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  • Author or Editor: Zsuzsanna Domokos x
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The renaissance of Palestrina's music, which in the 19th century was of particular interest to musicians music-lovers in Italy and abroad, was largely influenced by the performance practice given to it by the Cappella Sistina, the despositary of this heritage.

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Richard Wagner's edition of the Stabat mater 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 Stabat mater 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.

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Abstract

Die Abhandlung versucht, die Autorschaft des Themas Miserere d'après Palestrina, des achten Stückes von Liszts Klavierzyklus Harmonies poétiques et religieuses, nach der Tradition der Sixtinischen Kapelle zu erörtern. Das Miserere-Thema ist für die Liszt-Forschung nicht nur bei der Bestimmung der Inspirationsquelle wichtig, sondern erweist sich auch beim Vergleich mit anderen Themen von ähnlicher Fauxbourdon-Struktur als interessant. Von immer weiteren Perspektiven betrachtet, verspricht die Untersuchung des Tons der Komposition neue Zusammenhänge für den Aufbau des ganzen Zyklus und führt schließlich zur Festellung der Herausbildung eines eigenartigen Intonationskreises, dessen Entwicklung im Lebenswerk Liszts später eindeutig verfolgt werden kann.

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The salvation role of Gretchen, embodying the “Ewig-Weibliche,” has already been mentioned by several scholars analyzing Liszt’s “Faust” Symphony. According to them, Liszt found the most direct models to the characterization of the female protagonist of his work in Wagner’s operas. This interpretation can be made more differentiated in the view of another musical quotation of the “Gretchen” movement of the Symphony. I would like to go further on the basis of some concrete musical analogies, following the genesis of the composition and Liszt’s writings. I seek to answer the following questions: How much is Goethe’s Gretchen preserved in Liszt’s work? What are the influences of Gretchen’s contemporary musical characterizations known by Liszt, related to his own work? Last but not least, what kind of connections do exist between the Gretchen of the “Faust” Symphony and the other female characters in Liszt’s works?

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