-A-C-H” (B-flat–A–C–B-natural) was well known from works prior to his quartet. He certainly knew Liszt’s Fantasy and Fugue on the Theme B-A-C-H , presumably also Schumann’s Sechs Fugen über den Namen Bach , and Reger’s Fantasia and Fugue on B-A-C-H for
If Liszt’s early work Don Sanche ou le Château d’Amour, that includes danced parts, is not taken into account, he never composed music for dance. In the twentieth century, however, the composer’s music became an interesting material for choreographers and dancers. My paper is focused on a choreographic interpretation of Liszt’s Dante Sonata, made by Frederick Ashton. This choreography was realized by Ashton in 1940 in London, in collaboration with Constant Lambert. Ashton’s Dante Sonata is an abstract and symbolic ballet. He created the association between dance and music on a relationship of correspondence point to point of the two languages and on a cultural and emotive communion with Liszt. My study wants to show what the Ashtonian choreography highlights: Liszt renews the traditional sonata form from its inside; he gives it a new lymph by making it go through a symbolic content; the symbolized literary content is the Dantesque medieval allegory of the Christian ascensional course transformed by Hugo in metaphor of the restless walk of the romantic man. So, Liszt invests the medieval epic literary model of the great themes of the Romantic generation and renews, under its influence, the sonata form.
Liszt’s interest in the figure of Jeanne d’Arc accompanied the composer throughout his life. He chose a poem by Alexandre Dumas père for the text of the romance dramatique Jeanne d’Arc au bûcher. After the first version for voice and piano published in 1846, the composer asked August Conradi for an instrumental arrangement. In 1858 Liszt planned a stage work on the subject of Jeanne d’Arc, but did not fulfill the plan and confined himself to revising the romance. In the 1860s Liszt composed three different new settings of Dumas’s text but never published them. After a rewriting in 1874 for voice and piano (or orchestra), the composer finally published his song (1876). With this, the list of the multiple settings is not yet complete. Some years ago the Fondazione Istituto Liszt (Bologna) bought an autograph manuscript for organ not included in the catalogues of Liszt’s works. This study reconstructs the story of the composition and performance of Jeanne d’Arc with organ accompaniment.
In occasion of the bicentenaire of Victor Hugo's birth the author reminds the fact that the Hungarian composer Ferenc Liszt was probably the first to contribute to Hugo's international career by publishing six of his poems set to music in 1844. Further on he investigates about affininities and the relationships of the two personalities.
Richard Wagner's edition of the
by Palestrina calls for a special attention among the 19th century transcriptions and practice editions of the work, since Franz Liszt declared it to be a masterpiece to be followed by others throughout his life, albeit he knew and appreciated editions with historical aspect, too. Wagner prepared his version of Palestrina's composition in 1848 for his historical concert in Dresden, and it was published on the recommendation of Liszt in 1878 by Christian Friedrich Kahnt. The study summarizes the documents of the genesis of Wagner's work with the background of Palestrina's
editions before 1878, and tries to preveal Wagner's concept and musical decisions in the light of the performing practice of the Cappella Sistina of the time, as well as following the main aspects in the review by Franz Xaver Witt published in 1878.
In 1881 Hungarian painter Mihály Zichy gave a pen drawing entitled Du berceau jusqu’au cercueil as a gift to Franz Liszt who was responsible for the musical education of Zichy’s daughter. Inspired by the drawing, Liszt composed the symphonic poem Von der Wiege bis zum Grabe / Du berceau jusqu’à la tombe (From the Cradle to the Grave). The first edition of the symphonic poem was illustrated by Zichy’s drawing. The painter later extended the subject with a number of narrative parts in order to illustrate those variety in which music can appear. This new graphic work Music Accompanies from the Cradle to the Grave was composed of consecutive and juxtaposed images associating film stills. He utilized this second variation in 1892 for planning the decoration of a concert hall in Saint Petersburg. In the shift from narrative to allegorical content these two graphic works together contain a hidden allegory of life and death.
In the years following World War II, Ernő Dohnányi was falsely accused of being a war criminal. Although scholars have assumed that this smear campaign was the result of a conspiracy by the entire Hungarian musical community, this widely accepted belief overlooks a number of prominent Hungarian musicians who consistently came to Dohnányi’s defense. In 1945, Zoltán Kodály led a delegation of musicians from the Franz Liszt Academy of Music who convinced the Hungarian Minister of Justice to remove Dohnányi’s name from an unofficial list of war criminals. In the following year, Kodály and Ede Zathureczky, who had succeeded Dohnányi as the Director General of the Liszt Academy, wrote letters to the US military government in support of Dohnányi’s rehabilitation. Finally, in 1949, Zathureczky obtained confirmation from the Ministry of Justice that the investigation of Dohnányi had been terminated—a message that Kodály himself communicated to Dohnányi. Drawing on documents from the Liszt Academy archives and the Dohnányi estate, this article chronicles the previously unknown Hungarian defense of Ernő Dohnányi.
The article deals with the political and cultural situation in the 1860s in Prague and Bedřich Smetana’s role after his return from Göteborg in 1861. Smetana was well aware that he had to act in accordance with the practical circumstances, which he described as “awful.” He worked quite pragmatically on the improvement of the musical quality in the Bohemian capital, but at the same time, he professed his deep interest in the “neudeutsche Schule” of Franz Liszt and Richard Wagner. The consequences of the practical orientation and the compositional ideal will be discussed at the example of Smetanas opera Dalibor.