| Contents |
An introduction to Liszt's symphonic poems / Michael Saffle -- Part one. The functions of program and form in Liszt's symphonic poems: a semiotic analysis. Analytical approaches to Liszt's symphonic poems: four schools of thought. The first school: formlessness as structural paradigm ; The second school: the "Extra-Musical" as structural paradigm ; The third school: sonata form as structural paradigm ; The fourth school: a mixture of structural paradigms -- A structuralist analytical approach to Liszt's symphonic poems. Structuralist vocabulary: some definitions. Archetype ; Program ; Topos or topic ; Symbol ; Function ; Motive ; Motivic transformation/metamorphosis ; Diachronic and synchronic elements ; Apotheosis -- Individual Topoi and their characteristics. Lament, mourning, death, and the funeral march ; Rebirth, triumph, celebration, apotheosis, and the martial conclusion ; Nature, peacefulness, the lullaby, and pastoral music ; Melancholy, thoughtfulness, and the instrumental recitative ; Transcendence, immortality, and the chorale ; Sturm und Drang as expression of conflict ; Awakening, battle, victory, celebration, and the fanfare or horn call ; Idealism, beauty, love, and the cantilena ; Courtly life and the minuet ; National Topoi: Hungarian and Polish musics ; Specialized musical symbols. The "Malediction" motive ; Celebration of humanity and the fugue -- Printed programs for individual symphonic poems -- Narrative as structural unification in individual symphonic poems. Group I: Tasso, Prometheus, Les Preludes, Hunnenschlacht, Orpheus, and Heroide funebre ; Group II: Mazeppa, Die Ideale, Von der Wiege bis zum Grabe, Hungaria, and Hamlet ; Group III: Ce qu'on entend sur la montagne and Festklange -- Part two. The performance and reception of Liszt's symphonic poems in North America, 1849-1861. Liszt in Performance, 1849-1854. Weimar, 1849-1854 ; England, Continental Europe, and the United States, c. 1855 -- Performances of the symphonic poems, 1855-1861. The performances of 1855. Jena, March 1855 ; Sondershausen, Weimar, and Brunswick, May-October 1855 ; Berlin, December 1855 ; The singakademie concert and the Berlin critics -- The performances of 1856. Sondershausen, August 1856 ; Pest, Vienna, and Sondershausen, August-September 1856 ; St. Gallen, Ballenstedt, and Budapest, September 1856 ; The symphonic poems pro and con: two Neue Zeitschrift articles -- The performances of 1857. Weimar and Konigsberg, January-February 1857 ; Leipzig, February 1857 ; The Gewandhaus concert and the music of the future ; Vienna, March 1857 ; Mainz, Prague, and Lowenberg, March 1857 ; Weimar, April 1857 ; Aachen, May-June 1857 ; Sondershausen, August-September 1857 ; Weimar, September 1857 ; Copenhagen, October 1857 ; Dresden, November 1857 ; Breslau and Stettin, November 1857 ; Sondershausen and Weimar, December 1857 ; Draeseke: the symphonic poems in review -- The performances of 1858. Berlin, January 1858 ; Glauchau, Zwickau, Prague, and Magdeburg, March 1858 ; Moscow and Lowenberg, April 1858 ; New York City and Magdeburg, May 1858 ; Weimar, May-June 1858 ; Breslau, November 1858 ; Munich and Breslau, December 1858 -- The performances of 1859. Breslau and Berlin, January-February 1859 ; Prague and Breslau, March 1859 ; Copenhagen, Brooklyn, and New York City, April 1859 ; Breslau, May 1859 ; Leipzig, June 1859 ; Leipzig, August 1859 ; Lowenberg, Breslau, and Zwickau, November 1859 ; Amsterdam, November 1859 ; Boston and Dresden, December 1859 ; Pohl and Brendel on Liszt -- The performances of 1860. Boston and St. Petersburg, January 1860 ; Dresden and Vienna, February, 1860 ; Boston, Moscow, Breslau, and Amsterdam, March 1860 ; Philadelphia, New York City, and Prague, April 1860 ; Magdeburg, June 1860 ; Sondershausen, Weida, and Vienna, August 1860 ; Sondershausen, September 1860 ; Leipzig, November 1860 ; Konigsberg, November-December 1860 ; St. Petersburg and New York City, December 1860 ; Ambros on Liszt -- The performances of 1861. Moscow, New York City, Leipzig, and Vienna, January 1861 ; Leipzig, February 1861 ; Chemnitz, April 1861 ; Weimar, August 1861 ; Lowenberg, December 1861 -- Part three. Chronology and sources. Ce qu'on entend sur la montagne ; Tasso: Lamento e trionfo ; Les Preludes ; Orpheus ; Prometheus ; Mazeppa ; Festklange ; Heroide funebre ; Hungaria ; Hamlet ; Hunnenschlacht ; Die Ideale ; Von der Wiege bis zum Grabe. |
