By Christopher H. Gibbs, Dana Gooley
No nineteenth-century composer had extra varied ties to his modern global than Franz Liszt (1811-1886). At a variety of issues in his existence he made his domestic in Vienna, Paris, Weimar, Rome, and Budapest. In his roles as keyboard virtuoso, conductor, grasp instructor, and abb, he reinvented the live performance event, complicated a revolutionary schedule for symphonic and dramatic song, rethought the chances of church track and the oratorio, and transmitted the rules of recent pianism. The essays introduced jointly in Franz Liszt and His international boost our figuring out of the composer with clean views and an emphasis on ancient contexts. Rainer Kleinertz examines Wagner's enthusiasm for Liszt's symphonic poem Orpheus; Christopher Gibbs discusses Liszt's pathbreaking Viennese concert events 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 interact with the modernity of Heinrich Heine's poems; James Deaville seems at how publishers sustained Liszt's recognition; and Leon Botstein explores Liszt's position within the transformation of nineteenth-century preoccupations concerning faith, the kingdom, and artwork. Franz Liszt and His international additionally contains key biographical and important records from Liszt's lifetime, which open new home windows on how Liszt used to be considered by means of his contemporaries and the way he needed to be considered through posterity. Introductions to and commentaries on those files are supplied by means of Peter Bloom, Jos Bowen, James Deaville, Allan Keiler, Rainer Kleinertz, Ralph Locke, Rena Charnin Mueller, and Benjamin Walton.
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68 Most important, Morgan defined music as Rosa’s primary means of artistic escape: “In his wayward and original mood . . 71 The parallels between these two paintings are clearly more than coincidence. The stances of Rosa and Liszt are similar, and the faces in both portraits are almost identical, from the shape and size of the eyes, nose, and chin to the play of light and shadow across their features. Rosa’s self-portrait strikingly illustrates his confidence as both an artist and an intellectual.
One was designed for Giuliano de’ Medici (the son of Lorenzo the Magnificent), the other for Giuliano’s nephew, Lorenzo de’ Medici (the grandson of Lorenzo the Magnificent). Michelangelo conceived of the two tombs as representing opposite types: Giuliano symbolized the active, extroverted personality; Lorenzo, the contemplative, introspective one. 57 Michelangelo created Il penseroso as a man deep in thought, removed from the world of earthly goods and concerns. This is clearly indicated by Lorenzo’s gestures: his helmet and furrowed brow shadow his features.
As literary historian Robert Hollander explains, an outpouring of Dante commentaries swept across Europe during the early decades of the nineteenth century. ”34 This image of Dante excited Liszt, and he soon began writing his own commentaries. For example, in an article written in September–October 1837, he compared Dante’s depiction of Beatrice in the Divine Comedy to his own conception of “woman sublime”: I must confess that I have always been terribly disturbed by one thing in that immense, incomparable poem, and that is the fact that the poet has conceived Beatrice, not as the ideal of love, but as the ideal of learning.