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Both Franz Liszt and Augusta Holmès wrote symphonic-choral works inspired by Dante; they composed them, however, in different periods. In this study we wish to associate the two composers not only for their respect and friendship that lasted several years, but because they have both offered an interpretation of Dante’s work, the Divina Commedia, that proved to be a significant source of inspiration for nineteenth-century musicians. What we find particularly important is not so much the substantial difference in their choice and interpretation of the text — that one could say was inspired by the spiritual component in the case of Liszt and by a patriotic political intent in the case of Holmès — but their common relationship with the municipality of Florence, in primis with Count Angelo de Gubernatis, organizer of a women’s exhibition in Florence in 1890. He first had relations with Liszt a few years before, later with Augusta Holmès. It was De Gubernatis who asked Holmès to compose the work Inno alla Pace in order to try to reconcile France and Italy. For this reason in Holmès’ work Beatrice became a symbol of peace among the people.
„Mein eigen Selbst zu ihrem Selbst erweitern”
(Dante e Averroè, Goethe e Hegel)
Zusammenfassung
L’autore, percorrendo diversi criteri che permettono di elaborare un’analisi comparata della Divina commedia e del Faust, adotta un approccio “strutturalista” secondo cui l’opera goethiana occupa, nel suo contesto storico e culturale, un posto analogo a quello che l’opera dantesca occupa nella propria epoca. Entrambe le opere racchiudono un contenuto intellettuale straordinariamente ricco, ricapitolando le idee fondamentali filosofiche, religiose e scientifiche del loro rispettivo periodo storico; idee che—proprio per l’intento di unficarle—molte volte si contraddicono. Nel saggio vengono confrontati l’”averroismo”, oppure l’aristotelismo radicale, di Dante e il presunto “hegelismo” di Goethe; due teorie che permettono, in modo analogo, di attribuire al genere umano il significato di una soggettività collettiva che poi sarà individualizzata nella figura dei due protagonisti: in quella di Faust e in quella di “Dante personaggio”. Si propone, infine, la tesi che l’integrazione di filosofie diverse in un unico quadro sia possibile soltanto sul piano estetico. Il compito da risolvere, con la Divina commedia e con il Faust, era proprio quello di creare, in forma estetica, l’unità delle tendenze spirituali che rappresentavano la totalità delle epoche dei nostri autori.
Abstract
In this paper I would like to examine a rather special kind of irony that could be justly called 'comparative irony'. What I have in mind is the case when an author, in order to show the worthlessness of his own age, juxtaposes some well-known cultural values of the past with their obviously less valuable present-time equivalents. My examples, the two works that I would like to compare from this point of view, were created almost at the same time, in the same cultural milieu, by very close acquaintances, and with very different results. I will compare T. S. Eliot's masterpiece, The Waste Land with Ezra Pound's less known Hugh Selwyn Mauberley, and especially their different intertextual uses of the same locus from the Divina Commedia.
Az Egyetemi Könyvtár Dante-kódexének (Cod. Ital. 1.) eredeti kötéséről
Henszlmann Imre kiadatlan feljegyzése
On the original binding of the Dante Manuscript (Cod. Ital. 1) kept in the University Library. An unpublished note by Imre Henszlmann. The Dante Manuscript, which currently is to be found in the possession of the Library of the Eötvös Loránd University in Budapest with the label Cod. Ital. 1. (La Divina Commedia) has been brought there in 1877, when Sultan II. Abdulhamid sent back 35 ancient manuscripts to Hungary. All of them were in uniformly bound in leather, in the style of the Turkish trend of the era. These codexes have been studied in 1862 by Ipolyi Arnold and Henszlmann Imre in Istambul, in their original binding. We know many of them from the notes – taken in situ and published only in 2006 – of Ipolyi, but the original leather binding of the Dante-codex is known to us only from the sketch of Henszlmann published here for the first time.
This study examines a piece of smith's work preserved in the permanent exhibition of the Budapest Liszt Memorial Museum, which portrays scenes from the Paradise of Dante's Divina Commedia. Formerly owned by Liszt, this object is a galvanoplastic replica of a sketched drawing by Peter Cornelius for his Dante ceiling in the Villa Massima in Rome. Even so, the work preserved in the Liszt Museum is nowhere mentioned in the literature on Cornelius. The name of the donor (cardinal Hohenlohe) and the year of its donation (1867) are already known to us. These circumstances allow us to conclude that its presentation as a gift may have been in connection with the successful performances of Liszt's Dante Symphony in Rome. The work was performed at the inauguration of the Dante Galeria (February 26th 1866). The patron of the exhibition was Johannes, the King of Saxony, in whose possession the drawing was at the time. The opening ceremony provided the occasion for Hohenlohe to come into contact with the ruler of Saxony, and request a loan of the drawing in order to make the galvanoplastic replica.
, and music. 1. Dante and Christus: Two Concerts as Keys to Liszt’s Perception in Rome On the occasion of the 25-year-jubilee of the Pest Conservatory, Liszt conducted the first movement of his Symphonie zu Dantes Divina Commedia 16 (which had already
