Moderne Musik und Musiker: [Enzyklopädisch] . E um zu vermuten, dass Liszt, der sich als machtlos Alonetum die Welt bewegt, von einer Allianz mit dem großen Reformer träumte, in der jeder seinen Part gehabt hätte, der auf der Bühne regierende, der andere im Konzertsaal; Denn Wagner proklamierte alles, woran er Werke komplexer Natur schrieb, in denen die Musik nur auseinanderging, sich mit Poesie und szenischer Darstellung ein unsichtbares Ganzes formte.Aber Liszt, große und großzügige Seele, stets bereit, sich der anoblen Sache zu widmen, hatte den herrschaftlichen Geist des Zisgefährlichen nicht berücksichtigt

• Bildanbieter: The Reading Room / Alamy Stock Foto
• Bild-ID: 2AWEA4J
• Dateigröße: 7,2 MB (375,2 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 1961 x 1275 px | 33,2 x 21,6 cm | 13,1 x 8,5 inches | 150dpi

Weitere Informationen

Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

Modern music and musicians : [Encyclopedic] . e to suppose that Liszt, knowing himself to be powerless aloneto move the world, dreamed of an alliance with the great reformer, inwhich each would have had his part to play, the one reigning on thestage, the other in the concert-hall; for Wagner proclaimed everywherethat he wrote works of a complex nature, in which music was only apart, forming with poetry and scenic representation an invisible whole.But Liszt, great and generous soul, always ready to devote himself to anoble cause, had not taken into account the domineering spirit of hisdangerous and colossal protege, who was incapable of sharing the empireof the world even with his best friend. We know now, since the publication of the correspondence betweenLiszt and Wagner, on which side the devotion was. The great artisticmovement started by Liszt was turned against him: his works werethrown out of the concert-hall to make room for those of Wagner, which, according to the theories of the author himself, were written especially for. LISZTS LATER DWELLING IN WEIMARThis was his home when lie died. the theater, and could not be heard elsewhere without danger of becom-ing unintelligible. Taking up again the arguments of the classic school, the Wagnerian critics undermined the foundations of the works of Liszt, by preaching the dogma of pure music, and declaring descriptive musicheretical. Now it is evident that one of the greatest forces of Wagner, one of his most powerful means of affecting the public, had been pre-cisely this development of descriptive music, carried to its extreme limits.He performed almost a miracle in this line when he succeeded duringthe whole of the first act of The Flying Dutchman in making ushear the sound of the sea without interfering with the dramatic action.He has created a whole world in this style. How are we to explain sucha contradiction ? In a way as ingenious as it is simple. Yes, they say, 11 music has a right to be descriptive, but only o

Stockbilder mithilfe von Tags suchen

• bookcentury1900
• bookdecade1910
• bookidmode
• buchsubjektmusiker