liszt gave his twelve etudes (S. 139) a collective title of ‘Transcendental Etudes’, the philosophical implications of the title have rarely been considered in depth. This artistic research investigates the meaning, the process, and the outcome of exploring the idea of transcendence through learning, interpreting, and performing these etudes. This artistic research document considers the issues from three perspectives:

1. Learning the etudes: considering the physical aspects of playing them.
2. Artistic imagination: considering what expressive and spiritual essences of these etudes can be conveyed to the audience.
3. Philosophical contemplation: thinking about the meaning of performing as a musician, and what it can bring to the performer/audience on a level that transcends the notes and the music. The structure of this exegesis is divided into three sections. After the first chapter that presents the rationale and background context of Liszt’s Transcendental Etudes, Chapter Two addresses some issues surrounding the term ‘virtuosity’ and the physical aspects of piano playing required to achieve a ‘transcendental’ technique. Chapter Three focuses on exploring the idea of transcendence in relation to Liszt’s Romantic ideologies and the score of his Transcendental Etudes. Chapter Four concludes the exegesis with further exploration of the concept of transcendence on a contemplative level where some philosophical sources contribute to an understanding of the concept above and beyond the etudes. The aim of this research is not to provide conclusive analysis of these etudes, nor is it to persuade the reader to agree with a particular interpretation of them. Its purpose is to explore how the concept of transcendence may affect an understanding of these etudes from the perspective of a performer. An online link to a live performance recording by the author is provided within this exegesis. Both the performance and exegesis aim to enhance appreciation of the music through its physicality and its spirituality.