TheCambridgeCompaniontoLiszt ThisCompanionprovidesanup-to-dateviewofthemusicofFranz Liszt,itscontemporarycontextandperformancepractice,writtenby someoftheleadingspecialistsinthefieldofnineteenth-century musicstudies.AlthoughacoreofLiszt’spianomusichasalways maintainedafirmholdontherepertoire,hisoutputwassovast, influentialandmulti-facetedthatscholarshiptoohastakensome timetoassimilatehisachievement.Thisbookoffersstudentsand musicloverssomeofthelatestviewsinanaccessibleform.Katharine Ellis,AlexanderRehdingandJamesDeavillepresentthebiographical andintellectualaspectsofLiszt’slegacy;KennethHamilton,James BakerandAnnaCelenzagiveadetailedaccountofLiszt’spiano music,includingapproachestoperformance;MonikaHennemann discussesLiszt’sLieder;andReevesShulstadandDoloresPesce surveyhisorchestralandchoralmusic. kenneth hamilton ispianist-in-residenceandseniorlecturerin musicattheUniversityofBirmingham,UK.Avirtuosopianistwith aninternationalreputation,heisalsoanauthorityonLisztandhasa specialinterestinnineteenth-centuryperformingtechniques.Heis theauthoroftheCambridgeMusichandbookLiszt:SonatainB Minor. CambridgeCompanionstoMusic Topics TheCambridgeCompaniontoBluesand TheCambridgeCompaniontothe Musical GospelMusic EditedbyWilliamEverettandPaulLaird EditedbyAllanMoore TheCambridgeCompaniontotheOrchestra TheCambridgeCompaniontoConducting EditedbyColinLawson EditedbyJose´AntonioBowen TheCambridgeCompaniontoPopand TheCambridgeCompaniontoGrandOpera Rock EditedbyDavidCharlton EditedbySimonFrith,WillStrawandJohn TheCambridgeCompaniontoJazz Street EditedbyMervynCookeandDavidHorn TheCambridgeCompaniontotheString TheCambridgeCompaniontotheLied Quartet EditedbyJamesParsons EditedbyRobinStowell Composers TheCambridgeCompaniontoBach TheCambridgeCompaniontoDebussy EditedbyJohnButt EditedbySimonTrezise TheCambridgeCompaniontoBarto´k TheCambridgeCompaniontoHandel EditedbyAmandaBayley EditedbyDonaldBurrows TheCambridgeCompaniontoBeethoven TheCambridgeCompaniontoLiszt EditedbyGlennStanley EditedbyKennethHamilton TheCambridgeCompaniontoBenjamin TheCambridgeCompanionto Britten Mendelssohn EditedbyMervynCooke EditedbyPeterMercer-Taylor TheCambridgeCompaniontoBerg TheCambridgeCompaniontoMozart EditedbyAnthonyPople EditedbySimonP.Keefe TheCambridgeCompaniontoBerlioz TheCambridgeCompaniontoRavel EditedbyPeterBloom EditedbyDeborahMawer TheCambridgeCompaniontoBrahms TheCambridgeCompaniontoRossini EditedbyMichaelMusgrave EditedbyEmanueleSenici TheCambridgeCompaniontoBruckner TheCambridgeCompaniontoSibelius EditedbyJohnWilliamson EditedbyDanielM.Grimley TheCambridgeCompaniontoJohnCage TheCambridgeCompaniontoSchubert EditedbyDavidNicholls EditedbyChristopherGibbs TheCambridgeCompaniontoChopin TheCambridgeCompaniontoVerdi EditedbyJimSamson EditedbyScottL.Balthazar Instruments TheCambridgeCompaniontoBrass TheCambridgeCompaniontothe Instruments Piano EditedbyTrevorHerbertandJohnWallace EditedbyDavidRowland TheCambridgeCompaniontotheCello TheCambridgeCompaniontothe EditedbyRobinStowell Recorder TheCambridgeCompaniontotheClarinet EditedbyJohnMansfieldThomson EditedbyColinLawson TheCambridgeCompaniontotheSaxophone TheCambridgeCompaniontotheGuitar EditedbyRichardIngham EditedbyVictorCoelho TheCambridgeCompaniontoSinging TheCambridgeCompaniontotheOrgan EditedbyJohnPotter EditedbyNicholasThistlethwaiteandGeoffrey TheCambridgeCompaniontotheViolin Webber EditedbyRobinStowell The Cambridge Companion to LISZT ............ editedby KennethHamilton cambridge university press Cambridge,NewYork,Melbourne,Madrid,CapeTown,Singapore,Sa˜oPaulo CambridgeUniversityPress TheEdinburghBuilding,CambridgeCB22RU,UK PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork www.cambridge.org Informationonthistitle:www.cambridge.org/9780521644624 (cid:1)C CambridgeUniversityPress2005 Thisbookisincopyright.Subjecttostatutoryexceptionandtotheprovisionsofrelevantcollective licensingagreements,noreproductionofanypartmaytakeplacewithoutthewrittenpermissionof CambridgeUniversityPress. Firstpublished2005 PrintedintheUnitedKingdomattheUniversityPress,Cambridge AcataloguerecordforthisbookisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata TheCambridgeCompaniontoLiszt/editedbyKennethHamilton. p. cm.–(Cambridgecompanionstomusic) Includesbibliographicalreferencesandindexes. ISBN0521622042–ISBN0521644623(pb.) 1.Liszt,Franz,1811–1886–Criticismandinterpretation. I.Hamilton,Kenneth,1963– II.Series. ML410.L7C25 2004 780(cid:2).92–dc22 [B] 2004040793 ISBN-13978-0-521-62204-2hardback ISBN-100-521-62204-2hardback ISBN-13978-0-521-64462-4paperback ISBN-100-521-64462-3paperback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyofURLsfor externalorthird-partyinternetwebsitesreferredtointhisbook,anddoesnotguaranteethatany contentonsuchwebsitesis,orwillremain,accurateorappropriate. Contents Listofillustrations[page vi] Notesoncontributors [vii] Preface [ix] Acknowledgements [xi] Chronology [xii] 1 Liszt:theRomanticartist KatharineEllis [1] 2 InventingLiszt’slife:earlybiographyandautobiography Alexander Rehding [14] 3 Lisztandthetwentiethcentury JamesDeaville [28] 4 Liszt’searlyandWeimarpianoworks KennethHamilton [57] 5 Liszt’slatepianoworks:asurvey JamesM.Baker [86] 6 Liszt’slatepianoworks:largerforms JamesM.Baker [120] 7 Liszt’spianoconcerti:alosttradition AnnaCelenza [152] 8 PerformingLiszt’spianomusic KennethHamilton [171] 9 Liszt’sLiederMonikaHennemann [192] 10 Liszt’ssymphonicpoemsandsymphonies ReevesShulstad [206] 11 Liszt’ssacredchoralmusic DoloresPesce [223] Notes [249] Selectbibliography [271] IndexofLiszt’smusicalworks [272] Generalindex [276] [v] Illustrations Plates 1.1 JosefDanhauser,LisztamFlu¨gel(1840),oil.StaatlicheMuseenzuBerlin– PreußischerKulturbesitz,Nationalgalerie/F.V.42.Photo:Ju¨rgenLiepe[9] 7.1 ‘TheEqualityofDeath’fromHansHolbein’sTodtentanz[165] 7.2 TrionfodellaMorte,byOrcagna[sic](FrancescoTrainiorBonamico Buffalmacco)[166] 7.3 FirstpageofLiszt’s1849versionofTotentanz(NewYork),PierpontMorgan Library,LehmanCollection[168] Examples 2.1 Liszt,BeethovenCantatano.1.Andantereligioso[24] 5.1a Feuilletd’albumNo.2,introduction[92] 5.1b Elegie,‘DieZelleinNonnenwerth’,introduction[92] 5.2a Feuilletd’albumNo.2,bars26–30[93] 5.2b Elegie,bars31–53[94] 5.3a Feuilletd’album,bars64–7[95] 5.3b Elegie,bars101–13[95] 5.4a Feuilletd’albumNo.2,bar108toend[96] 5.4b Elegie,bar128toend[96] 5.5a Toccata,bars1–20[104] 5.5b Toccata,bars65–94[105] 5.6a UngarischerGeschwindmarsch,bars23–7[108] 5.6b UngarischerGeschwindmarsch,bar114toend[108] 5.7a Csa´rda´smacabre,bars49–57[109] 5.7b CamilleSaint-Sae¨ns,Dansemacabre,bars655–65[109] 5.8a BagatelleohneTonart,bars1–22[117] 5.8b BagatelleohneTonart,bars57–85[118] 8.1 R´eminiscencesdeLuciadiLammermoor(HenseltEdition),bars1–16[180] 10.1 Tasso,bars1–7[207] 10.2 Faust,movement1,bars1–5[218] Figures 5.1 Liszt,Csa´rda´smacabre,Form(harmonicfunctionsexpressedinterms ofDminor)[110] 7.1 OutlineofLiszt’sTotentanz [164] Tables 5.1 FranzLiszt,latemusicforsolopiano(1869–86) [100] 7.1 ChronologyofLiszt’spianoconcertiandrelatedworksforpianoand orchestra[155] 10.1 Prometheus:Musicalanalysisandrelationshipsbetweenthesymphonicpoem [vi] andthechoruses[211] Notesoncontributors JamesM.Baker isProfessorofMusicatBrownUniversity.Hiscurrentresearchinter- estsincludeanalysisandperformance,chromaticismintonalmusic,andtonal implicationintwentieth-centurymusic. AnnaCelenza, an Associate Professor of Musicology at Michigan State University, publishedherfirstbook,TheEarlyWorksofNielsW.Gade:InSearchofthePoetic, in 2001. Since then she has published several articles on Liszt, the most recent appearing in 19th-Century Music, and completed the manuscript for a second bookentitledHansChristianAndersenandMusic:TheNightingaleRevealed. JamesDeaville is Associate Professor in the School of the Arts at McMaster Uni- versity, Canada. He has published articles about Liszt in The Liszt Companion (GreenwoodPress)andtheJournalofMusicologicalResearch,CanadianUniver- sityMusicReviewandNotes,entriesaboutLiszt’sNew-GermancolleaguesinThe NewGroveDictionaryofMusicandMusicians,revisededitionandDieMusikin GeschichteundGegenwart,revisededition,andhasco-edited(withMichaelSaffle) AnalectaLisztianaII:NewLightonLisztandHisMusic. KatharineEllis is Reader in Music at Royal Holloway, University of London. She haspublishedwidelyonaspectsofmusicalcultureinnineteenth-centuryFrance, includingitsmusiccriticism,itsperformancetraditionsandquestionsofreper- toryandcanon.Sheiscurrentlyfinishingamonographontheearlymusicrevival innineteenth-centuryFrance.RecentandforthcomingarticlesfocusonthePalest- rinarevival,issuesinmusiceducation,andBerlioz’scriticalrhetorics.Katharine EllisisaformereditorofMusic&LettersandnoweditstheJournaloftheRoyal MusicalAssociation. KennethHamilton isaconcertpianistandSeniorLecturerinMusicatBirmingham University.HispreviouspublicationsincludeLiszt:SonatainBMinor(Cambridge University Press), and he has particular research and performance interests in nineteenth-centurypianomusicandperformancepractice. MonikaHennemann hasbeenamemberoftheMusicologyFacultyatFloridaState University, the German Faculty at the University of Rhode Island, and most recentlyaVisitingAssistantProfessorofMusicologyattheCollege Conservatory ofMusic,UniversityofCincinnati.ShehaswrittenextensivelyonMendelssohn andalsopublishedarticlesonWebernandonnineteenth-centuryreceptionhis- tory. DoloresPesce isProfessorofMusicatWashingtonUniversityinStLouis.Herwritings onLiszthaveappearedin19th-CenturyMusicandinNineteenth-CenturyPiano Music,ed.R.LarryTodd(Schirmer,1990). AlexanderRehding isAssistantProfessorofMusicatHarvardUniversity.Heisthe author of Hugo Riemann and the Birth of Modern Musical Thought (2003) and co-editor of Music Theory and Natural Order from the Renaissance to the Early [vii] viii Notesoncontributors TwentiethCentury(2001).Heiscurrentlyworkingonastudyofmonumentality innineteenth-centurymusic. ReevesShulstad is the Director of the School of Music and Assistant Professor at Salem College in Winston-Salem, NC. Her doctoral dissertation, ‘The Symbol ofGenius:FranzLiszt’sSymphonicPoemsandSymphonies’,aninterdisciplinary studyofaselectionofLiszt’sorchestralworkswithinthecontextofthenineteenth- centurydefinitionofgenius,willbepublishedbyScarecrowPress,andshehas presentednumerouspapersontopicsconcerningtherelationshipbetweenmusic, philosophyandliterature. Preface TheCambridgeCompaniontoLisztpresentsasurveyandcontextualisation of his music by some of the leading writers in the field. Few composers havebenefitedmorethanLisztfromtheupsurgeininterestinRomanticism overthelastfewdecades,andthecentenaryofhisdeathin1986gaveextra impetus to re-evaluation of his importance. A volume such as this is very differentfromonethatcouldhavebeenwritteneventwentyyearsago.Inthe firstplace,agreaterquantityofLiszt’smusicisnowinprint.TheNewLiszt Edition (Editio Musica, Budapest) is gradually progressing through what mustbeoneofthemostdauntinglylargework-listsofanycomposer,and manyformerlyoverlookedorunpublishedpiecesarenoweasilyavailablefor study.Inthesecondplace,andatleastasimportantly,muchmoreofLiszt’s music is actually being played and heard. If a central core of his achieve- ment – mostly some piano pieces and a handful of symphonic poems – has always been in the standard repertoire, the rest has until recently remainedontheperiphery.Althoughitisstilltruethatseveralmasterpieces– theGranMassandPsalmXIIIcomeimmediatelytomind–deservemuch more frequent performance, artists are now including pieces on concert programmesorrecordingsthathavehardlybeenheardsincetheircreation. Onepioneeringprojectthatmustbementionedspecificallyinthiscontextis LeslieHoward’sastonishingachievementincommittingallofLiszt’spiano musictodisc(ontheHyperionlabel),includingallsignificantlydifferent versionsandallavailableextantunpublishedworks.Owingtothesuccess ofthismonumentalundertaking,eventhemostobscuretranscriptionsor historically important ‘first attempts’, like the early versions of the Dante Sonata,neednolongerbeonlyreferencesonapage,butcanbeexperienced directlybyanyinterestedmusic-lover,howevershakyornon-existenttheir piano technique. Gradually more of Liszt’s output in other genres is also beingrecorded,andthiswillnodoubtpromptfurtherre-evaluationofhis legacy.Afterall,evenWagnerdeclaredthathefounditvirtuallyimpossible tojudgeLiszt’ssymphonicpoemsfromtheprintedpage–heneededtohear themplayed. Many late twentieth-century landmarks in Liszt scholarship have also madethisCompanionmoretimely,accurateandeasiertowrite.Fairmention of all of these would take up several pages, and would certainly include workbyMa´riaEckhardtandDetlefAltenburg,butonlyafewmoregeneral [ix] items can be cited by name here. Alan Walker’s magisterial three-volume