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 number 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, complex a revolutionary schedule for symphonic and dramatic song, rethought the probabilities of church song and the oratorio, and transmitted the principles of contemporary pianism. The essays introduced jointly in Franz Liszt and His global boost our knowing of the composer with clean views and an emphasis on historic 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 adventure of Italy; Susan Youens indicates how Liszt's songs interact with the modernity of Heinrich Heine's poems; James Deaville seems to be at how publishers sustained Liszt's recognition; and Leon Botstein explores Liszt's function within the transformation of nineteenth-century preoccupations concerning faith, the kingdom, and artwork. Franz Liszt and His international additionally comprises key biographical and significant records from Liszt's lifetime, which open new home windows on how Liszt used to be considered through his contemporaries and the way he wanted to be considered via 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.
Read or Download Franz Liszt and His World (The Bard Music Festival) PDF
Similar sheet music & scores books
That Johann Sebastian Bach is a pivotal determine within the historical past of Western tune is infrequently information, and the value of his fulfillment is so giant that it may be tough to understand. In approximately Bach, fifteen students express that Bach's significance extends from choral to orchestral tune, from sacred track to musical parodies, and likewise to his scribes and scholars, his predecessors and successors.
Dmitry Shostakovich's memoirs, Testimony, `related to and edited via Solomon Volkov', were the topic of fierce debate due to the fact that their booklet in 1979. was once Testimony a forgery, made up by means of an impudent impostor, or was once it the deathbed confession of a tendency, yet unbroken, guy? Even now, years after the autumn of the communist regime, a coterie of well-placed Western musicologists have frequently raised objections to Testimony, hoping with every one assault to undermine the image of Shostakovich offered in his memoirs that of a guy of huge ethical stature, bitterly dissatisfied with the Soviet procedure.
Additional info for Franz Liszt and His World (The Bard Music Festival)
In these works Lamartine appeared to speak plaintively from the heart about his personal reflections on art, nature, and love. One poem in particular, “Philosophie,” must have appealed to Liszt as he traveled across Italy. In this work Lamartine mixed a desire to escape “to the shores of the Arno” with an evocation of Petrarch and Dante. Like Byron, Lamartine took on the guise of an itinerant poet reflecting on life’s purpose and the inevitable passage of time. Lamartine’s evocation of Petrarch and Dante in the opening stanza of “Philosophie” can be read as a commentary of sorts—a poetic reaction to the works of his Italian predecessors.
9. : 1994). For discussions of the effects of Italian politics on nineteenth-century English literature, see Maura O’Connor, The Romance of Italy and the English Political Imagination (London: 1998); Daryl S. Ogden, “Byron, Italy, and the Poetics of Liberal Imperialism,” Keats-Shelley Journal 49 (2000): 114–38. 10. Franz Liszt, Sämtliche Schriften, ed. Rainer Kleinertz (Wiesbaden: 2000), vol. 1, pp. 455–503. 11. Charles Suttoni, An Artist’s Journey (Chicago: 1989), p. 244. : 2005), pp. 217–38. In truth, the authorship of these articles is of little consequence to my investigation, since, despite their origins, they nonetheless present a reliable description of Liszt’s reactions to art and literature as he traveled through Italy.
The first half of the title is a subtle reference to a poem by Victor Hugo; the second half is an allusion to the genre title adopted by Beethoven for his two piano sonatas, op. 27. The poem by Victor Hugo, titled “Après une lecture de Dante” (after a reading of Dante), is a poetic commentary on Dante’s depiction of hell. • 28 • Figure 6. ” Weimar, Goethe- und Schiller-Archiv, MS I 17. • 29 • LISZT, ITALY, AND THE REPUBLIC OF THE IMAGINATION It is part of a collection of fifty-one poems (many of which are commentaries on artists and poets, such as Dürer and Virgil) published under the title Les Voix intérieures (Interior voices).