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Bard Music Festival: Weekend Three

This Liszt, the preening, strutting peacock, is well known and often maligned. But as promised, the concerts highlighted a lesser-known side of the composer, including works he wrote during a stint as a religious recluse. Listeners were also treated to Ms.

Liszt was a socialite and networker who traveled widely. For comparative purposes his works were sandwiched throughout the weekend between those of his contemporaries, including Chopin, Hummel, Czerny, Moscheles and Alkan.


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Liszt developed the symphonic poem, an alternative to the traditional symphonic form. Here Mr. View all New York Times newsletters.

Along the way during the weekend came an entertaining Gypsy-tinged violin and piano duo by Liszt, a humorous Beethoven song and some gloomy Schubert songs. There were also plenty of lesser-known works that were uninteresting: unmemorable both for the music and for the performances. But the programming was deft enough that at least the rationale behind their inclusion was clear.

Hamilton said.

Bard Music Festival Opens, Examining 'Franz Liszt and His World'

That point was reinforced on Sunday afternoon, when Mr. It highlighted Mr. Although there are still two weekends to come. In true salon style the programs were long, and a listener emerged slightly bleary-eyed and bleary-eared. Yet you almost felt guilty for skipping anything and potentially missing a worthy musical rarity.

Bard Music Festival Program: Korngold and His World by Fisher Center at Bard - Issuu

The Bard festival experience is strangely addictive, drawing a listener into a fascinating musical and cultural world unlikely to be experienced again. Tell us what you think. Please upgrade your browser. No nineteenth-century composer had more diverse ties to his contemporary world than Franz Liszt The essays brought together in Franz Liszt and His World advance our understanding of the composer with fresh perspectives and an emphasis on historical contexts.

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Rainer Kleinertz examines Wagner's enthusiasm for Liszt's symphonic poem Orpheus ; Christopher Gibbs discusses Liszt's pathbreaking Viennese concerts of ; 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.

Franz Liszt and His World also 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. Show sample text content.

Passion and poetry now exist only in the grief-stricken reveries of lovers separated by leagues and light years; geography and dreams are two degrees of distance. The palm tree, one notes, is silent: this is what happens to Muses so far removed from the poets they love. For all the beauty of these images, neither the sensual nor the real is possible in such a Romantic-poetic world.

What does Liszt make of this exercise in ambivalent beauty?

He understood, I believe, the artistic dilemma at the. The transition from this dramatic invocation of ice and snow to the dream of exotic climes is Lisztian mystery in a nutshell: unharmonized F s and E s rise upward, with the final E sustained by a fermata. Where are we tonally at.