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Letters of Franz Liszt, Volume 2: "From Rome to the End" by Franz Liszt; letters collected by La Mara and translated Letters of Franz Liszt, Volume 2: "From Rome to the End" by Franz Liszt; letters collected by La Mara and translated This etext was produced by John Mamoun with the Online Distributed Proofreading Team of Charles Franks. Letters of Franz Liszt, Volume 2: "From Rome to the End" by Franz Liszt; letters collected by La Mara and translated by Constance Bache CONTENTS BRIEF BIOGRAPHICAL SKETCH FRONTISPIECE TO VOLUME II, HONORING LISZT TABLE OF LETTER CONTENTS THE LETTERS OF FRANZ LISZT, VOL. 2 INFO ABOUT THIS E-TEXT EDITION page 1 / 711 BRIEF BIOGRAPHICAL SKETCH The Austrio-Hungarian composer Franz Liszt (1811-1886) was a pianistic miracle. He could play anything on site and composed over 400 works centered around "his" instrument. Among his key works are his Hungarian Rhapsodies, his Transcendental Etudes, his Concert Etudes, his Etudes based on variations of Paganinini's Violin Caprices and his Sonata, one of the most important of the nineteenth century. He also wrote thousands of letters, of which 399 are translated into English in this second of a 2-volume set of letters (the first volume contains 260 letters). Those who knew him were struck by his extremely sophisticated personality. He was surely one of the most civilized people of the nineteeth century, internalizing within himself a complex conception of human civility, and attempting to project it in his music and his communications with people. His life was centered around people; he knew them, worked with them, remembered them, thought about them, and wrote about them using an almost poetic language, while pushing them to reflect the high ideals he believed in. His personality was the embodiment of a refined, idealized form of human civility. He was the consummate musical artist, always looking for ways to communicate a new civilized idea through music, and to work with other musicians in organizing concerts and gatherings to perform the music publicly. He also did as much as he could to promote and compliment those page 2 / 711 whose music he believed in. He was also a superlative musical critic, knowing, with few mistakes, what music of his day was "artistic" and what was not. But, although he was clearly a musical genius, he insisted on projecting a tonal, romantic "beauty" in his music, confining his music to a narrow range of moral values and ideals. He would have rejected 20th-century music that entertained cynical notions of any kind, or notions that obviated the concept of beauty in any way. There is little of a Prokofiev, Stravinsky, Shostakovich, Cage, Adams, and certainly none of a Schoenberg, in Liszt's music. His music has an ideological "ceiling," and that ceiling is "beauty." It never goes beyond that. And perhaps it was never as "beautiful" as the music of Mozart, Bach or Beethoven, nor quite as rational (Are all the emotions in Liszt's music truly "controlled?"). But it certainly was original and instructive, and it certainly will linger. FRONTISPIECE TO VOLUME II, HONORING LISZT I. We welcome thee, from southern sunnier clime, To England's shore, And stretch glad hands across the lapse of time To the once more. page 3 / 711 II. Full twice two decades swiftly have rolled by Since thou wast here; A meteor flashing through our northern sky Thou didst appear. III. Thy coming now we greet with pleasure keen, And loyal heart, Adding tradition of what thou hast been To what thou art. IV. No laurel can we weave into the crown Long years entwine, Nor add one honour into the renown Already thine: V. page 4 / 711 Yet might these roses waft to thee a breath Of memory, Recalling thy fair Saint Elizabeth Of Hungary VI. We welcome her, from out those days of old, In song divine, But thee we greet a thousand fold, The song is thine! --C.B. [Presumably written by Constance Bache, this trite paean would likely not have appealed to Liszt, who repeatedly affirmed his humility.] TABLE OF LETTER CONTENTS (LETTER NUMBER, FOLLOWED BY ADDRESSEE) 1. Dr. Franz Brendel. December 20th, 1861 2. A. W. Gottschalg in Tieffurt. March 11th, 1862 3. Dr. Franz Brendel. April 12th, 1862 4. Mme. Jessie Laussot in Florence. May 3rd, 1862 page 5 / 711 5. Dr. Franz Brendel. June 12th, 1862 6. the same. July 12th, 1862 7. the same. August 10th, 1862 8. the same. August 29th, 1862 9. the same. November 8th, 1862 10. A.W. Gottschalg. November 15th, 1862 11. Eduard Liszt. November 19th, 1862 12. Dr. Franz Brendel. December 30th, 1862 13. Breitkopf and Hartel. March 26th, 1863 14. A.W. Gottschalg in Weimar. April 14th, 1863 15. Dr. Franz Brendel. May 8th, 1863 16. Eduard Liszt. May 22nd, 1863 17. Dr. Franz Brendel. June 18th, 1863 18. the same. July 18th, 1863 19. Breitkopf and Hartel. August 28th, 1863 20. Dr. Franz Brendel. September 7th, 1863 21. Dr. Gille in Jena. September 10th, 1863 22. Dr. Franz Brendel. October l0th, 1863 23. Mme. Jessie Laussot. October 15th, 1863 24. Dr. Franz Brendel. November 11th, 1863 25. Breitkopf and Hartel. November 16th, 1863 26. Dr. Franz Brendel. January 22nd, 1864 27. the same. May 28th, 1864 28. Dr. Franz Brendel. June 13th, 1864 29. The Committee of the Society for the Support of Needy Hungarian Musicians in Pest. June 18th, 1864 30. Eduard Liszt. June 22nd, 1864 31. Dr. Franz Brendel. July 1st, 1864 page 6 / 711 32. Walter Bache in London. July 2nd, 1864 33. ? August 7th, 1864 34. Eduard Liszt. September 7th, 1864 35. Breitkopf and Hartel. September 14th, 1864.93 36. the same. October 1st, 1864 37. Mme. Jessie Laussot. March 6th, 1865 38. Dr. Franz Brendel. April 3rd, 1865 39. Prince Constantine (Hohenzollern-Hechingen). May 11th, 1865 40. Breitkopf and Hartel. May 27th, 1865 41. Dr. Franz Brendel. July 21st, 1865 42. Abbe Schwendtner. September 20th, 1865 43. Dr. Franz Brendel. September 28th, 1865 44. Eduard Liszt. November 1st, 1865. 45. Dr. Franz Brendel. January 14th, 1866 46. the same. June 19th, 1866 47. the same. October 2nd, 1866 48. Breitkopf and Hartel. October 4th, 1866 49. Dr. Franz Brendel. January 6th, 1867 50. Dr. Cuturi in Pisa. January 22nd, 1867 51. Julius von Beliczay in Vienna. April 29th, 1867 52. Mme. Jessie Laussot. May 24th, 1867 53. Eduard Liszt. June 20th, 1867 54. William Mason. July 8th, 1867 55. E. Repos in Paris. July 12th, 1867 56. Prince Constantine Czartoryski.October 14th, 1867 57. Eduard Liszt. October 16th, 1867 58. the same. October 20th, 1867 59. Peter Cornelius. October 23rd, 1867 page 7 / 711 60. Eduard von Liszt. November 6th, 1867 61. E. Repos. November 8th, 1867 62. Mme. Jessie Laussot. January 13th, 1868 63. DP. Franz Brendel. January 26th, 1868 64. Walter Bache. January 30th, 1868 65. Dr. Franz Brendel. March 31st, 1868 66. Johann von Herbeck. June 9th, 1868 67. Dr. Franz Brendel. June 17th, 1868 68. E. Repos. July 1st, 1868 69. Carl Riedel in Leipzig. August 12th, 1868 70. E. Repos. August 26th, 1868 71. Dr. Siegmund Lebert in Stuttgart. September 10th, 1868 72. E. Repos. September 19th, 1868 73. C.F. Kahnt. September 20th, 1868 74. E. Repos. September 22nd, 1868 75. Dr. S. Lebert. October 19th, 1869 76. Richard Pohl in Baden-Baden. November 7th, 1868 77. Johann von Herbeck. December 1st, 1868 78. Dr. Siegmund Lebert. December 2nd, 1868 79. Eduard von Liszt. December 6th, 1868 80. Johann von Herbeck. December 29th, 1868 81. Edvard Grieg. December 29th, 1868 82. Carl Bechstein in Berlin. January 19th, 1869 83. Johann von Herbeck. January 27th, 1869 84. E. Repos. March 3rd, 1869 85. Laura Kahrer in Vienna. April 15th, 1868 86. Franz Servais. May 21st, 1869 87. William Mason. May 26th, 1869 page 8 / 711 88. Heinrich Schulz-Beuthen. June 18th, 1869 89. Franz Servais. July 4th, 1869 90. Mme. Jessie Laussot. July 16th, 1869 91. Camille Saint-Sa2ns. July 19th, 1869 92. the same. August 4th, 1869 93. Mme. Jessie Laussot. October 7th, 1869 94. Dr. Ludwig Nohl. November i7th, 1869 188 95. Princess Wittgenstein. November 27th, 1869 96. Franz Servais. December 20th, 1869 97. Dr. Franz Witt in Ratisbon. Towards end of 1869 98. Dr. Siegmund Lebert. January loth, 1870 99. C.F. Kahnt. February 11th, 1870 100. Dr. Gille. February 26th, 1870 101. Baroness Schwartz in Crete. March 15th, 1870 102. Camille Saint-Saens. May 12th, 1870 103. Johann von Herbeck. June 20th, 1870 104. Sophie Menter. August 11th, 1870 105. the same. August 29th, 1870 106. Kornel von Abranyi in Budapest, November 2nd, 1870 107. Sophie Menter. March 22nd, 1871 108. Edmund von Mihalovich in Budapest. May 29th, 1871 109. Marie Lipsius. July 23rd, 1871 110. Franz Servais. August 25th, 1871 111. Walter Bache. October 25th, 1871 112. Marie Lipsius. October 25th, 1871 113. Breitkopf and Hartel. November 22nd, 1871 114. Mme. Anton Rubinstein. January 9th, 1872 115. Edmund von Mihalovich. April 18th, 1872 page 9 / 711 116. Johanna Wenzel. June 10th, 1872 117. Wilhelm von Lenz. September 20th, 1872 118. Otto Lessmann. September 26th, 1872 119. Eduard von Liszt. November 6th, 1872 120. Princess Wittgenstein. January 10th, 1873 121. Eduard von Liszt. January 13th, 1873 122. Dr. Emil Thewrewk von Ponor in Budapest. January 14th, 1873 123. Dr. Franz Witt. January 20th, 1873 124. Eduard von Liszt. January 28th, 1873 125. the same. February 10th, 1873 126. the same. March 3rd, 1873 127. Mme. Jessie Laussot. March 30th, 1873 128. Casar Cui. May, 1873 129. Franz Servais. June 5th, 1873 130.
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    Celebrating the Habsburgs in the Hungarian National Theater, 1837–67 Lili Veronika Békéssy All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 29/08/2019 Published: 03/04/2021 Last updated: 03/04/2021 How to cite: Lili Veronika Békéssy, “Celebrating the Habsburgs in the Hungarian National Theater, 1837–67,” Musicologica Austriaca: Journal for Austrian Music Studies (April 03, 2021) Tags: 19th century; Budapest; Erkel, Ferenc; Franz Joseph I; Habsburg; Hungarian National Theater; Imperial visit 1857; Pest-Buda; Pesti Nemzeti Színház; Playbills; Representation; Wittelsbach, Elisabeth This article is part of the special issue “Exploring Music Life in the Late Habsburg Monarchy and Successor States,” ed. Tatjana Marković and Fritz Trümpi (April 3, 2021). This study was written with the support of the Országos Tudományos Kutatási Alapprogramok (Hungarian Scientific Research Fund), as part of the research program entitled “Erkel Ferenc és műhelye” (“Ferenc Erkel and his Workshop”) (OTKA K112504). The project was conducted at the the MTA BTK Zenetudományi Intézet Magyar Zenetörténeti Osztály (Hungarian Academy of Sciences Research Centre for the Humanities, Institute for Musicology, Department for Hungarian Music). Abstract The musical theater had a central intermediary role in the propagation of national consciousness throughout East-Central Europe in the nineteenth century, and so too in Hungary. The Pesti Magyar Színház (Pest Hungarian Theater), which was renamed after 1840 to Magyar Nemzeti Színház (Hungarian National Theater), had an identical repertoire to that in all the Habsburg Empire, following a tradition inherited from the German-language theaters. The festive performances of the institution on occasions of political representation stand out.
  • The Music of Sir Alexander Campbell Mackenzie (1847-1935): a Critical Study

    The Music of Sir Alexander Campbell Mackenzie (1847-1935): a Critical Study

    The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and infomation derived from it should be acknowledged. The Music of Sir Alexander Campbell Mackenzie (1847-1935): A Critical Study Duncan James Barker A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) Music Department University of Durham 1999 Volume 2 of 2 23 AUG 1999 Contents Volume 2 Appendix 1: Biographical Timeline 246 Appendix 2: The Mackenzie Family Tree 257 Appendix 3: A Catalogue of Works 260 by Alexander Campbell Mackenzie List of Manuscript Sources 396 Bibliography 399 Appendix 1: Biographical Timeline Appendix 1: Biographical Timeline NOTE: The following timeline, detailing the main biographical events of Mackenzie's life, has been constructed from the composer's autobiography, A Musician's Narrative, and various interviews published during his lifetime. It has been verified with reference to information found in The Musical Times and other similar sources. Although not fully comprehensive, the timeline should provide the reader with a useful chronological survey of Mackenzie's career as a musician and composer. ABBREVIATIONS: ACM Alexander Campbell Mackenzie MT The Musical Times RAM Royal Academy of Music 1847 Born 22 August, 22 Nelson Street, Edinburgh. 1856 ACM travels to London with his father and the orchestra of the Theatre Royal, Edinburgh, and visits the Crystal Palace and the Thames Tunnel. 1857 Alexander Mackenzie admits to ill health and plans for ACM's education (July). ACM and his father travel to Germany in August: Edinburgh to Hamburg (by boat), then to Hildesheim (by rail) and Schwarzburg-Sondershausen (by Schnellpost).