Collected Writings of Franz Liszt Pt. 1: Dramaturgical Leaves - Essays about Musical Works for the Stage and Queries about the Stage, Its Composers, and Performers
| Other author | Hall-Swadley, Janita R. Edited and Translated by |
| Format | Electronic |
| Publication Info | Lanham : Rowman & Littlefield Publishers, Incorporated |
| Description | 284 p. ill 09.350 x 06.270 in. |
| Supplemental Content | Full text available from Ebook Central - Academic Complete |
| Series | Collected Writings of Franz Liszt Ser. Volume 3 |
| Summary | Annotation In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven s harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter s incidental music to Goethe s Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber s Euryanthe as offering the most progressive musical characterizations and declamation even more so than his popular work Der Freischutz and on how both works prefigure Wagner s music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven s, top honors for creating in Midsummer s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer s Robert the Devil paints a mental image of art s eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert s Alfonso and Estrella are too easily overlooked because of the music s melodic and lyrical supremacy; and offers in contrast Auber s Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time.Finally Liszt offers an early gender study in music in his essay about Bellini s Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu s White Lady as a sublime depiction of literary music, and Donizetti s Favorite as colored with a special type of imagery, a laterna magica, in Liszt s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a palate cleanser. This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support financial, literary, and musical helped shape many a music career.It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation s identity, as well as a thorough study of Liszt s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr acte music is presented how it began and how it developed to clarify Liszt s stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike. |
| Access restriction | Available only to authorized users. |
| Technical details | Mode of access: World Wide Web |
| Genre/form | Electronic books. |
| ISBN | 9780810882980 |
| ISBN | 0810882981 (Trade Cloth) Active Record |
| Stock number | 00022954 |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Electronic Resources | Access Content Online | ✔ Available |