Liszt’s activities and aesthetic ideas during the Weimar period were comprehensively inspired by the Golden Era of German literature and the parallel musical traditions. Not only the performances of Wagner, Schumann, and Berlioz, but also his literary publications and musical compositions pursued the idea of presenting a new type of synthesis of poetry and music. The key to his new aesthetic concept of instrumental music was his idea to create equivalents to the different types of poetry. Liszt’s ideas would have remained mere speculation without the Weimar traditions of memorial culture and the activities of his “Fortschrittspartei.” As fruitful as Liszt’s regeneration of the spirit of Weimar was, there was no bridge between the mental confrontation of two different worlds: between the European Franz Liszt and the keepers of the holy Grail of the past.
Editor(s)-in-Chief: Péter BOZÓ (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
Review Editor: Lynn HOOKER (Purdue University, West Lafayette, USA)
Martin ELEK (University of Oxford, Oxford, GB)
Belinda ROBINSON (University of Cambridge, GB)
Viktória OZSVÁRT (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
Patrick DEVINE (Maynooth University, Maynooth, IRL)
Anja BUNZEL (Institute of Art History, Czech Academy of Sciences, CZ)
William A. EVERETT (Conservatory University of Missouri-Kansas City, USA)
Márta GRABÓCZ (University of Strasbourg, Strasbourg, F)
Denis HERLIN (Centre National de la Recherche Scientifique, Paris, F)
János KÁRPÁTI (professor emeritus, Liszt Academy of Music, Budapest, H)
Katalin KOMLÓS (professor emerita, Liszt Academy of Music, Budapest, H)
Valeria LUCENTINI (University of Bern, CH)
Tatjana MARKOVIĆ (Österreichische Akademie der Wissenschaften, Wien, A)
Pál RICHTER (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
László SOMFAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
László VIKÁRIUS (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
István Csaba NÉMETH (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
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2020 Volume 61
Magyar Tudományos Akadémia
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