Introduction; 1. Liszt's activities as Kapellmeister; 2. From the lyric to the dramatic: the development of Tasso; 3. Prometheus, melodramatic mimesis, and the visual; 4. Orpheus, opera and Werktreue; 5. Formal innovation and dramatic gesutre in Festklänge; 6. Hamlet and melodrama; 7. Liszt's Weimar legacy.
A fresh evaluation of Liszt's symphonic poems, based on contextual, philosophical and musical evidence.
Joanne Cormac is a Leverhulme Early Career Fellow at the University of Nottingham. Her research interests include genre, reception and identity in nineteenth-century music, and she is currently working on a project on reception issues in multimedia composer biography. Her work has been published in a number of leading music journals.
'… a richly detailed interdisciplinary study that provides context
for the symphonic poems' evolution, as well as a synthesis of
Liszt's multifarious activities between February 1848 and August
1861 … The trenchant scholarship of Liszt and the Symphonic Poem is
leavened with 77 music examples, reproductions of playbills and 11
helpful tables that detail, among other things, the evolution of
individual symphonic poems as well as formal analyses.' Patrick
Rucker, Gramophone Magazine
'I believe Liszt and the Symphonic Poem is a game-changer for our
understanding of Liszt as a dramatic composer … beautifully written
and meticulously researched.' R. Larry Todd, Official citation for
the 2020 Alan Walker Triennial Book Award, The American Liszt
Society
'… Liszt and the Symphonic Poem [is not merely a welcome addition
to a sparse secondary literature, but instead] offers cohesive,
intriguing views of Liszt as a man of the theatre, of his symphonic
poems as works of astonishing ambition and breadth and of his
pivotal position as an innovator in the tradition of
nineteenth-century orchestral music.' Paul Bertagnolli,
Nineteenth-Century Music Review
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