Search Results
The closest of friends in the early eighteen-thirties, Berlioz and Liszt shared artistic aspirations (especially around the latter’s reworkings of the former’s Symphonie fantastique and its sequel, Le Retour à la vie) and personal adventures (especially around the former’s irrational passion for the Irish actress Harriet Smithson and the latter’s efforts at counsel and consolation). These matters are discussed in the context of Berlioz’s private (and I believe insensitive) announcement, in a letter to Liszt sent four days after the marriage, that his new wife had been a virgin.
Berlioz war ein einziges Mal in Ungarn gewesen, am 15. und 20. Februar 1846 dirigierte er zwei Konzerte eigener Werke in Pest. Der Pester Besuch hätte wohl nie derart im Zentrum des ungarischen und noch weniger des internationalen Interesses gestanden, wenn nicht die Geburt der besten Orchesterbearbeitung des Rákóczi-Marsches zu ihm gehört hätte. Der Rákóczi-Marsch ist in unzählbaren Transkriptionen, Besetzungen und Versionen erhalten; schon vor 1846, aber auch danach entstanden vorzügliche Bearbeitungen. Die Verfasserin wollte hier untersuchen, welche allgemeine Aufnahme Berlioz in Pest fand, ob und auf welches Echo seine sonstigen Werke stießen und ob dieses unabhängig von politischen Beiklängen sein konnte. Die damalige ungarische Presse ist methodisch durchgeblickt (acht ungarische und drei deutschsprachige Blätter aus Ungarn und eine Wiener Zeitung). Hinsichtlich des Repertoires waren die Berliozschen Konzerte in Ungarn eine Neuheit: früher hatte man hier noch kein Originalwerk von ihm ausgeführt.
In his text Le Persée de Benvenuto Cellini Liszt is more interested in the problems of the artist in the society and of the specificities of the statuary on the music, than in Benvenuto Cellini’s statue itself. So he establishes a parallel between Cellini and Berlioz, identifying both with the mythic hero. He emphasizes “the hidden relationships between works of genius” (letter from Liszt to Berlioz). The differences and similarities between the arts are also explained. The text gives additional information concerning Liszt himself.
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.
In German literature Heinrich Heine is regarded as one of the founders of musical feuilleton, a genre that he developed to the highest mastery with the means of irony and satire. In his music reviews Heine discussed repeatedly many of his musical contemporaries; he met leading composers of his time like Mendelssohn-Bartholdy, Meyerbeer, Berlioz, Chopin, Liszt, and Wagner personally. The fact that the relationship between Heine and Liszt (they got to know each other in 1831 in Paris) was not without problems, is a commonplace. Rainer Kleinertz describes it as ambivalent. The essay examines Heine’s musical judgements about Liszt, focussing on the question of Liszt’s interest in the fine arts. In the tenth letter from Über die Französische Bühne. Vertraute Briefe an August Lewald (1837), Heine accused Liszt of philosophical eclecticism, because he would change his beliefs like hobbyhorses. Are there contradictions and inconsistencies also in Liszt’s thinking about art and music that justified such an ambivalent attitude on the part of Heine? Finally, Liszt replied Heine in the seventh of his Lettres d’un bachelier ès musique, dated Venice, 15 April 1838.
which it ostensibly prioritizes note-for-note fidelity over Ingres-like translational creativity. Indeed, Liszt's partitions of Beethoven's symphonies and Berlioz's Symphonie fantastique “[reveal] his concealed creativity through his unceasing and
„Berlioz durchweg als Unterlage durchschimmer[n]“, 27 lässt sich als weiterer Fingerzeig auf die rezipierte französische Identität Liszts auffassen. Dieser fällt jedoch, obwohl Hector Berlioz bekanntlich Franzose war, nur
] Oueiny C. , Berlioz S. , Perrin F. ( 2014 ) Carbon nanotube–polyaniline composites . Prog Polym Sci 39 707 – 748 . [22] Rastogi
. Voltaire portrays Rákóczi in Candide (1759): Cunégonde finds refuge with the prince on the shores of the Sea of Marmara where he died. Thus, in 1846, Hector Berlioz played his “March of Rákóczi” or “Hungarian March”, a variation of an ancient Hungarian
