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Cambridge University Press 978-0-521-62204-2 - The Cambridge Companion to Liszt Edited by Kenneth Hamilton Index More information Index of Liszt’s musical works Orchestral works ‘Lyon’, 67, 224 Piano and orchestra Paraphrases, 66–70 early (unpublished) concerti, 154–5 ‘Psaume’, 67, 224 Concerto no. 1 in E major, 28, 38, 44, 154, ‘Vallee´ d’Obermann’, 68–9, 72, 76, 114 155–7, 159–60, 161, 162, 170 Ann´ees de P`elerinage, 36, 37, 42, 163 Concerto no. 2 in A minor, 28, 154, 159, Book I, 66–70, 150 160–1, 162, 170 Book II, 150 ‘Concertono.3inE major’ (published Book III, 89–90, 99, 112, 119, 120, 132, posthumously), 58, 60 135–50, 151 De profundis: Psaume Instrumentale, 71, ‘Angelus!’, 93, 114, 115, 136, 137–8, 140, 158–9, 161, 169, 224 144, 145, 147–8 Festvorspiel, 57 Apr`es une lecture de Dante, 69, 219 Grande Fantaisie Symphonique (‘L´elio ‘Au bord d’une source’, 142, 174–5 Fantasy’, after Berlioz), 157–9 ‘Aux Cypres` de la Villa d’Este’, nos. 1/2, Hungarian Fantasy, 38 111, 136, 138–41, 144, 145, 146–8, 149, Totentanz, 41, 44, 154, 158, 162–70, 264 150 Symphonic works Ave Maria, 243 Dante Symphony, 57, 210, 219–22 ‘Canzonetta del Salvator Rosa’, 69 Faust Symphony, 28, 38, 42, 44–5, 68, 75, 77, ‘Les Jeux d’eau alaVillad’Este’,` 43, 136, 80, 195, 208, 216–19, 266 140–2, 148–50, 256 Mephisto Waltz no. 1, 34 Marche fun`ebre: en m´emoire de Maximilien Symphonic Poems, ix, 42, 66, 206–7, 255 I, 141, 143–4, 145, 146, 148, 149, 150 Ce qu’on entend sur la montagne, 213 ‘Orage’, 201 Festkl¨ange, 214–15 ‘Il Penseroso’, 69, 139 Hamlet, 215, 220 Petrarch Sonnets, 69, 114, 200 H´ero¨ıdefun`ebre, 39, 213–14 ‘Sposalizio’, 69 Hunnenschlacht, 215 ‘Sunt lacrymae rerum’, 124–41, 142, 146, Die Ideale, 213, 220 148, 149, 150 Mazeppa, 43, 70, 210 ‘Sursum Corda’, 114–15, 136, 137, 141, Orpheus, 208–9, 222 144–6, 147, 148, 150 Les Pr´eludes, 28, 38, 41, 42, 213 Venezia e Napoli, 44, 208 Prometheus, 208, 209–10, 216 Concert Studies, 37 Tasso, 207–8, 216 Consolations, 186, 187 Von der Wiege bis zum Grabe, 215–16 Five Little Piano Pieces, 103, 104–6 Symphonie r´evolutionnaire, 214, 267 Harmonies po´etiques et religieuses, 61, 62, 70–2, 186, 224, 226 Organ works ‘Ben´ ediction´ de Dieu dans la Solitude’, 71, Miscellaneous 178, 182 Fantasy and Fugue on ‘Ad nos, ad salutarem ‘Funerailles’,´ 71–2, 178, 182, 184–5 undam’(afterMeyerbeer),57–8, 76 ‘Hymne’, 267 Prelude and Fugue on the name BACH, 76, ‘Invocation’, 79, 180–1 106–7 ‘Pensee´ des morts’, 71, 267 Hungarian Historical Portraits, 89–90, 110, Piano works 112, 119, 120, 126–35, 136–7, 146, 151, Cycles and collections 262 Album d’un Voyageur, 64, 66–70 1. Stephan Sz´echenyi, 128, 132, 133, 134 ‘La Chapelle de Guillaume Tell’, 67–8, 2. Joseph E¨otv¨os, 128–9, 130, 134 224 3. Michael V¨or¨osmarty, 129, 130, 133, 134 ‘Les Cloches de G[eneve]’,` 67–8, 224 4. Ladislaus Teleki, 129–30, 133, 134, 140 Fleurs M´elodiques des Alpes, 66–7 5. Franz De´ak, 130, 133, 134 [272] Impressions et Po´esies, 66–7 6. Alexander Pet¨ofi, 131, 133, 134–5, 262 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62204-2 - The Cambridge Companion to Liszt Edited by Kenneth Hamilton Index More information 273 Index of Liszt’s musical works Cycles and collections (Cont.) Nationalistic 7. Michael Mosonyi (Mosonyis Cs´ard´asmacabre, 102, 109–10 Grabgeleit/Trauerkl¨ange), 127, 128, 129, Five Hungarian Folksongs, 107 131–2, 133, 134, 135 ‘Heroic March in Hungarian Style’, 36, 215 Hungarian Rhapsodies, 28, 43, 44, 45, 84 Sz´ozat und Ungarischer Hymnus, 107, 127–8 no. 2, Ungarischer Geschwindmarsch, 107 nos. 16–19, 36, 110 Sacred keyboard music Liebestr¨aume, 28 Ave Maria, 111, 184 ‘Drei notturnos’, 192 chorale settings, 111 no. 3, 184 In domum Domini ibimus, 111 no. 3 (‘O lieb, so lang du lieben kannst’), In festo transfigurationis Domini nostri Jesu 204 Christi, 111, 113, 114 Weihnachtsbaum, 89–90, 121 Prelude and Hymn of St Francis, 111 Etudes Sancta Dorothea, 111 ‘Ab Irato’, 74–75 ‘Vexilla Regis’, 111 Douze Grandes Etudes, 59–60, 64, 65–6, 72–4, Via Crucis, 89–90, 112, 119, 120–6, 151, 261 76 O Haupt voll Blut und Wunden, 123, 269 Vision (G minor), 185–6 O Traurigkeit, O Herzeleid, 124–5, 269 Etude en douze exercices dans tous les tons Stabat Mater, 122, 124, 125 majeurs et mineurs, 59–60, 65, 73, 74 Vexilla Regis, 122, 125, 269 Etudes d’apr`es Paganini, 64–5, 74 Sonatas/extended forms ‘La Campanella’, 74, 184 Ballade no. 2 in B minor, 57, 79–80, 186, 189 Etudes d’ex´ecution transcendante, 36, 42, 72, Grand Concert Solo in E minor, 75–6, 186, 73 189 Eroica, 59, 188 Mephisto Waltz no. 1, 80 ‘Harmonies du soir’, 43, 73, 183 Mephisto Waltzes nos.3and4(see also ‘Mazeppa’, 73–4, 210 Bagatelle ohne Tonart), 116 ‘Wilde Jagd’, 73 Scherzo and March, 76–7, 184, 186 Feux follets, 188 Sonata in B minor, 37–8, 40, 41, 44, 70, 75–6, ‘Gnomenreigen’, 75 77–9, 185, 187, 190, 226–7 ‘Morceau du Salon, Etude de Transcriptions and arrangements Perfectionnement’ see ‘Ab Irato’ of own Lieder, 203–5 Ricordanza, 178, 190 A la chapelle Sixtine (Mozart/Allegri), 57, Technische Studien, 103 84–5 Trois Etudes de concert, 75 Dance of the Sylphs (Berlioz, Damnation of ‘La Leggierezza’, 264 Faust), 187 ‘Un sospiro’, 75, 178, 185, 189 Danse macabre (Saint-Saens),¨ 102, 184 ‘Waldesrauchen’, 75, 189 Fantasia on Don Giovanni/The Marriage of Juvenilia Figaro (Mozart), 57, 80, 83–4 Allegro di Bravura, 58, 59 Fantasia on Der Freisch¨utz (Weber), 83 Diabelli variation, 58 Fantasia on Guitarero (Halevy),´ 83 early sonatas, 59 Fantasia on Les Huguenots (Meyerbeer), 81 Eight Variations on an original theme in A Fantasia on La Juive (Halevy),´ 81–4 major, 58 Fantasia on Maometto (Rossini), 82 Impromptu on themes of Rossini and Spontini, Fantasia on Norma (Bellini), 81–2, 83–4 59, 84 Fantasia on Il Pirata (Bellini), 81 Rondo di Bravura, 58 Fantasia on I Puritani (Bellini), 82, 84, 154 Scherzo in G minor, 59 Fantasia on Rienzi (Wagner), 84 Seven Brilliant Variations on a theme of Fantasia on Rigoletto (Verdi), 189 Rossini, 58–9 Fantasia on La Sonnambula (Bellini), 83–4 Mourning/Elegiac Fantasia on ‘I tuoi frequenti palpiti’ (Pacini, Am Grabe Richard Wagners, 113 Niobe), 81, 154 Elegie (‘Die Zelle in Nonnenwerth’), 90–8 Fantasie and Fuge in G minor (Bach), 103 La lugubre gondola,nos.1/2,90, 113 Grande Fantaisie de Bravoure sur La Clochette R. W. – Venezia, 113 (Paganini), 64 ‘Schlaflos! Frage und Antwort’, 34, 113–16 Grande Fantaisie sur la tyrolienne de l’op´era ‘Unstern! Sinistre, disastro’, 34, 90, 113, ‘La fianc´ee’ (Auber), 60–1, 65 116 Gretchen am Spinnrade (Schubert), 184 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62204-2 - The Cambridge Companion to Liszt Edited by Kenneth Hamilton Index More information 274 Index of Liszt’s musical works Hexameron (Bellini), 82, 154 ‘Comment, disaient-ils’ (Hugo), 192 My Joys (Chopin), 190 ‘Der du von dem Himmel bist’ (Goethe), Overture to Les Francs-Juges (Berlioz), 62 194, 199, 201–2, 203–4 Overture to Tannh¨auser (Wagner), 185 ‘Drei Lieder aus Schillers Wilhelm Tell’, Overture to William Tell (Rossini), 82–3 200–1, 204 Reminiscences de Boccanegra (Verdi), 99 ‘Die drei Zigeuner’ (Lenau), 198, 204 Reminiscences de la Scala (after Mercadante’s ‘Du bist wie eine Blume’ (Heine), 192, 199 Il giuramento), 83, 84 ‘Enfant, si j’etais´ roi’ (Hugo), 201 Reminiscences de Lucia di Lammermoor ‘Es muss ein Wunderbares sein’ (Redwitz), (Donizetti), 81–2, 83 192, 193 Reminiscences de Lucrezia Borgia (Donizetti), ‘Es war ein Konig¨ in Thule’ (Goethe), 193–4, 83 196, 198, 201, 203 Reminiscences de Robert le Diable ‘Die Fischerstochter’ (Heine), 195 (Meyerbeer), 80, 83–4, 178, 183, 188, ‘Go not, happy day’ (Tennyson), 196 189 ‘Ich mochte¨ hingehn’ (Herwegh), 198 ‘Salve Maria’ (Verdi, I Lombardi), 175 ‘Ihr Glocken von Marling’, 198 Sarabande and Chaconne from Almira ‘Il m’aimait tant’ (Gay), 194, 203 (Handel), 103 ‘Im Rhein’ (Heine), 194, 198 Soir´eesde Vienne (Schubert), 61–2, 174 ‘Isten veled’ (Horvath), 195 Symphonie Fantastique (Berlioz), 57, 62–3, ‘Jeanne d’Arc au bucher’ˆ (Dumas), 204 187 ‘Die Liebe des toten Dichters’ (Jokai), 128 Symphonies nos. 5, 6, 7 (Beethoven), 62–3 ‘Die Lorelei’ (Heine), 139, 193, 194, 196, Tarantelle (Cui), 99 197–8, 199, 201, 203, 204, 262 Tarantelle de Bravura (Auber, La Muette de ‘Magyar Kiraly-dal’, 195 Portici), 174 MignonsLied(‘KennstdudasLand’) Waltz from Faust (Gounod), 84 (Goethe), 194, 195, 204 Two pianos ‘Ne brani menya, moy drug’ (Tolstoy), Concerto Path´etique, 76 195–6 Miscellaneous ‘O lieb, so lang du lieben kannst’ Apparitions, 61–2 (Freiligrath), 192, 204 Bagatelle ohne Tonart, 116–19 ‘Oh pourquoi donc’, 196–7 Berceuse, 79 ‘Oh! quand je dors’ (Hugo), 199 ‘En reve.ˆ Nocturne’, 106 ‘La Perla’ (Hohenlohe), 195 Fantasy and Fugue on the name BACH, ‘Schwebe, schwebe, blaues Auge’, 199 106–7 ‘Die tote Nachtigall’, 198 Grand Galop chromatique, 42 Tre Sonetti Di Petrarca, 195, 200, 203, 204 Impromptu, 106 ‘Uber¨ allen Gipfeln ist Ruh’ (Wanderers ‘Nuages gris’, 34 Nachtlied II) (Goethe), 192, 199 R´ak´oczyMarch, 236 ‘Und wir dachten der toten’ (Freiligrath), Rhapsodie espagnole, 37, 40 198 Romance Oubli´ee, 196–7 ‘Die Vatergruft’¨ (Uhland), 195, 198, 204 St Francis de Paolo Walking on the Waves, 80, ‘Vergiftet sind meine Lieder’ (Heine), 198, 174, 183 203 St Francis of Assisi: the Sermon to the Birds, ‘Wie singt die Lerche schon’¨ (Fallersleben), 80 198 Toccata, 103–4 ‘Die Zelle in Nonnenwerth’ (Lichnowsky), Trois Morceaux Suisses, 67 90–1, 97–8, 194, 203, 261 ‘Trube¨ Wolken’, 113 Masses Valse Oubli´ee, 184 Gran Mass (Missa solemnis zur Erweihung
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  • Julius Stockhausen's Early Performances of Franz Schubert's

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    19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16.
  • Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne

    Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne

    Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life.
  • Dichterliebe Schumann Julian Prégardien Éric Le Sage Sandrine Piau MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS

    Dichterliebe Schumann Julian Prégardien Éric Le Sage Sandrine Piau MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS

    DICHTERLIEBE SCHUMANN JULIAN PRÉGARDIEN ÉRIC LE SAGE SANDRINE PIAU MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS ROBERT SCHUMANN (1810-1856) SPANISCHES LIEDERSPIEL, OP.74 1 NO.4 IN DER NACHT 4’24 CLARA SCHUMANN (1819-1896) 3 ROMANCES, OP.11 2 NO.2 ANDANte – allegrO PASSIONATO – aNDANTE 5’29 ROBERT SCHUMANN 3 GESÄNGE, OP.31 3 NO.1 DIE LÖWENBRAUT 7’53 CLARA SCHUMANN 4 WENN ICH EIN VÖGLEIN WÄR 1’08 ROBERT SCHUMANN 3 ZWEISTIMMIGE LIEDER, OP.43 (OSSIA GENOVEVA, OP.81, ACT II) 5 NO.5 WENN ICH EIN VÖGLEIN WÄR 1’27 MYRTHEN, OP.25 6 NO.15 AUS DEN HEBRÄISCHEN GESÄNGEN (MEIN HERZ IST SCHWER) 4’32 DICHTERLIEBE, OP.48 7 I. IM WUNDERSCHÖNEN MONAT MAI 1’32 8 II. AUS MEINEN TRÄNEN SPRIEßEN 0’45 9 III. DIE ROSE, DIE LILIE 0’34 10 IV. WENN ICH IN DEINE AUGEN seh’ 1’31 11 V. ICH WILL MEINE SEELE TAUCHEN 0’55 12 VI. IM RHEIN, IM HEILIGEN STROME 2’27 13 VII. ICH GROLLE NICHT 1’27 14 VIII. UND WÜSSTEN’s die BLUMEN 1’12 15 IX. DAS IST EIN FLÖTEN UND GEIGEN 1’17 16 X. Hör’ ich das LIEDCHEN KLINGEN 1’46 17 XI. EIN JÜNGLING LIEBT EIN MÄDCHEN 0’52 18 XII. AM LEUCHTENDEN SOMMERMORGEN 2’16 19 XIII. Ich hab’ im TRAUM GEWEINET 2’36 20 XIV. ALLNÄCHTLICH IM TRAUME 1’22 21 XV. AUS ALTEN MÄRCHEN WINKT ES 2’05 22 XVI. DIE ALTEN BÖSEN LIEDER 4’00 SECHS FRÜHE LIEDER, WOO 21 23 NO.4 KURZES ERWACHEN 2’16 5 LIEDER UND GESÄNGE, OP.127 24 NO.1 SÄNGERS TROST 2’05 3 ROMANZEN, OP.28 25 NO.1 SEHR MARKIRT 3’22 26 NO.2 EINFACH 3’23 4 GESÄNGE, OP.142 27 NO.4 MEIN WAGEN ROLLET LANGSAM 3’03 TOTAL TIME: 66’15 JULIAN PRÉGARDIEN TENOR ÉRIC LE SAGE FORTEPIANO FORTEPIANO BY JULIUS BLÜTHNER, LEIPZIG 1856, RESTORED BY CHRISTOPH KERN SANDRINE PIAU SOPRANO (1,3,4,5) › MENU Jedes musikalische Werk durchläuft eine Entstehungsgeschichte.
  • Liszt SYMPHONIC POEMS VOL

    Liszt SYMPHONIC POEMS VOL

    Liszt SYMPHONIC POEMS VOL. 4 Hungaria • Hamlet • Hunnenschlacht • Die Ideale BBC Philharmonic GIANANDREA NOSEDA CHAN 10490 AKG Images AKG Franz Liszt (1811–1886) Symphonic Poems, Volume 4 Hungaria, S 103 22:01 Symphonic Poem No. 9 1 Largo con duolo – Quasi andante marziale – Largo con duolo – Quasi andante marziale – Poco animando – 8:19 2 Agitato (un poco più mosso) – Allegro eroico (più tosto moderato) – Vivo – Allegro moderato – Vivo – Un poco animato – 3:41 3 Agitato molto – Più mosso (ma poco) – Stringendo – 2:50 4 Largo con duolo – Andante. Tempo di marcia funebre – 3:25 5 Allegro marziale – Von hier an bis zum Allegro trionfante das Tempo allmählich beschleunigen – 1:45 6 Allegro trionfante – Stretto – Presto giocoso assai 1:59 Franz Liszt, c. 1840, engraving by Carl Arnold Gonzenbach (1806–1885) after a drawing by Wilhelm von Kaulbach (1805–1874) 3 Die Ideale, S 106 28:45 Symphonic Poem No. 12 15 ‘So willst du treulos von mir scheiden’. Andante – 1:38 16 Aufschwung. ‘Es dehnte mit allmächt’gem Streben’. Hamlet, S 104 13:47 Allegro spiritoso (alla breve) – 5:47 Symphonic Poem No. 10 17 ‘Da lebte mir der Baum, die Rose’. Quieto e sostenuto assai – 2:55 7 Sehr langsam und düster – Etwas bewegter, aber immer langsam – 18 ‘Wie einst mit flehendem Verlangen’. [Quieto e sostenuto assai] – Fast dasselbe Tempo, aber allmählich beschleunigend – 3:32 Allmählich accelerando – Allegro molto mosso – 2:28 8 Allegro appassionato ed agitato assai – Dasselbe Tempo – 2:26 19 ‘Wie tanzte vor des Lebens Wagen’. [Allegro molto mosso] – 3:12 9 Allegro (wie früher) – Allegro molto agitato – Immer drängender – 3:28 20 Enttäuschung.