Christopher H. Gibbs - Franz Liszt and His World

PART I
ESSAYS

Liszt, Italy, and the Republic of the Imagination
ANNA HARWELL CELENZA

Heine, Liszt, and the Song of the Future
SUSAN YOUENS

The Battle Against Instrumental Virtuosity in the Early Nineteenth Century
DANA GOOLEY

Prophet and Populace in Liszts Beethoven Cantatas
RYAN MINOR

Just Two Words. Enormous Success Liszts 1838 Vienna Concerts
CHRISTOPHER H. GIBBS

Liszt, Wagner, and Unfolding Form: Orpheus and the Genesis of Tristan und Isolde
RAINER KLEINERTZ

Publishing Paraphrases and Creating Collectors: Friedrich Hofmeister, Franz Liszt, and the Technology of Popularity
JAMES DEAVILLE

PART II
BIOGRAPHICAL DOCUMENTS

Liszt on the Artist in Society
INTRODUCED AND TRANSLATED BY RALPH P. LOCKE

The First Biography: Joseph dOrtigue on Franz Liszt at Age Twenty-Three
INTRODUCED AND EDITED BY BENJAMIN WALTON TRANSLATED BY VINCENT GIROUD

Ludwig Rellstabs Biographical Sketch of Liszt
INTRODUCED AND TRANSLATED BY ALLAN KEILER

From the Biographers Workshop: Lina Ramanns Questionnaires to Liszt
INTRODUCED AND ANNOTATED BY RENA CHARNIN MUELLER TRANSLATED BY SUSAN HOHL

PART III
CRITICISM AND RECEPTION

Ftiss Review of the Transcendental Etudes
INTRODUCED AND TRANSLATED BY PETER BLOOM

Heinrich Heine on Liszt
SELECTED AND INTRODUCED BY RAINER KLEINERTZ TRANSLATED BY SUSAN GILLESPIE

Even His Critics Must Concede: Press Accounts of Liszt at the Bonn Beethoven Festival
SELECTED, INTRODUCED, AND TRANSLATED BY JOS ANTONIO BOWEN

Defending Liszt: Felix Draeseke on the Symphonic Poems
INTRODUCED AND EDITED BY JAMES DEAVILLE TRANSLATED BY SUSAN HOHL

PART IV
REFLECTIONS ON FRANZ LISZT

A Mirror to the Nineteenth Century: Reflections on Franz Liszt
LEON BOTSTEIN

The volumes in the Bard Music Festival series published each year by Princeton University Press follow an unusually accelerated production schedule and is only possible given the professionalism and dedication of many individuals. We are most grateful to the authors and contributors to this volume who have understood the timetable, accommodated it, and often made helpful suggestions of how to shape the book.

Ginger Shore, director of the Bard Publications Office, has overseen this series with committed concern and helpful support. Paul De Angelis, who also has many years experience, provided critical feedback for this book at every stage of the process and gave a fresh perspective to editors who sometimes can no longer see the forest for the trees. Irene Zedlacher, executive director of the Bard Music Festival, generously took time to read the entire book and provided further comment. Natalie Kelly and Don Giller provided the design and music typeset. Our final thanks go to Leon Botstein, founder of the Festival and originator of these books, who inspires with his vision and by his intellectual example.

Front cover image: Franz Liszt. Oil painting by Ary Scheffer (17951858). Reproduced by permission of Klassik Stiftung Weimar.

Liszt, Italy, and the Republic of the Imagination: figure 1, Giovanni Paolo Paninis Roma Antica is reproduced by permission of the Staatsgalerie, Stuttgart; figure 2, Raphaels Sposalizio is reproduced by permission of the Ministero per i Beni e le Attivit Culturali; Soprintendenza per il Patrimonio Storico Artistico ed Etnoantropologico per le Province di Milano, Bergamo, Como, Lecco, Lodi, Pavia, Sondria, Varese; figure 3, Michelangelos Il penseroso is reproduced by permission of the Soprintendenza Speziale per il Polo Museale fiorentino (Ufficio Permessi e Concessioni, Florence); figure 4, Salvatore Rosas Self-Portrait, is reproduced by permission of the National Gallery, London; figure 5, Henri Lehmanns Portrait of Liszt, is reproduced by permission of the Mairie de Paris, Direction des Affaires Culturelles; figure 6 is from the Goethe- und Schiller-Archiv, 601 I 17 and is reproduced by permission of Klassik Stiftung Weimar.

Prophet and Populace in Liszts Beethoven Cantatas: figure 1, The Artists Concert, from Illustrirte Zeitung 116, is reproduced courtesy of the Bildarchiv, Deutsches Historisches Museum, Berlin; figure 2 is reproduced by permission of Beethoven-Haus, Bonn; figure 3 is reproduced from Festgabe zu der am 12ten August 1845 stattfindenden Inauguration des Beethoven Monuments, by H. K. Breidenstein (Bonn: 1845)

Just Two Words. Enormous Success: all figures reproduced by permission of the Archiv, Bibliothek und Sammlungen der Gesellschaft der Musikfreunde, Vienna; translation by Charles Suttoni of Franz Grillparzers Clara Wieck und Beethoven (f-moll Sonate) quoted from Franz Liszt,