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-Swadleyrsquo;s 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 Beethovenrsquo;s harmonic inventions and innovative treatment of form in Fidelio; and argues for the latterrsquo;s incidental music to Goethersquo;s Egmont as the epitome of music organicism; a complete unity of words and tone. He also comments on Weberrsquo;s Euryanthe as offering the most progressive musical characterizations and declamationmdash;even more so than his popular work Der Freischuuml;tzmdash;and on how both works prefigure Wagnerrsquo;s music dramas; awards Mendelssohn; whose genius Liszt ranks only slightly less than Beethovenrsquo;s; top honors for creating in Midsummerrsquo;s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeerrsquo;s Robert the Devil paints a mental image of artrsquo;s eternal flames; where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubertrsquo;s Alfonso and Estrella are too easily overlooked because of the musicrsquo;s melodic and lyrical supremacy; and offers in contrast Auberrsquo;s 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 Bellinirsquo;s Montague and Capulet (as well as its impact on nineteenth-century audiences); a look at Boieldieursquo;s White Lady as a sublime depiction of literary music; and Donizettirsquo;s Favorite as colored with a special type of imagery; a laterna magica; in Lisztrsquo;s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her; and Liszt proffers a critique of entrrsquo;acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a ldquo;palate cleanser.rdquo; This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his supportmdash;financial; literary; and musicalmdash;helped 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 nationrsquo;s identity;as well as a thorough study of Lisztrsquo;s 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 entrrsquo;acte music is presentedmdash;how it began and how it developedmdash;to clarify Lisztrsquo;s stance against it; making this volume a necessary read for music historians; serious musicians; and music connoisseurs alike.
#1365559 in eBooks 2014-10-21 2014-10-21File Name: B00P2VX5YK
Review
0 of 0 people found the following review helpful. its okayBy Sharon L. Sudanohas some neat ideas; think I still would prefer to do regular mosaics but may try some of these ideas on some things just to see how it works out.0 of 0 people found the following review helpful. Plaster MosaicsBy joan a donnellyThis book offers a quick; inexpensive way of upgrading everyday items along with creating new art pieces. Very good photos and instructions. I would recommend it to anyone; appeals to the crafty person or artist.0 of 0 people found the following review helpful. Pretty Projects but Lacks a LittleBy gojobooksThis is a colorful and informative book for the plaster artist. However; I was looking for a little more information on tools and possible electric tools that could shortcut some of the labor in creating in this method.
