Franz Liszt and His World (Bard Music Festival) by Christopher H. Gibbs, Dana Gooley

By Christopher H. Gibbs, Dana Gooley

No nineteenth-century composer had extra assorted 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 abb, he reinvented the live performance event, complicated a revolutionary time table for symphonic and dramatic tune, rethought the chances of church song and the oratorio, and transmitted the principles of contemporary pianism. The essays introduced jointly in Franz Liszt and His international strengthen our figuring out 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 have interaction with the modernity of Heinrich Heine's poems; James Deaville seems to be at how publishers sustained Liszt's attractiveness; and Leon Botstein explores Liszt's position within the transformation of nineteenth-century preoccupations relating to faith, the kingdom, and paintings. Franz Liszt and His international additionally comprises key biographical and important files from Liszt's lifetime, which open new home windows on how Liszt used to be seen by means of his contemporaries and the way he wanted to be seen through posterity. Introductions to and commentaries on those records are supplied through Peter Bloom, Jos Bowen, James Deaville, Allan Keiler, Rainer Kleinertz, Ralph Locke, Rena Charnin Mueller, and Benjamin Walton.

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Liszt was a supporter of the 1830 revolution in France, which alas brought a monarchy. A significant line of thought about Romanticism claims that when its participants became disillusioned by political failures such as the 1830 French revolution, they waged their own philosophical battles in the realm of fantasy. This is an apt description that can be applied to both Sand and Liszt. 15. For a daily account of Liszt’s tour through Switzerland, see Mária P. Eckhardt, “Diary of a Wayfarer: The Wanderings of Franz Liszt and Marie d’Agoult in Switzerland June–July 1835,” Journal of the American Liszt Society 11 (June 1982): 11–17; and 12 (December 1982): 182–83.

4. Wheelock Whitney, “Introduction,” in The Lure of Rome: Some Northern Artists in Italy in the Nineteenth Century, exhibition catalogue, Hazlitt, Gooden & Fox Gallery (London), October–November 1979, p. 7. 5. See especially Motta, whose primary thesis in Liszt Viaggiatore Europeo is that as Liszt and d’Agoult traveled across Italy, Liszt began to see his time there as a period of enlightenment typical of the Grand Tour experience. 6. Italy served as the inspirational push behind many of Liszt’s works—the tone poem Tasso, the incomplete opera Sarandapale, Totentanz, Réminiscences de la Scala, and Venezia e Napoli, for example, but none give as complete an overview of Liszt’s intellectual pursuits as Années de pèlerinage: Deuxième Année, Italie.

With the help of Byron, Michelangelo, and Rosa Liszt found his identity as an artist. Like Childe Harold, he became a pilgrim in search of a homeland. Like Il penseroso, he sought a life of contemplation free from the politics of contemporary society. Raphael and Petrarch offered images of woman sublime. Dante served as an “interior voice,” the intellectual culmination of his travels. Although Liszt titled the second album of his Années de pèlerinage “Italy,” the music more accurately reflects his Republic of the Imagination.

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