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The Collected Writings of Franz Liszt - Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers, and Performers Part 1 (Hardcover, New)
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The Collected Writings of Franz Liszt - Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers, and Performers Part 1 (Hardcover, New)
Series: The Collected Writings of Franz Liszt
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In Dramaturgical Leaves: Essays about Musical Works for the Stage
and Queries about the Stage, Its Composers and Performers, the
third volume in Janita R. Hall-Swadley's The Collected Writings of
Franz Liszt, Liszt heralds his admiration for early
nineteenth-century opera and musical stage works. He honors Gluck,
the musical prophet, as the cultivator of dramatic truth in the
Romantic opera Orpheus, expounds on Beethoven's harmonic inventions
and innovative treatment of form in Fidelio, and argues for the
latter's incidental music to Goethe's Egmont as the epitome of
music organicism, a complete unity of words and tone. He also
comments on Weber's Euryanthe as offering the most progressive
musical characterizations and declamation-even more so than his
popular work Der Freischutz-and on how both works prefigure
Wagner's music dramas; awards Mendelssohn, whose genius Liszt ranks
only slightly less than Beethoven's, top honors for creating in
Midsummer's Night Dream the highest standards of music poetry;
suggests how Scribe and Meyerbeer's Robert the Devil paints a
mental image of art's eternal flames, where poet and musician share
equal space in the development of music tragedy; reveals how the
poetic deficiencies in the libretto to Schubert's Alfonso and
Estrella are too easily overlooked because of the music's melodic
and lyrical supremacy; and offers in contrast Auber's Mute from
Portici, a remarkable text by many historically picturesque musical
motives that are universal and nationalistic at the same time.
Finally Liszt offers an early gender study in music in his essay
about Bellini's Montague and Capulet (as well as its impact on
nineteenth-century audiences), a look at Boieldieu's White Lady as
a sublime depiction of literary music, and Donizetti's Favorite as
colored with a special type of imagery, a laterna magica, in
Liszt's hand. The beloved soprano Pauline Viardot-Garcia receives
special attention in an essay devoted entirely to her, and Liszt
proffers a critique of entr'acte music as a pointless tradition
that dethrones music and insults the artist and composer by making
music a "palate cleanser." This volume includes a detailed
discussion about what it meant to be patronized by Liszt and how
his support-financial, literary, and musical-helped shape many a
music career. It also offers commentary on how gender in opera was
sometimes obscured not only for dramatic interest but also as part
of the process of outlining a nation's identity,as well as a
thorough study of Liszt's concepts of Gestalt theory, the
Archetype, and his musical Weltanschauung (his musical "world
view"), all revealing his contribution to 19th-century music
philosophy as it relates to opera. Finally, a historical review of
entr'acte music is presented-how it began and how it developed-to
clarify Liszt's stance against it, making this volume a necessary
read for music historians, serious musicians, and music
connoisseurs alike.
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