By Christopher H. Gibbs, Dana Gooley
No nineteenth-century composer had extra varied ties to his modern global than Franz Liszt (1811-1886). At quite a few 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 abbé, he reinvented the live performance adventure, complex a revolutionary schedule for symphonic and dramatic song, rethought the probabilities of church tune and the oratorio, and transmitted the rules of recent pianism.
The essays introduced jointly in Franz Liszt and His World improve 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 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 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 relating to faith, the country, and art.
Franz Liszt and His World additionally comprises key biographical and important files from Liszt's lifetime, which open new home windows on how Liszt used to be considered through his contemporaries and the way he needed to be considered through posterity. Introductions to and commentaries on those files are supplied via Peter Bloom, José Bowen, James Deaville, Allan Keiler, Rainer Kleinertz, Ralph Locke, Rena Charnin Mueller, and Benjamin Walton.
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Additional info for Franz Liszt and his world
Dana Gooley’s essay reconstructs the critique of instrumental virtuosos that developed in the early 19th century—which was founded on a social and ethical perspective as much as it was an aesthetic one—and offers explanations for how Liszt escaped it. Leon Botstein’s concluding contribution takes a long-range view of Liszt in relation to public musical culture, demonstrating multiple ways in which he adapted the older, more aristocratic values of Viennese Classicism, which he inherited as a boy, to the contexts of urban modernity of mid-19th-century musical culture, where audiences were larger, less communally educated, and immersed in a culture of fiction reading that reconstructed their experiences of time and imagination.
On 17 August they reached their first stop in Italy—Baveno on the shore of Lake Maggiore—but quickly moved on. Liszt was eager to experience life in the major cities. He read voraciously and sought out noted musical figures as he traveled from one capital to the next. Certain key experiences connected with Liszt’s travels deserve to be highlighted, since they shaped his writing of the “Italy” volume of Années de pèlerinage and the formation of his Republic of the Imagination. Shortly after his arrival in Italy, Liszt wrote three articles in quick succession that reveal much about his state of mind at the time.
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