Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts:
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| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Wydawnictwa Uniwersytetu Warszawskiego
2014
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| Ausgabe: | Wyd. 1. |
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| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Franz Liszt's piano music from the years 1835 - 1855 in the context of the idea of correspondance des arts Bibliogr. s. 365-379. Indeks |
| Beschreibung: | 381, [1] s. il. 25 cm |
| ISBN: | 9788323514664 |
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pis treści
Przedmowa ..................................................... 11
I. Zagadnienia początkowe
Krótkie wprowadzenie do badań lisztowskich..................... 19
Muzyka fortepianowa Franza Liszta w kręgu rozważań
interdyscyplinarnych........................................... 35
IL Idea correspondance des arts w kontekście epoki
Wprowadzenie do problematyki ............................................ 47
Correspondance des arts - między Polską a Francją, czyli o problemach
terminologicznych.............................. . . ............. 47
Wybrane ujęcia metodologiczne w badaniach nad correspondance des
arts............................................................. 50
Geneza i rozwój idei correspondance des arts we Francji do połowy
XIX wieku................................................................. 56
Przestrzeń ideowa..................................................... 56
Pisma estetyczno-filozoficzne...................................... 56
Manifesty literackie.......................................... . 65
Krytyka artystyczna................................................ 72
Przestrzeń społeczno-kulturowa ....................................... 77
Loże masońskie i towarzystwa społeczno-artystyczne................. 77
Institut de France................................................ 80
Salony artystyczne................................................. 82
6
Spis treści
Praktyka artystyczna................................................ 88
Współpraca i przyjaźnie między artystami........................ 88
Związki literatury, muzyki i sztuk plastycznych................. 89
Podsumowanie ......................................................... 103
III. Poglądy estetyczne Franza Liszta w świetle jego spuścizny
piśmienniczej
Liszt i kultura francuska............................................. 107
Salony artystyczne ................................................ 108
Towarzystwa społeczno-artystyczne oraz loże masońskie.............. 110
Korespondencja z lat 1833-1858 ....................................... 114
Pisma z okresu paryskiego (1835-1841) 128
De la situation des artistes et de leur condition dans la société. 128
Lettres d un bachelier ès musique i inne pisma z lat 1835-1841 .... 130
Pisma z okresu weimarskiego (1849-1855)............................... 141
Liszt bibliofil i biblioman........................................... 147
Poglądy estetyczne Liszta w świetle jego działalności pedagogicznej ... 151
Podsumowanie ......................................................... 160
IV Teksty programowe w utworach fortepianowych Franza
Liszta z lat 1835-1855
Zagadnienia wstępne . . .............................................. 165
Harmonies poétiques et religieuses (1835)............................. 168
Album dfun voyageur................................................... 122
Lyon............................................................... 173
Le lac de Wallenstadt.............................................. 174
Au bord d une source............................................. 176
Les cloches de G*****.............................................. 176
Vallée d Obermann.................................................. 177
La chapelle de Guillaume Tell...................................... 180
Psaume (de l église de Genève) ................................... 180
Années de pèlerinage, Suisse.......................................... 184
Années de pèlerinage. Italie.......................................... 189
Spis treści
7
Sposalizio............................................................. 190
Il Penseroso........................................................... 191
Canzonetta del Salvator Rosa........................................... 192
Tre Sonetti del Petrarca .............................................. 193
Après une lecture du Dante, Fantasia quasi Sonata...................... 195
M azeppa................................................................... 198
Liebestràume. Drei Notturnos für das Pianoforte ........................... 201
Harmonies poétiques et religieuses (1853).................................. 203
Invocation............................................................. 204
Ave Maria.............................................................. 204
Bénédiction de Dieu dans la solitude................................... 205
Pensée des morts....................................................... 206
Pater Noster........................................................... 206
Hymne de l enfant à son réveil......................................... 207
Funérailles............................................................ 207
Miserere d après Palestrina............................................ 208
(Andante lagrimoso)................................................... 208
Cantique d amour....................................................... 209
Podsumowanie............................................................... 211
V* Muzyczna realizacja idei correspondance des arts
Harmonies poétiques et religieuses (1833-1835).......................... 215
Album d un voyageur (1834-1841)......................................... 219
Lyon.................................................................... 219
Le lac de Wallenstadt................................................... 223
Au bord d une source ............................................... 224
Les cloches de G*****.................................................. 226
Vallée d Obermann....................................................... 228
La chapelle de Guillaume Tell........................................... 230
Psaume (de l église de Genève) ..................................... 232
Années de pèlerinage. Suisse (1836-1855).................................... 235
Années de pèlerinage♦ Italie (1839-1858).................................... 243
Sposalizio............................................................. 243
Il Penseroso............................................................ 245
Canzonetta del Salvator Rosa........................................ . 246
Tre Sonetti del Petrarca................................................ 247
Après une lecture du Dante. Fantasia quasi Sonata....................... 250
8
Spis treści
Mazeppa (1840)........................................................ 256
Liebestraume. Drei Notturnos für das Pianoforte (1843-1850)........... 258
Harmonies poétiques et religieuses (1853)............................. 262
Invocation......................................................... 262
Ave Maria.......................................................... 265
Bénédiction de Dieu dans la solitude............................... 267
Pensée des morts................................................... 270
Pater Noster....................................................... 271
Hymne de l enfant à son réveil..................................... 272
Funérailles........................................................ 273
Miserere d après Palestrina........................................ 276
(Andante lagrimoso)................................................ 277
Cantique d amour................................................... 278
Treści programowe a środki kompozytorskie............................. 280
Forma.............................................................. 280
Układ cykliczny.................................................... 286
Brzmienie.......................................................... 292
Zjawiska harmoniczno-tonalne....................................... 295
Prostota środków a złożoność brzmienia............................. 299
Muzyka programowa w ujęciu Liszta.................................. 300
Podsumowanie.......................................................... 307
Zakończenie........................................................... 311
Aneks................................................................. 319
Summary............................................................... 345
Indeks osobowy........................................................ 353
Indeks dzieł artystycznych............................................ 360
Wykaz dzieł cytowanych................................................ 365
Spis przykładów muzycznych............................................ 380
Spis ilustracji....................................................... 382
ummary
Franz Liszt’s Piano Music from the Years 1835-1855 in the
Context of the Idea of correspondance des arts
Franz Liszt was one of the most prominent intellectuals of his century
who wished to renew music by integrating it with other arts, especially
poetry. The composer sought different possible means of this integra-
tion, developing his own concept of instrumental music, which he called
poetic music. Liszt used various techniques to help the listener expe-
rience the unity of arts in his music - most frequently by adding a pro-
gramme, including a title or poetic quotation, to inspire the listener’s
imagination. Other means include attempts to transfer structures of lit-
erary works and to apply poetic techniques in the realm of music as well
as to transform individual musical parameters so that they render the
extra-musical content.
Liszt’s artistic activity reflects the cultural context of the epoch and the
artistic life in Paris of the first half of the 19th century that had shaped his
personality. Artists residing in Paris at the time inspired one another, dis-
cussed parallels between their different fields of art, and sought to transfer
techniques between their fields of artistic inquiry. Nowadays, this phe-
nomenon is commonly referred to as correspondance des arts, though the
term itself came into use much later.
The question of correspondance des arts in the context of Franz Liszt’s
piano music has not been the subject of systematic research. The aim of
this book is to fill this gap by providing the analysis of selected works by
Liszt and by showing the multiple links and determinants that had influ-
enced the development of his aesthetic ideas. Liszt’s sensitivity to the im-
pulses coming from the other artistic, fields and his ability to use these in-
fluences in a creative manner made him absolutely exceptional as
a composer. It is not without reason that Charles Baudelaire said of Liszt,
346
Summary
“singer of great Pleasure and eternal Fear, philosopher, poet, and artist,
I send you my greetings in immortality!”.1
The book consists of five parts, arranged thematically to create paral-
lels between the history of French culture of the first half of the 19™ cen-
tury on one hand and Liszt’s music on the other. Liszt was not only a com-
poser but also a seasoned essayist and a great lover of literature, whose wit
may be compared to that of the most prominent literary figures of his day,
which explains in part why music and literature intertwine so closely in his
works.
* * *
The first part of the book is a review of the enormously rich literature
on the subject, serving as an introduction to Liszt studies broadly under-
stood. Considering that most of this research is not easily available to Pol-
ish readers, I provide critical summaries of the most important interna-
tional and national studies about Liszt. This part of the book also shows
the history of research on the life and artistic activity of Liszt from the
point of view of the history of their development and the changing meth-
odological paradigms related to the development of musicology itself, and
in the larger context of the humanities over the past two hundred years -
from anecdotes and memoirs to academic studies. What had dominated in
the 19th century were tales and free interpretations concerning episodes
from the composer’s life. The initial interest in his person and artistic ac-
tivity coincided in time with the period of Liszt’s greatest piano triumphs,
hence the tales about the composer were often exaggerated in their con-
struction of his persona as a virtuoso with superhuman abilities. The 20th
century brought about more academic works concerning individual as-
pects of Liszt’s artistic activity and attempts at a holistic understanding of
his oeuvre. In this part of the book I also point the crucial aspects in Liszt
studies, placing special emphasis on the works by Emil Haraszti as well as
the explosion of Liszt-related research linked with the centenary of the
composer’s death in 1986 and the bi-centenary of his birth in 2011. The
important contribution of this part of the book is the attempt to place
Franz Liszt’s piano music within the context of humanities, offering a view
of this music from the perspective of musicology, literature, and cultural
studies.
* * *
In the second part of the book, I examine the idea of correspondance
des arts in its cultural context. Using philosophical treatises and the artists’
reflections, I show the grounding of the idea of correspondance des arts in
social environment (artistic salons, national institutions, Masonic lodges,
artistic associations, cooperation between artists). This part ends by re-
viewing different ways of realising the idea of correlation and unity of arts
1 Ch. Baudelaire, Le Thyrse, in: Œuvres complètes, ed. C. Pichois, Paris 1985-1990, p. 336:
chantre de la Volupté et de VAngoisse éternelles philosophe, poète et artiste, je vous salue en immortalité!
Summary
347
in the works by French Romantics, many of whom were Liszt’s friends and
acquaintances. Each of those elements is presented in chronological order
to show the development of the concept together with the whole range of
surrounding phenomena.
A brief overview of the aesthetic reflection shows the evolution of the
French thought concerning the unity between arts in the 18th century and
the first half of the 19th century. The summary begins with some reflec-
tions on the source of the idea of correspondence, the basic rule of judge-
ment or manner in which the arts move us (Dubos), the meaning of imita-
tion and division of arts according to their function in everyday life
(Batteux, Chastelleux). Next, the discussion continues by considering the
combination of music and poetry as sources of language that are able to
affect emotions (Rousseau, Chabanon, Villoteau), seek common elements
between the arts (Diderot), and the strong affiliation with the rules of
rhetoric (Lesueur, Villoteau). Authors of treatises also point out the se-
mantic potential of instrumental music (Lacépède). They see the unity
between art and emotions, which may become the art’s source and its aim
(Ballanche, Framery, Lamartine). The subsequent changes to these theo-
ries are related to the forth-coming period of romanticism: the idea of
unity of arts appears in the sphere of moral idea (Cousin) or in the mo-
ment of perception (Stendhal, Delacroix). What is also noticed are the
coincidental effects caused by different arts via different means (Cousin,
Stendhal). Finally, art becomes considered to be divine (Hugo) and Chris-
tian (Chateaubriand, Lamennais, Hugo). Some see its source in poetry
(Hugo, Genin). Others pondered over the unity between arts and artists
(Stendhal, Deschamps, Gautier, Delacroix), to finally notice mutual inspi-
ration and interpenetration of arts (Baudelaire).
A short review of the conditions that gave rise to the idea of correspon-
dance des arts allows us to state that the close relations developed by the
artists who frequented one another and helped shape this phenomenon.
Artists met regularly at the Masonic lodges, the associations, institutions
or the salons. They discussed and worked together, which made the wide-
ly-understood idea of the fraternité des arts natural for them. Initially these
discussions concerned the participation in para-religious movements and
the socio-artistic societies originating from Masonic lodges. Next, these
activities were completed by the establishment of the Institute de France
(for which the academic and artistic cooperation was one of the bases for
functioning), as well as the close relations between artists at salons.
One may also notice some changes taking place in the perception and
activity of those institutions. Sometimes one institution would transform
into another as, for example, the transformation of Masonic lodges into
associations, and in turn, of the associations into the Institute de France.
These events were tightly connected with the space of ideas, in which they
functioned, and both spheres ֊ ideological and cultural ֊ were intertwined,
whereas collaboration and continuous development were treated as an
ideal basis for the majority of associations.
In artistic practice, relationships between individual fields of art were
visible on different levels and with different intensity, from simple allu-
348
Summary
sions in the titles or themes of works to profound modifications of artistic
means. Creative activities of romantic artists show incredible persistence
in their aim to overcome barriers between arts and seek new means of
expression. Undoubtedly, the connections between arts were among the
most important directions of their research, which became for them the
main point of reference and the source of inspiration. The profound need
to create new artistic phenomena and the wish to affect the recipient in
a more and more intense manner were the basis of all experiments with
language, sound, and image. On this basis, a very interesting artistic dia-
logue - one of the most important aesthetic indicators of the 19th century
art — was created.
* * *
The third part of the book deals with Liszt’s aesthetic views as ex-
pressed in his writings and letters. I contextualize here to what extent the
artist’s views reflected those of his colleagues and also what unique ele-
ments he brought into the aesthetics of 19th century music. These reflec-
tions are complemented with selected elements from Liszt’s biography,
which allow us to notice links between his choices and artistic activities on
the one hand and the French culture of the epoch on the other, including
artistic associations, Masonic lodges, salons, academic and cultural insti-
tutions, and music lessons that had shaped Liszt’s personality. As Liszt
wrote in Lettres d’un bachelier ès musique: days of the first youth are im-
portant for people as it is then that their personality and self-consciousness
is shaped.2
Liszt’s letters and writings show how many ideas he assimilated. We
may notice among them the echoes of Chastelleux’s reflections on the in-
separability of music and poetry, the search for convergences between arts
in the spirit of Diderot, and the relationships between artists that were so
important for the romantics such as Nodier, Deschamps, and Delacroix.
In his reflections concerning instrumental music and opera, Liszt very of-
ten pointed out the selection of musical means appropriate to the subject
(Lesueur, Berlioz), mentioned the symbolical representations of emotions
and emotions themselves as a source of art (in the spirit of Lacépède, Bal-
lanche, and Lamartine) as well as the ability of music to recall memories
(Rousseau, Framery). Moreover, he wrote about the moral meaning of art
and the leading role of artists (Cousin, Lamennais). He also mentioned the
slackening of forms and genre norms (Hugo) and made comparisons in
order to explain a phenomenon just as his friends-comparatists used to do
(Ozanam, Ampère).
The study of Liszt’s aesthetic reflections helps our understanding of the
evolution of the composer’s views. As early as in 1832, Liszt explained one
field of art by means of another in order to revive the feelings of his pupil
as in the case of his lessons with Valérie Boissier. In 1835, he considered
2 F. Liszt, A M. Lambert Massart, in: Sämtliche Schriften, v. I, ed. D. Altenburg, commentaries
S. Gut, Wiesbaden—Leipzig—Paris 2000, p. 198.
Summary
349
the role of an artist to be a spiritual leader; one year later, in 1836, he
wrote about the unity of painting and music in his discussion of Hector
Berlioz’s talent ( Concert de M. Berlioz), and again, in 1837 - about poetic
and picturesque music ( Compositions pour piano de M. Robert Schumann).
In 1839 he told Marie d’Agoult that he wished to integrate poetry with
piano music. He also explained one sphere of art by means of another in
his famous Lettre addressed to Berlioz, pointing out the connections be-
tween great masterpieces, products of human genius. Some years later, in
1843, in a letter to Countess d’Agoult he described the ideal of artist - the
combination of a poet, painter and musician in one person (count Pocci)
- and he sought the technical and expressive similarities between arts.
Several years later he considered the possibility of “writing down” memo-
ries in music (letter of 1846) and in 1849 he thought about the establish-
ment of a competition in Weimar that would integrate different artists.
Finally, in 1853 Liszt formulated the concept of programme music deter-
mined by a poetic idea and clarified that it meant a perfect union of po-
etry and music, and in the following years he elaborated on the means of
making this synthesis possible on different levels of the musical work.
Liszt’s ideas were rooted in the French culture in which he grew up. In
turn, as Haraszti suggests, Liszt’s strong immersion in this culture could
help explain why the German audience (especially in Weimar) would not
be able to fully appreciate the composer. This overview also shows how
Liszt’s artistic output ideally fits numerous phenomena that were manifes-
tations of the romantic idea of artistic unity. In his aesthetic deliberations
one may see tendencies to transform one sphere of art under the influence
of another and to seek analogies between them, in particular the musical
equivalents of poetry, which may be classified as representing the fullest
manifestations of correspondance des arts.
* 5- *
In the fourth part of the book, I analyze the texts that serve as the pro-
gramme of Franz Liszt’s piano pieces. I present these works from a double
perspective. First, I discuss them as individual literary (or artistic) pieces
in the contexts of their origin. Second, I explain the manner in which Liszt
composed those programmes - how he chose fragments from his favorite
authors, changed the order of the verses, creating in turn original, self-
contained wholes.
In the first piece, Harmonies poétiques et religieuses (1835), the pro-
gramme consists of a title referring to the collection of poems by Lamar-
tine; a foreword and quote from a narrative by Chateaubriand is later used
in the score itself. The first big cycle {Album d’un voyageur) is dominated
by references to the places Liszt visited and complemented with passages
from poetry and dedications. In this collection one may also differentiate
between programme layers such as titles and quotes from literature. In
subsequent cycles this task was more and more difficult. In the second part
of Années de pèlerinage ( Italie) both elements are much related to one an-
other, as in the majority of pieces these are only the titles referring to
350
Summary
particular poetic and artistic oeuvres that constitute their programme, just
like in the etude Mazeppa. On the other hand, Notturnos
tne) seem to be an exception for neither the genre nor the title links them
directly with poetic elements but points to their subject matter and char-
acter. Moreover, the titles of song originals were the first lines of quoted
poems, thus constituting the unity of the programme. The last mentioned
cycle, Harmonies poétiques et religieuses of 1853, is a kind of summary and
assembly of all possible dependencies of types and programmes. We have
in this case a foreword, a dedication, and poetic quotations preceding the
pieces, whose titles refer to particular texts.
It is difficult to call this an evolution; rather, these reflect various per-
ceptions of the programme’s role and its structure as well as an conscious
attempt to exert control over the listener. As Liszt wrote in the foreword
to Album d’un voyageur that music should not be merely a pleasure, but
above all, the object of reflections and a carrier of poetic content.
Typically romantic motifs dominating Liszt’s programmes include reli-
gion, voyages, and questions about the meaning of life, art, and love. In his
first pieces one may note some resemblance in the subject matter: René,
Obermann, and Childe Harold are protagonists escaping from civilisation,
wandering through the world to find their own personality, aim and, sense
of life.
Liszt often quoted in his letters some artists and described master-
pieces he dealt with. He also liked to make “notes” from his favourite au-
thors, which can be easily traced in his letters. The collections of pro-
gramme texts are partially shaped like these notes, which make narrative
wholes. A specific selection of programmes and the manner of their com-
position make these texts somehow “support” the reception of music, and
their application became Liszt’s rule of composing, a type of forma mentis,
as Francis Claudon called it.3
if 5- if
The last part of the book contains an analysis of Liszt’s selected pieces
that feature an abundance of techniques and expressive means. Many of
these are based on the programme of the piece. However, in order to un-
derstand these correlations, one must first examine the music itself. The
following analyses focus on the programmatic aspects, placing a particu-
lar emphasis on the structure of pieces and its similarity to the structure of
programmes, as these dependencies constitute one of the most important
features of correspondance des arts according to Etienne Souriau’s theory.
Nevertheless, in all musical parameters one may notice how a poetic idea
determined each individual parameters of a musical work.
The analyses of piano pieces presented in this part of the book make it
possible to arrive at certain generalisations concerning Liszt’s composi-
tional techniques and the musical realisation of his aesthetic postulates.
Above all, one may notice the co-existence of traditional elements such as
3 F. Claudon, Au »siècle des comparaison«. Liszt et la littérature, „Revue Silène”, p. 4.
Summary
351
musical forms (sonata, variations) and the musical rhetoric and achieve-
ments of other 19th century composers, on both technical and expressive
grounds. On the technical ground, there are the full usage of sound pos-
sibilities of the 19th century piano, the orchestral treatment of the instru-
ment, the combination of forms and genres, the paraphrases of one’s own
pieces and of pieces by other artists, and the new means of piano tech-
nique; on the expressive ground, one must note the new meaning of musi-
cal expression and the changing hierarchy of elements in a musical work.
Moreover, Liszt worked out several elements that became unique to his
artistic activity, among others synthesis of main musical thoughts in the
last parts of pieces regardless of their form or genre, leitmotifs, piano cy-
cles being complete wholes, in which every piece had its function, applica-
tion of semantic variation, tempo and texture changes and referring to
means typical for the French romantic poetry (quotes, mottoes, expressiv-
ity uniting the cycle, meta-relations between different pieces, contrasts,
ambiguities).
Even more important in Liszt’s music are the background elements that
determine the form: articulation, dynamics, registers of the instruments,
tempo, and texture. With these background elements, he created his own
expressive language. As early as in the 1830s, Liszt provided solutions that
became common practice only at the turn of the 20th century. These solu-
tions include individual sound’s centralization ( une lecture du Dante),
melodies based on scales other than the major-minor tonality (e.g. penta-
tonic scale in Sposalizio), complex multisound compounds ( ) or
sound effects as the foreground element ( poétiques et religieuses
1835).
What remains noticeable is the influence of programme on each pa-
rameter of a musical piece - from an individual motif and the struc-
ture of theme (La chapelle de Guillaum Tell) to the structure of the work
(Après une lecture du Dante) and even the whole cycle (Album d’un Voya-
geur). This determination of the musical parameters by poetic ideas consti-
tutes a perfect realisation of Liszt’s concept of poetic music.
In the aforementioned pieces one may also notice some constant cor-
relations between musical parameters with the extra-musical meanings.
However, it is the programme that ultimately defines them, which stresses
the importance of this element, thanks to which the composers could cre-
ate a musical language capable of expressing what is usually beyond music,
as Liszt wrote in the foreword to Album d’un vayageur in 1841.4
* if֊
Since his early years, Franz Liszt was known for his erudition and
audacity to seek new musical solutions. As early as in 1832, while giv-
ing piano lessons, he explained music to a pupil by making references
to literature. He also greatly emphasised the poetic element in his piano
4 F. Liszt, Avant-propos, in: Album d’un voyageur I, III, Clochette et Carnaval de Venise, ed.
A. Kaczmarczyk, 1. Mezô, Budapest 2007, p. 2.
352
Summary
improvisations that Émil Deschamps summarised in the following way,
“Liszt! Liszt! who in his artistic ecstasy would change,/Notes into verses,
keyboard into lyre”.5
In his writings Liszt made comparisons between the arts, and also
sought analogies between the artistic activity and the private life of indi-
vidual artists. He was also an art critic who while writing about art often
used ekphrases, similarly to his colleagues - the writers. Doing so, he could
express feelings, aroused by a particular work. In this way the act of com-
bining arts could take place in the listener’s mind, just as in the case of
Liszt’s description in 1839 of The Ecstasy of St. Cecilia by Raphael.
For Liszt, there was not one artistic domain that would not inspire
him. Among his works we find many that are inspired by the life and the
art of other artists. Sometimes the name of a particular artist appears in
the work’s title ( Canzonettadel Salvator Rosa, Tre Sonetti del
Après une lecture du Dante)·, at other times Liszt refers only to one work by
a selected artist (II Penseroso, Sposalizio).
The attempts to transfer the techniques of one art to another also
brought about the change of artistic means within music. Liszt gladly re-
ferred to artistic means typical for poetry, created cycles with elements
uniting the whole (title, topics, recurring motifs, structure, character),
used quotes from other authors, and from his own artistic output. Moreo-
ver, he tried to transfer structures of one work to another, as shown in
Sposalizio and Après une lecture du Dante.
Franz Liszt was one of the most prominent artists and proponents of
the unity of arts, and in turn helped transform the musical language. As
Serge Gut put it, Liszt was “in music the equivalent of Lamartine in
literature”,6 both technically and expressively. The analysis of Liszt’s piano
music in the context of the idea of correspondance des arts fully confirms
this thesis, providing better to understand his work in all its complexity. It
also opens ways for further research concerning this extraordinary artist,
whose genius had helped propel music of the 19th century into new direc-
tions, and has continued to fascinate scholars into the present.
5 É. Deschamps, À Liszt, »Pianiste« 1833, issue 9, p. 141: Liszt!Liszt!qui changerait, sans changer
le délire,/ Les notes pour les vers, le clavier pour la lyre.
6 S. G ut, Franz Liszt. Les éléments du langage musical, p. 301: il est en musique ce que Lamartine
est en littérature.
|
| any_adam_object | 1 |
| author | Gamrat, Małgorzata |
| author_facet | Gamrat, Małgorzata |
| author_role | aut |
| author_sort | Gamrat, Małgorzata |
| author_variant | m g mg |
| building | Verbundindex |
| bvnumber | BV042197379 |
| ctrlnum | (OCoLC)900983824 (DE-599)BVBBV042197379 |
| edition | Wyd. 1. |
| era | Geschichte 1835-1855 gnd |
| era_facet | Geschichte 1835-1855 |
| format | Book |
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| id | DE-604.BV042197379 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T01:15:04Z |
| institution | BVB |
| isbn | 9788323514664 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027636339 |
| oclc_num | 900983824 |
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| owner_facet | DE-12 |
| physical | 381, [1] s. il. 25 cm |
| publishDate | 2014 |
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| publishDateSort | 2014 |
| publisher | Wydawnictwa Uniwersytetu Warszawskiego |
| record_format | marc |
| spelling | Gamrat, Małgorzata Verfasser aut Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts Małgorzata Gamrat Wyd. 1. Kraków Wydawnictwa Uniwersytetu Warszawskiego 2014 381, [1] s. il. 25 cm txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Franz Liszt's piano music from the years 1835 - 1855 in the context of the idea of correspondance des arts Bibliogr. s. 365-379. Indeks Liszt, Franz 1811-1886 (DE-588)118573527 gnd rswk-swf Geschichte 1835-1855 gnd rswk-swf Klaviermusik (DE-588)4030993-9 gnd rswk-swf Liszt, Franz 1811-1886 (DE-588)118573527 p Klaviermusik (DE-588)4030993-9 s Geschichte 1835-1855 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027636339&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027636339&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Gamrat, Małgorzata Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts Liszt, Franz 1811-1886 (DE-588)118573527 gnd Klaviermusik (DE-588)4030993-9 gnd |
| subject_GND | (DE-588)118573527 (DE-588)4030993-9 |
| title | Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts |
| title_auth | Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts |
| title_exact_search | Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts |
| title_full | Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts Małgorzata Gamrat |
| title_fullStr | Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts Małgorzata Gamrat |
| title_full_unstemmed | Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts Małgorzata Gamrat |
| title_short | Muzyka fortepianowa Franza Liszta z lat 1835 - 1855 w kontekście idei correspondance des arts |
| title_sort | muzyka fortepianowa franza liszta z lat 1835 1855 w kontekscie idei correspondance des arts |
| topic | Liszt, Franz 1811-1886 (DE-588)118573527 gnd Klaviermusik (DE-588)4030993-9 gnd |
| topic_facet | Liszt, Franz 1811-1886 Klaviermusik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027636339&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027636339&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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