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No nineteenth-century composer had extra assorted ties to his modern global than Franz Liszt (1811-1886). At a number 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 adventure, complex a revolutionary schedule for symphonic and dramatic song, rethought the probabilities of church tune and the oratorio, and transmitted the principles of contemporary pianism.

The essays introduced jointly in Franz Liszt and His World boost 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 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 deals new insights approximately Liszt's event of Italy; Susan Youens indicates how Liszt's songs have interaction with the modernity of Heinrich Heine's poems; James Deaville appears to be like 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 state, and art.

Franz Liszt and His World additionally comprises key biographical and demanding files from Liszt's lifetime, which open new home windows on how Liszt was once seen by means of 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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Beethoven-Cantate, no. 2, mm. 690–702. • 152 • des 7 Alto solo Ae - thers ver - schwie - ge - nen gained - gained - nen, zum Ge - heim - niss der received - nen, zum Ge - heim - niss der 10 Baritone solo zu des Alto solo nen zum Ge - heim - niss der e e - wig - en Son - nen, e - wig - en Son - nen, instance eight persisted • 153 • - wig - en Son - PROPHET AND population IN LISZT’S “BEETHOVEN” CANTATAS type of song the refrain can't but name its personal. certainly, it's the remedy of the “Archduke” topic within the cantata proper—its “deformations” or misquotations through the incomprehending chorus—that presents the narrative pretense for the refrain to invite an previous, clever guy to provide an explanation for the sounds. At degree one hundred sixty five (Example 9), instantly previous the textual content “Do you listen the melody,” an simple model of the “Archduke” topic is heard within the orchestra; ascending in half-steps to its final vacation spot, E significant, it lingers on D significant in mm. 175–84. sincerely concerning the D-major diversifications that opened the cantata, this model of the subject is an indisputable invocation of tune already heard, of remembered tune. but the textual content, which refers back to the “bright superstar” marking Beethoven’s heavenly emergence, insists upon its newness and the nascency of the “Archduke” fabric. seventy one what's this song? It has but to crystallize right into a transparent musical proposal— the neighborhood claims “never ever” to have obvious the sort of imaginative and prescient, and can't but are aware of it or its accompanying music—yet it evidently alludes to the differences already heard. The deformation of the “Archduke” fabric is symptomatic of the cantata’s uneasy promoting of Beethoven as either the ghostly hint of the musical previous and as an rising avatar of the musical destiny. after all, this ambivalence used to be systemic to the Weimar festivities as an entire, and Liszt’s cantata compensates for it with an expanding reliance on brief, atomized quotations of Beethoven’s tune. The track of remembrance and presence is supplemented by way of that of music-historical wisdom. certainly, the cantata undeniably claims Beethoven as its real prophet. yet in counting on the outdated guy to provide an explanation for Beethoven’s track, tune that's “not but” comprehensible, the cantata vitamins its musical prophet (Beethoven) with a hermeneutic one (the New German exegete). he's known as upon by way of the refrain to give an explanation for the sounds they don't understand—“only he alone,” they declare, could make experience of it all—and in doing so his functionality indications the abandonment of a communal, participatory function of the refrain in Liszt’s cantata: this is often the tune of the longer term as spectacle, now not collective act. The cantata replaces because the recipients and bearers of musical knowing the group of listeners making a song its textual content with the neighborhood of listeners attending the ADMV assembly. certainly, the previous man’s narration of the genius’s emergence is matched via a marked elevate within the variety of musical citations—those of Beethoven’s tune, in addition to the chorale melody “Wie schön leuchtet der Morgenstern,” references any member of the ADMV could most likely have famous instantly.

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