Franz Liszt and His World Other Princeton University Press Volumes Published in Conjunction with the Bard Music Festival

FRANZ LISZT AND HIS WORLD OTHER PRINCETON UNIVERSITY PRESS VOLUMES PUBLISHED IN CONJUNCTION WITH THE BARD MUSIC FESTIVAL Brahms and His World edited by Walter Frisch (1990) Mendelssohn and His World edited by R. Larry Todd (1991) Richard Strauss and His World edited by Bryan Gilliam (1992) Dvorˇák and His World edited by Michael Beckerman (1993) Schumann and His World edited by R. Larry Todd (1994) Bartók and His World edited by Peter Laki (1995) Charles Ives and His World edited by J. Peter Burkholder (1996) Haydn and His World edited by Elaine R. Sisman (1997) Tchaikovsky and His World edited by Leslie Kearney (1998) Schoenberg and His World edited by Walter Frisch (1999) Beethoven and His World edited by Scott Burnham and Michael P. Steinberg (2000) Debussy and His World edited by Jane F. Fulcher (2001) Mahler and His World edited by Karen Painter (2002) Janáˇcek and His World edited by Michael Beckerman (2003) Shostakovich and His World edited by Laurel E. Fay (2004) Aaron Copland and His World edited by Carol J. Oja and Judith Tick (2005) Franz Liszt AND HIS WORLD EDITED BY CHRISTOPHER H. GIBBS AND DANA GOOLEY PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Copyright © 2006 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 3 Market Place, Woodstock, Oxfordshire OX20 1SY All Rights Reserved For permissions information, see page xiii. Library of Congress Control Number 2006925776 ISBN-13: 978-0-691-12901-3 (cloth) ISBN-10: 0-691-12901-0 (cloth) ISBN-13: 978-0-691-12902-0 (paperback) ISBN-10: 0-691-12902-9 (paperback) British Library Cataloging-in-Publication Data is available This publication has been produced by the Bard College Publications Office: Ginger Shore, Director Francie Soosman, Cover design Natalie Kelly, Design Text edited by Paul De Angelis and Erin Clermont Music typeset by Don Giller This publication has been underwritten in part by a grant from Furthermore: a program of the J. M. Kaplan Fund. Printed on acid-free paper. ' pup.princeton.edu Printed in the United States of America 1 3 5 7 9 10 8 6 4 2 This volume is dedicated to Ruth and David E. Schwab II Bard College Class of 1952 on the occasion of their 75th birthdays; we thank them for their love of music and loyalty to the Bard Music Festival. This page intentionally left blank Contents Acknowledgments xi Permissions and Credits xiii Preface xv PART I ESSAYS Liszt, Italy, and the Republic of the Imagination 3 ANNA HARWELL CELENZA Heine, Liszt, and the Song of the Future 39 SUSAN YOUENS The Battle Against Instrumental Virtuosity in the Early Nineteenth Century 75 DANA GOOLEY Prophet and Populace in Liszt’s “Beethoven” Cantatas 113 RYAN MINOR “Just Two Words. Enormous Success” Liszt’s 1838 Vienna Concerts 167 CHRISTOPHER H. GIBBS Liszt, Wagner, and Unfolding Form: Orpheus and the Genesis of Tristan und Isolde 231 RAINER KLEINERTZ Publishing Paraphrases and Creating Collectors: Friedrich Hofmeister, Franz Liszt, and the Technology of Popularity 255 JAMES DEAVILLE • vii • CONTENTS PART II BIOGRAPHICAL DOCUMENTS Liszt on the Artist in Society 291 INTRODUCED AND TRANSLATED BY RALPH P. LOCKE The First Biography: Joseph d’Ortigue on Franz Liszt at Age Twenty-Three 303 INTRODUCED AND EDITED BY BENJAMIN WALTON TRANSLATED BY VINCENT GIROUD Ludwig Rellstab’s Biographical Sketch of Liszt 335 INTRODUCED AND TRANSLATED BY ALLAN KEILER From the Biographer’s Workshop: Lina Ramann’s Questionnaires to Liszt 361 INTRODUCED AND ANNOTATED BY RENA CHARNIN MUELLER TRANSLATED BY SUSAN HOHL PART III CRITICISM AND RECEPTION Fétis’s Review of the Transcendental Etudes 427 INTRODUCED AND TRANSLATED BY PETER BLOOM Heinrich Heine on Liszt 441 SELECTED AND INTRODUCED BY RAINER KLEINERTZ TRANSLATED BY SUSAN GILLESPIE “Even His Critics Must Concede”: Press Accounts of Liszt at the Bonn Beethoven Festival 467 SELECTED, INTRODUCED, AND TRANSLATED BY JOSÉ ANTONIO BOWEN Defending Liszt: Felix Draeseke on the Symphonic Poems 485 INTRODUCED AND EDITED BY JAMES DEAVILLE TRANSLATED BY SUSAN HOHL • viii • Contents PART IV REFLECTIONS ON FRANZ LISZT A Mirror to the Nineteenth Century: Reflections on Franz Liszt 517 LEON BOTSTEIN Index 569 Notes on Contributors 583 • ix • This page intentionally left blank Acknowledgments The volumes in the Bard Music Festival series published each year by Princeton University Press follow an unusually accelerated production schedule and is only possible given the professionalism and dedication of many individuals. We are most grateful to the authors and contributors to this volume who have understood the timetable, accommodated it, and often made helpful suggestions of how to shape the book. Ginger Shore, director of the Bard Publications Office, has overseen this series with committed concern and helpful support. Paul De Angelis, who also has many years experience, provided critical feedback for this book at every stage of the process and gave a fresh perspective to editors who sometimes can no longer see the forest for the trees. Irene Zedlacher, executive director of the Bard Music Festival, generously took time to read the entire book and provided further comment. Natalie Kelly and Don Giller provided the design and music typeset. Our final thanks go to Leon Botstein, founder of the Festival and originator of these books, who inspires with his vision and by his intellectual example. • xi • This page intentionally left blank Permissions and Credits Front cover image: Franz Liszt. Oil painting by Ary Scheffer (1795–1858). Reproduced by permission of Klassik Stiftung Weimar. “Liszt, Italy, and the Republic of the Imagination”: figure 1, Giovanni Paolo Panini’s Roma Antica is reproduced by permission of the Staatsgalerie, Stuttgart; figure 2, Raphael’s Sposalizio is reproduced by permission of the Ministero per i Beni e le Attività Culturali; Soprintendenza per il Patrimonio Storico Artistico ed Etnoantropologico per le Province di Milano, Bergamo, Como, Lecco, Lodi, Pavia, Sondria, Varese; figure 3, Michelangelo’s Il penseroso is reproduced by permission of the Soprintendenza Speziale per il Polo Museale fiorentino (Ufficio Permessi e Concessioni, Florence); figure 4, Salvatore Rosa’s Self-Portrait, is reproduced by permission of the National Gallery, London; figure 5, Henri Lehmann’s Portrait of Liszt, is reproduced by permission of the Mairie de Paris, Direction des Affaires Culturelles; figure 6 is from the Goethe- und Schiller- Archiv, 601 I 17 and is reproduced by permission of Klassik Stiftung Weimar. “Prophet and Populace in Liszt’s ‘Beethoven’ Cantatas”: figure 1, The Artists’ Concert, from Illustrirte Zeitung 116, is reproduced courtesy of the Bildarchiv, Deutsches Historisches Museum, Berlin; figure 2 is reproduced by permission of Beethoven-Haus, Bonn; figure 3 is reproduced from Festgabe zu der am 12ten August 1845 stattfindenden Inauguration des Beethoven Monuments, by H. K. Breidenstein (Bonn: 1845) “‘Just Two Words. Enormous Success’”: all figures reproduced by permission of the Archiv, Bibliothek und Sammlungen der Gesellschaft der Musikfreunde, Vienna; translation by Charles Suttoni of Franz Grillparzer’s “Clara Wieck und Beethoven (f-moll Sonate)” quoted from Franz Liszt, An Arist’s Journey: Lettres d’un bachelier ès musique 1835–1841, is reprinted with permission of University of Chicago Press. “Publishing Paraphrases and Creating Collectors”: all figures reproduced by permission of the Sächsisches Staatsarchiv Leipzig. “From the Biographer’s Workshop”: Questionnaire No. 10/1875 is reproduced with the kind permission of the Goethe- und Schiller-Archiv, Weimar. “A Mirror to the Nineteenth Century”: figures 1 and 3 are reproduced from Die Mode: Menschen und Moden im Neunzehnten Jahrhundert, 1790–1817, by Max von Boehn and Oskar Fischel (Munich: 1908); figures 5, 7, and 8 are from Die Mode: Menschen und Moden im Neunzehnten Jahrhundert, 1818–1842, by Max von Boehn and Oskar Fischel (Munich: 1907); figures 4 and 6 are from Die Mode: Menschen • xiii • PERMISSIONS und Moden im Neunzehnten Jahrhundert, 1843–1878, by Max von Boehn and Oskar Fischel (Munich: 1908); figure 2 is from Norbert Stern, Mode und Kultur, vol. 1 (Dresden: 1915); figures 9 and 10 are from Ernst Burger, Franz Liszt: A Chronicle of His Life in Pictures and Documents (Princeton, N.J.: Princeton University Press, 1989); and figure 11 is from Ernst Burger, Franz Liszt in der Photographie seiner Zeit: 260 Portraits, 1843–1886 (Munich: Hirmer Verlag, 2003). • xiv • Preface Viewing Franz Liszt’s career as a whole, one is continually struck by the sheer range of his activities and the diversity of his affiliations. As a young boy in Vienna during the early 1820s, he absorbed the legacy of Czerny, Salieri, and Beethoven. When he died in 1886, his example was being carried forward by such radicals as Strauss, Debussy, and Busoni. His achievements in pianism, composition, teaching, and institution building are of lasting significance. He promoted musical Classicism alongside musical Romanticism. He cultivated deep and sustained social networks in Paris, Vienna, Weimar, Rome, Budapest, and elsewhere. The number of people he knew and influenced probably exceeds that of any other figure in the history of music. His personal life has been a source of fascination for nearly two centuries. Cast simultaneously as a saintly figure of extraordinary generosity who took minor religious orders in mid-life, and as a satanic virtuoso notorious for his vanity, love affairs, and habitual indulgence in tobacco and alcohol, the contradictions are striking. If it seems too much of a cliché to say he was the first rock star among pianists (a portrayal presented in Ken Russell’s film Lisztomania), one finds in Liszt nonetheless an uneasy and confounding juxtaposition of spiritual fervor with a 19th-century expression of “drugs, sex, and rock ’n’ roll.” Out of this extraordinary variety, how does one condense a unified, embracing image or interpretive angle? With Liszt, most historians and critics throw up their hands at the thought of reconciling the contradictions into a coherent whole, preferring to regard them as evidence of a historical era ridden with inconsistencies.

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