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The Collected Writings of Franz Liszt: Dramaturgical Leaves: Richard Wagner completes the second half of Liszt’s writings about stage works, its composers, and music drama. In this volume, Liszt focuses on the works of his most controversial devotee and son-in-law, Richard Wagner, whose music dramas Liszt championed as conductor during his tenure in Weimar. Here, we see Liszt prove his skill and expertise as a music critic, as well. He offers a critical analysis of the aesthetic and musical principles that underlie Wagner’s operas, Tannhäuser, Lohengrin, and The Flying Dutchman, including a thorough discussion of Wagner’s Leitmotif system of composition. Additionally, his findings are substantiated with a plethora of music examples, which will satisfy those who wanted greater musical substance from his writings. He also foretells the magnitude of Wagner’s influence on prosperity in his pamphlet-length essay, The Rhine’s Gold. Finally, the editor and translator of this volume, Janita Hall-Swadley, provides a unique perspective on these same principles, which is based on Wagner’s own mysterious diagram of “The Philosopher’s Stone,” which was supposed to be included in the original 1863 edition of the composer’s important writing, Opera and Drama, but never made it to publication.
"Toward a Dramaturgical Sensibility begins with a moment in Shakespeare's Antony and Cleopatra in which Cleopatra says to Antony, "Not know me yet?" With these four words Cleopatra poses a simple but fundamental human problem: What can we know? She and Antony have known each other for years, at times gloriously - emotionally, mentally, and in the archaic sense of the word, physically - but still the challenge of knowing hangs in the air. Cleopatra's question reminds us that knowledge is not simple: that it is as likely to create yearning as satisfaction; that it is not confined to any one part of the self; that it is far from intellect alone. It reminds us as do most great plays - that life is part wonder, part terror." "What we can know? This study - aimed at students, teachers, and theater artists - suggests that he attempt to know the dramaturgy of a play is little different from the attempt to know another person for whom we care."--BOOK JACKET.
Franz Liszt is well known for his early years as 'super-star' pianist who excited audiences throughout Europe, but his later life is also of great interest. In his final 25 years he sought to achieve his life's aims of promoting new forms of music and giving stronger witness to his Christian faith, while continuing to support his stalwart life partner Princess Carolyne. However, he was to face unexpected problems in the continued negative reception of his music and recrimination in his closest relationship. Drawing on detailed analysis of Liszt's correspondence from his fiftieth year onwards, Peter Coleman approaches his later life as a case study of an older person grappling with a succession of often disturbing life experiences. These included the deaths of two of his children, political upheaval and war within Europe, and a growing realisation of his own past failings. Liszt suffered frequent bouts of depression but never ceased composing music nor steadfastly heeding Christ's command to bear one's cross. This sensitive treatment of an extraordinary individual will appeal to the scholar and general reader alike.
Historically Informed Performance, or HIP, has become an influential and exciting development for scholars, musicians, and audiences alike. Yet it has not been unchallenged, with debate over the desirability of its central goals and the accuracy of its results. The author suggests ways out of this impasse in Romantic performance style. In this wide-ranging study, pianist and scholar Andrew John Snedden takes a step back, examining the strengths and limitations of HIP. He proposes that many problems are avoided when performance styles are understood as expressions of their cultural era rather than as simply composer intention, explaining not merely how we play, but why we play the way we do, and why the nineteenth century Romantics played very differently. Snedden examines the principal evidence we have for Romantic performance style, especially in translation of score indications and analysis of early recordings, finally focusing on the performance styles of Liszt and Chopin. He concludes with a call for the reanimation of culturally appropriate performance styles in Romantic repertoire. This study will be of great interest to scholars, performers, and students, to anyone wondering about how our performances reflect our culture, and about how the Romantics played their own culturally-embedded music.
A fresh evaluation of Liszt's symphonic poems, based on contextual, philosophical and musical evidence.
Explores Liszt's compositional processes and methods of revision as the product of the composer's interactions with a large variety of social, cultural, personal and political forces. Franz Liszt (1811-86) is mostly known for his virtuosic piano works, but his compositional achievements in the genre of song have so far been neglected. Many of Liszt's Lieder exist in multiple versions, sometimes radically altered, and many with equal claims to 'authenticity'. This has sometimes been viewed as a barrier to performance and a hindrance to scholarly scrutiny. Nicolás Puyané now redresses this imbalance and draws attention to this rich and varied corpus of works. Liszt's songs contain a myriad of intertextual links, not just with the songs of other composers, but also with Liszt's own works in other genres and his own revisions. By focusing on the multi-version songs, the book uncovers how these intertextual relationships have evolved over time. Introducing the concept of "textual fluidity", the book explores Liszt's compositional processes and methods of revision, interpreting the work as being the product of the composer's interactions with a large variety of social, cultural, personal and political forces: for instance, the contemporaneous reception of Liszt's early Lieder, or the change in Liszt's performing and compositional environments from his virtuoso to his Weimar years. The book then offers close readings of selected songs, including the Goethe and Schiller Lieder, by applying the concept of textual fluidity. Its findings will impact the way in which we see Urtext editions, arguing instead for an online fluid-text edition as an ideal resource with which to study Liszt's multi-version compositions.
Liszt in Context explores the political, social, philosophical and professional currents that surrounded Franz Liszt and illuminates the competing forces that influenced his music. Liszt was immersed in the religious, political and cultural debates of his day, and moved between institutions, places, and social circles with ease. All of this makes for a rich contextual tapestry against which Liszt composed some of the most iconic, popular, and also contentious music of the nineteenth century. His significance and astonishing reach cannot be over-stated, and his presence in nineteenth-century European culture, and his continuing influence into the twentieth and twenty-first centuries, are overwhelming. The focus on context, reception, and legacy that this volume provides reveals the multifaceted nature of Liszt's impact during his lifetime and beyond.
Courses in management research have traditionally focused on quantitative techniques, and no available text adequately covers the many different perspectives within the qualitative model or shows which qualitative techniques work best in different settings. "Crafting Qualitative Research" fills this need. In clear and readable prose, this comprehensive text offers a detailed guide to the rich diversity of qualitative research traditions, with examples and applications specifically designed for the field of management. Each of the book's four main sections includes a descriptive "tree" diagram that lays out the historical origins of that section's traditions. Each chapter is devoted to a specific methodology and includes historical origins and development; techniques and applications; current controversies and emerging issues; and a summary box highlighting that method's utility. With its detailed and easy-to-understand coverage, this will be the text of choice for any instructor who wants to include the qualitative approach in a research methods course, as well as a useful resource for anyone doing research in the post-positivist traditions.
This comprehensive work is truly the first textbook in the field of dramaturgy. Most of the material-much of it by leaders in all areas of the theater-was commissioned for this collection, rather than being reprinted. Its currency and importance cannot be overestimated. A review of the history of dramaturgy as a profession, together with its European antecedents, gives students a sense of historical context. Selections from respected and recognized names in theater provoke student interest and communicate the benefits of those experts' experiences.
What Is Dramaturgy?attempts to document, by way of articles, statements, and bibliographies, the dramaturg's profession, which began with Lessing in Germany in the second half of the eighteenth century and was instituted in the United States two hundred years later during the rise of the regional theatre movement. As critics-in-residence (also known as literary managers), dramaturgs perform a variety of tasks: broadly speaking, they select and prepare playtexts for performance, advise directors, and educate the audience; they are translators, theatre historians, public lecturers, even «artistic consciences.» Dramaturgy literally means «the craft or the techniques of dramatic composition considered collectively», and in a sense the dramaturg is the dramatist's representative or advocate in the theatre. That is, he is the guardian of the text - new as well as old - and therefore a person whose work is necessary for the revival of dramatic art in our time. What Is Dramaturgy?is dedicated in the end not only to promoting the dramaturg's function, but also to anticipating his creation of an intellectually illumined American theatre.