Similarly, the commonplace equation of Liszt’s superstar status as a performer to the personality cult of rock musicians skews the picture to exaggerate just one phase of his career. ‘Next to the wonderful sense of order I derived from music, I learned the value of nonsense.’ These images reinforce the caricature of Liszt as a superficial showman - or even charlatan - and make it easier to dismiss his music altogether. It’s not unusual to find people who have learned to dissociate Wagner’s obnoxiousness from his music but who point disapprovingly to the Svengali–like effect Liszt was said to exert over swooning groupies (the “Liszto-mania” triggered by his virtuoso persona at the keyboard) or to the contradictions of his lifestyle: “Mephistopheles disguised as an Abbé,” in the phrase coined by a sardonic diarist. And much of the latter reverts to ad hominem attack, confusing the art with the artist. Aficionados of his music are often forced into defensive mode, while detractors stir up a strange brew of legitimate critique and annoyingly persistent cliché. Although recognized as a major figure of the turbulent Romantic era, his reputation remains shaky. Ironically, it was Liszt’s own unrelenting efforts on behalf of “the music of the future” - not only Wagner’s but other avant-garde voices of the era, including Berlioz’s - that helped establish the familiar paradigm whereby daring musical innovators are eventually vindicated by posterity.īut Liszt remains a case apart. Many have followed her lead and tend to think of Liszt as a Wagnerian pretender - a kind of entertaining sideshow to the real story of musical “progress” in the nineteenth century. She had him buried in Bayreuth near her recently deceased husband, Richard Wagner.īy keeping her father close by, literally overshadowed by Wagner’s grave, Cosima was trying to take control of Liszt’s legacy.
In spite of the claims of Hungary - the land of his birth - and the city of Weimar in central Germany - where he pursued some of his most significant musical achievements as a composer and a reformer - his daughter Cosima ended up winning the battle. Liszt had spent his career orbiting a wide swath of Europe, so there were conflicting proposals as to where he should be interred.
“FRANZ LISZT WAS a lightning rod for controversy throughout his long life, and even after: the moment he died (while attending the Bayreuth Festival in 1886), his corpse became the subject of a heated dispute.
#Franz liszt dracula series
Her Suite 44 premiered at our first Choreographers Spotlight Series in August 2021.His bicentennial encourages a fuller understanding of the much-maligned Franz Liszt “Memory preserves in our hearts the remembrances of loved ones taken away from this world too young-immortally beautiful in their youth, now sleeping Endymion’s sleep.” – Robert WeissĪmy Hall Garner’s Suite 44 with music by Dave Grusin and Kora Jazz Trio.Īmy Hall Garner was recently named Carolina Ballet’s Resident Choreographer for our 2022-2023 Season. When he choreographed Endymion’s Sleep, Weiss was inspired by Joan Didion’s The Year of Magical Thinking, her acclaimed memoir about coping with death. Robert Weiss’ Endymion’s Sleep with music by J.
“Life is filled with contradictions, yet our higher selves still strive to find the good in the bad and the beautiful in the ugly.” – Zalman Raffael Zalman Raffael’s Book of Contradictions with music by Franz Liszt.Ĭreated on Franz Liszt’s “Piano Concerto No.2 in A major S.125,” this ballet was entitled “book of contradictions” because the music evokes sounds of resistance and surrender.
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