Au Banquet des Dieux (Franz Liszt, Richard Wagner et leurs amis)

1932 ◽  
Vol 13 (41) ◽  
pp. 42
Author(s):  
Julien Tiersot ◽  
Marcel Herwegh
Keyword(s):  
Franz Liszt ◽  
Richard Wagner

A Crash Course in Chopinology

2020 ◽  
pp. 1-14
Author(s):  
Jonathan Kregor
Keyword(s):  
Nineteenth Century ◽  
Art Music ◽  
Franz Liszt ◽  
Richard Wagner ◽  
Robert Schumann ◽  
Western World ◽  
Giuseppe Verdi ◽  
Hector Berlioz ◽  
The World ◽  
Felix Mendelssohn

As the Western world celebrated the dawn of its third millennium, devotees of nineteenth-century art music started to prepare for a spate of bicentennials. By 2013, Hector Berlioz, Felix Mendelssohn, Robert Schumann, Franz Liszt, Giuseppe Verdi and Richard Wagner had been honoured with symposia, concerts, exhibitions and premieres the world over. These events offered opportunities for participants to take stock of who these composers once were, who they are now, and how they might endure to the next milestone anniversary.

Correspondance de Richard Wagner et de Franz Liszt

1943 ◽  
Vol 22 (2) ◽  
pp. 37
Author(s):  
J.-G. P. ◽  
I. Schmidt ◽  
J. Lacant ◽  
Richard Wagner ◽  
Franz Liszt ◽  
...  
Keyword(s):  
Franz Liszt ◽  
Richard Wagner

Study Abroad

2017 ◽  
Author(s):  
Beth Abelson Macleod
Keyword(s):  
United States ◽  
Johannes Brahms ◽  
The United States ◽  
Franz Liszt ◽  
Richard Wagner ◽  
Music Students ◽  
Giuseppe Verdi ◽  
Late Nineteenth Century ◽  
Anton Bruckner ◽  
Late Nineteenth

This chapter examines the experience of U.S. music students in late nineteenth-century Vienna as well as the musical scene at that time. In the 1870s and 1880s, Viennese audiences attended the premieres of works by Johannes Brahms, Anton Bruckner, Richard Wagner, and Giuseppe Verdi. They also flocked to piano recitals by Rafael Joseffy, Anton Rubinstein, Hans von Bülow, and Franz Liszt. The chapter considers Fanny Blumenfeld's living conditions, her struggles with health problems, and her studies with Theodor Leschetizky, which culminated in successful performances before Viennese critics that provided her with the European stamp of approval that was almost always necessary for success in the United States. It also recounts her first meeting with her future husband, Sigmund Zeisler.

Nationale ‚Zukunftsmusik‘? Bedřich Smetanas Dalibor und die Debatte um eine tschechische Oper

2011 ◽  
Vol 52 (1-4) ◽  
pp. 209-217
Author(s):  
Ivana Rentsch
Keyword(s):  
Franz Liszt ◽  
Richard Wagner ◽  
The Political ◽  
Practical Orientation ◽  
Deep Interest

The article deals with the political and cultural situation in the 1860s in Prague and Bedřich Smetana’s role after his return from Göteborg in 1861. Smetana was well aware that he had to act in accordance with the practical circumstances, which he described as “awful.” He worked quite pragmatically on the improvement of the musical quality in the Bohemian capital, but at the same time, he professed his deep interest in the “neudeutsche Schule” of Franz Liszt and Richard Wagner. The consequences of the practical orientation and the compositional ideal will be discussed at the example of Smetanas opera Dalibor.

William Wallace (1860–1940): British ophthalmologist and classical music composer

2019 ◽  
Vol 28 (2) ◽  
pp. 90-95
Author(s):  
Robert M Feibel
Keyword(s):  
Classical Music ◽  
Royal Academy ◽  
First World War ◽  
Franz Liszt ◽  
Richard Wagner ◽  
World War ◽  
Tone Poems ◽  
Romantic Music ◽  
The University ◽  
First World

William Wallace (1860–1940) received the degrees MB, MCh, and MD from the University of Glasgow, and qualified as an ophthalmologist in 1888. Even as he was training in eye surgery, he was already composing music, and Wallace became more attracted to the ear than to the eye and abandoned medicine to become a classical music composer. He never practiced ophthalmology after 1889, except during First World War when he volunteered to serve in the Royal Army Medical Corps. He studied briefly at the Royal Academy of Music in London, but was mostly self-taught. Wallace was influenced by the music of Franz Liszt and Richard Wagner, and thus became a champion for late Romantic music. He wrote many types of music: his most successful were symphonic or tone poems. He was a playwright, music critic, translator, artist, and advocate for composers’ copyright interests in Parliament. After the War, he never again composed but held important positions in organized music such as Professor of Harmony and Composition at the Royal Academy of Music. Only about 30% of his compositions were performed or published in his lifetime, but recently, there has been increased interest in performing and recording his music.

scholarly journals Kirchenferne "Operngesänge" - "wahrer Oratorienstyl" - "unermeßlicher Inhalt" : Schütz-Bilder im 19. Jahrhundert und ihre Vermittler

2017 ◽  
Vol 27 ◽  
pp. 7-23
Author(s):  
Walter Werbeck
Keyword(s):  
Ludwig Van Beethoven ◽  
Johann Sebastian Bach ◽  
Franz Liszt ◽  
Richard Wagner ◽  
A Cappella

Das Heinrich-Schütz-Bild des 19. Jahrhunderts, geprägt durch Carl von Winterfeld, war im Wesentlichen das eines Komponisten, der die Grundlagen des Oratoriums gelegt hatte. Noch Philipp Spitta war am Jahrhundertende der Meinung, Johann Sebastian Bach wie Georg Friedrich Händel hätten ihre oratorischen Werke sozusagen auf schützischer Grundlage geschrieben. Auch wenn gelegentlich Schütz'sche Motetten als Beispiele für die alte A-cappella-Kirchenmusik erklangen: Als Hauptwerke des Meisters galten seine Passionen sowie die Vertonung der Sieben Worte. Popularisiert wurden die Stücke in einer Bearbeitung durch Carl Riedel, der sie dem Zeitgeschmack kommensurabel zu machen suchte. Weil aber Riedel zugleich langjähriger Vorsitzender des durch Franz Liszt gegründeten Allgemeinen Deutschen Musik-Vereins war, erweiterte sich das Schütz-Bild um einige neudeutsche Farben: Man spannte Schütz nun ebenso mit Ludwig van Beethoven wie mit Richard Wagner zusammen. So problematisch und verzerrt dieses Bild war, so hat es doch die Beschäftigung mit Schütz erstmals auf eine breitere Basis gestellt. Die erste Gesamtausgabe durch Spitta wäre ohne Riedel wohl nicht möglich geworden. (Autor) Quelle: Bibliographie des Musikschrifttums online

Lwówek Śląski in the arms of the muses. The activity of prince Constantin Hohenzollern’s private orchestra in the period of 1852–1869.

2018 ◽  
Vol 1 (9) ◽  
pp. 161-177
Author(s):  
Aleksandra Milcarz
Keyword(s):  
Great Influence ◽  
Winter Season ◽  
Franz Liszt ◽  
Richard Wagner ◽  
Concert Hall ◽  
Hector Berlioz ◽  
The Press ◽  
The World ◽  
Artistic Life ◽  
German School

Prince Constantine (Friedrich Wilhelm Constantine) of Hohenzollern-Hechingen, a great music lover, aimed to create a good orchestra at his court. In the 1840s, he had already had a decent ensemble conducted by Thomas Täglichsbeck, which gave regular concerts in Hechingen. Villa Eugenia, the prince’s palace at that time, hosted numerous prominent figures from the world of music, first of all Franz Liszt; this acquaintance had a great influence on Constantine. After he abdicated and moved to his dominions in Silesia, in 1852 the prince decided to build a little palace with a concert hall for three hundred people in Lwówek Śląski (then German Löwenberg in Schlesien). Free weekly performances of the orchestra in the winter season (from November to April) in a provincial town of five thousand dwellers were something unheard of, so they soon attracted attention of music lovers. The artistic life of Lwówek was frequently described in the press in Wrocław, Leipzig and Berlin, it was also mentioned in foreign magazines. People praised the excellence of the orchestra, which achieved the peak of its capacities under the new chapelmaster Max Seifriz. He worked systematically on new repertoire and was particularly eager to perform compositions by young composers of the so-called New German School. The ensemble’s fame was consolidated by concerts whose guest conductors were the stars of the world of music of that time, i.e., Franz Liszt, Hector Berlioz and Richard Wagner. The activity of the orchestra and the time of musical glory of Lwówek came to a sudden end when prince Constantine died in 1869.

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