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By Christopher H. Gibbs, Dana Gooley

No nineteenth-century composer had extra assorted ties to his modern global than Franz Liszt (1811-1886). At a variety of issues in his lifestyles he made his domestic in Vienna, Paris, Weimar, Rome, and Budapest. In his roles as keyboard virtuoso, conductor, grasp instructor, and abbé, he reinvented the live performance event, complicated a innovative schedule for symphonic and dramatic tune, rethought the probabilities of church track and the oratorio, and transmitted the principles of contemporary pianism.

The essays introduced jointly in Franz Liszt and His World boost our realizing of the composer with clean views and an emphasis on old contexts. Rainer Kleinertz examines Wagner's enthusiasm for Liszt's symphonic poem Orpheus; Christopher Gibbs discusses Liszt's pathbreaking Viennese live shows of 1838; Dana Gooley assesses Liszt opposed to the backdrop of antivirtuosity polemics; Ryan Minor investigates cantatas written in honor of Beethoven; Anna Celenza bargains new insights approximately Liszt's event of Italy; Susan Youens exhibits how Liszt's songs have interaction with the modernity of Heinrich Heine's poems; James Deaville seems at how publishers sustained Liszt's reputation; and Leon Botstein explores Liszt's position within the transformation of nineteenth-century preoccupations relating to faith, the kingdom, and art.

Franz Liszt and His World additionally comprises key biographical and demanding records from Liszt's lifetime, which open new home windows on how Liszt was once considered via his contemporaries and the way he wanted to be seen by way of posterity. Introductions to and commentaries on those records are supplied by means of Peter Bloom, José Bowen, James Deaville, Allan Keiler, Rainer Kleinertz, Ralph Locke, Rena Charnin Mueller, and Benjamin Walton.

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Two large documentary collections compiled by Adrian Williams, one of letters, the other of observations and reminiscences by Liszt and his contemporaries, offer English readers a textured, close-up view of his life and circumstances. All of these projects have put Liszt’s legacy on a far more solid foundation and made it much easier for the curious to find reliable information and documentation than was possible even as recently as 1985. A disadvantage of these preoccupations is that they have tended to isolate Liszt studies in a hermetic world, relatively out of touch with the larger field of musicology, not to mention other disciplines.

Understanding Liszt, then, demands that we understand also the world that formed him and continued to shape him well beyond his youth. Over the past twenty years scholars have shown an impressive determination to organize and clean up Liszt’s shop, which was left messy by a huge output of letters and music, by the geographical and linguistic dispersion of his papers, and by an enduring capacity for mythmaking on the part of his admirers as well as his detractors. In his imposing three-volume biography, the most complete work of its kind, Alan Walker has produced an engaging narrative and important reference.

Steinberg (2000) Debussy and His World edited by Jane F. Fulcher (2001) Mahler and His World edited by Karen Painter (2002) Janáček and His World edited by Michael Beckerman (2003) Shostakovich and His World edited by Laurel E. Fay (2004) Aaron Copland and His World edited by Carol J. Oja and Judith Tick (2005) Franz Liszt AND HIS WORLD EDITED BY CHRISTOPHER H. GIBBS AND DANA GOOLEY PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Copyright © 2006 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 3 Market Place, Woodstock, Oxfordshire OX20 1SY All Rights Reserved For permissions information, see page xiii.

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