![]() The note in my diary runs: "Liszt fine face - leonine - several large pimples - prominent chin of old man - long white hair down on shoulders - all call him ' Master' - must have had great strength in youth. The party did not break up till four o'clock in the morning. Stavenhagen played, but as it was thought by all that Liszt must be too tired after a long day no opening was made for him much as all longed to hear him. Nevertheless the likeness of the two men was remarkable. His stooping shoulders and long white hair made him seem of patriarchal age. Liszt, on the other hand, looked older than his age. His neck was then without a line or mark of age. Irving was then forty-eight years of age but he looked still a young man, with raven black hair and face without a line. After supper Irving went round and sat next him and the likeness became a theme of comment from all present. From where I sat at the end of the table I could not but notice the quite extraordinary resemblance in the profiles of the two men. Liszt sat on the right hand of Ellen Terry who faced Irving. William Beatty Kingston, and the Misses Casella. There was an interesting party at supper in the Beefsteak Room, amongst them, in addition to the party at the play, the following: Ellen Terry, Professor Max Muller, Lord and Lady Wharncliffe, Sir Alexander and Lady Mackenzie, Sir Alfred Cooper, Walter Bach and Miss Bach, Sir Morell Mackenzie, Mr. Littletons kept the key of the other box and none could obtain entrance without permission. Liszt sat here with some of the others unassailable, as one of the Mr. We had the door of this box screwed up so that entrance to it could only be had through the royal box. This box was on the outside from the Proscenium. was another box separated only by a partition, part of which could be taken down. Next to the royal box on the grand tier O.P. ![]() Introductions to and commentaries on these documents are provided by Peter Bloom, José Bowen, James Deaville, Allan Keiler, Rainer Kleinertz, Ralph Locke, Rena Charnin Mueller, and Benjamin Walton.As it was necessary to keep away all who might intrude upon him - enthusiasts, interviewers, cranks, autograph-fiends, notoriety seekers who would like to be seen in his box - we arranged a sort of fortress for him. ![]() Rainer Kleinertz examines Wagner's enthusiasm for Liszt's symphonic poem Orpheus Christopher Gibbs discusses Liszt's pathbreaking Viennese concerts of 1838 Dana Gooley assesses Liszt against the backdrop of antivirtuosity polemics Ryan Minor investigates two cantatas written in honor of Beethoven Anna Celenza offers new insights about Liszt's experience of Italy Susan Youens shows how Liszt's songs engage with the modernity of Heinrich Heine's poems James Deaville looks at how publishers sustained Liszt's popularity and Leon Botstein explores Liszt's role in the transformation of nineteenth-century preoccupations regarding religion, the nation, and art.įranz Liszt and His Worldalso includes key biographical and critical documents from Liszt's lifetime, which open new windows on how Liszt was viewed by his contemporaries and how he wished to be viewed by posterity. The essays brought together in Franz Liszt and His Worldadvance our understanding of the composer with fresh perspectives and an emphasis on historical contexts. In his roles as keyboard virtuoso, conductor, master teacher, and abbé, he reinvented the concert experience, advanced a progressive agenda for symphonic and dramatic music, rethought the possibilities of church music and the oratorio, and transmitted the foundations of modern pianism. At various points in his life he made his home in Vienna, Paris, Weimar, Rome, and Budapest. No nineteenth-century composer had more diverse ties to his contemporary world than Franz Liszt (1811-1886).
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