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Extra resources for A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses
The high priest ordered all the unmarried male descendants of David to bring a wooden rod to the Temple of Jerusalem. When they arrived, the Holy Spirit descended in the form of a dove and caused Joseph’s rod to blossom, a sign that he had been chosen to become Mary’s husband. It is easy to see why this painting appealed to Liszt. The Virgin’s clothes and stance give her the appearance of a classical muse. She is woman sublime—the “beautiful, transfigured body” that Liszt had evoked earlier when contemplating Dante’s Divine Comedy.
Contents Acknowledgments Permissions and Credits Preface PART I ESSAYS Liszt, Italy, and the Republic of the Imagination ANNA HARWELL CELENZA Heine, Liszt, and the Song of the Future SUSAN YOUENS The Battle Against Instrumental Virtuosity in the Early Nineteenth Century DANA GOOLEY Prophet and Populace in Liszt’s “Beethoven” Cantatas RYAN MINOR “Just Two Words. Enormous Success” Liszt’s 1838 Vienna Concerts CHRISTOPHER H. GIBBS Liszt, Wagner, and Unfolding Form: Orpheus and the Genesis of Tristan und Isolde RAINER KLEINERTZ Publishing Paraphrases and Creating Collectors: Friedrich Hofmeister, Franz Liszt, and the Technology of Popularity JAMES DEAVILLE PART II BIOGRAPHICAL DOCUMENTS Liszt on the Artist in Society INTRODUCED AND TRANSLATED BY RALPH P.
They strive instead for a “dual focus,” taking full measure of the specialized literature and in some cases adding new archival research, but placing this information in broader historical and critical perspective than has been usual in Liszt studies. The most common second focus is the public culture of the 19th century, the domain where he arguably had the deepest and most lasting impact. Ryan Minor highlights the power of choral music in defining national and cultural communities. Comparing Liszt’s two relatively unknown “Beethoven” cantatas, written decades apart, he traces the evolution of Beethoven’s symbolic status for the broader public, of which Liszt considered himself something of a curator.