The Collected Writings of Franz Liszt

In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadleys The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethovens harmonic inventions and innovative treatment of form in Fidelio, and argues for the latters incidental music to Goethes Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Webers Euryanthe as offering the most progressive musical characterizations and declamationeven more so than his popular work Der Freischtzand on how both works prefigure Wagners music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethovens, top honors for creating in Midsummers Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeers Robert the Devil paints a mental image of arts eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schuberts Alfonso and Estrella are too easily overlooked because of the musics melodic and lyrical supremacy; and offers in contrast Aubers Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellinis Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieus White Lady as a sublime depiction of literary music, and Donizettis Favorite as colored with a special type of imagery, a laterna magica, in Liszts hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entracte music as a pointless tradition that dethrones music and insults the artist and composer by making music a palate cleanser. This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his supportfinancial, literary, and musicalhelped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nations identity,as well as a thorough study of Liszts concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entracte music is presentedhow it began and how it developedto clarify Liszts stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.