Liszt recomposed : exploring intertextual fluidity in song /

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Includes bibliographical references (pages [209]-219) and indexes.Part I. (Inter)textual preferences : the elusive quest for Urtexts in the Lieder of Franz Liszt ; Palimpsests : variants, recompositions, and resettings -- Part II. Crossing the horizon of expectations : the contemporaneous reception of Liszt's early Lieder ; The "virtuoso period" and "Weimar years" in the development of Liszt's Lieder style -- Part III. A selection box of fluid texts : contrasting revision processes in three of Liszt's Lieder ; "Not 'Carthage is to be destroyed', but 'Weimar is to be constructed'" : textual fluidity in Liszt's Goethe Lieder ; From the concert hall to the drawing room ... and back : Drei Lieder aus Schiller's "Wilhelm Tell" -- Epilogue -- Appendix: Transcriptions and translations of contemporaneous reviews of Liszt's Lieder (1843-9)."Explores Liszt's compositional processes and methods of revision as the product of the composer's interactions with a large variety of social, cultural, personal and political forces. Franz Liszt (1811-86) is mostly known for his virtuosic piano works, but his compositional achievements in the genre of song have so far been neglected. Many of Liszt's Lieder exist in multiple versions, sometimes radically altered, and many with equal claims to'authenticity'. This has sometimes been viewed as a barrier to performance and a hindrance to scholarly scrutiny. Nicolás Puyané now redresses this imbalance and draws attention to this rich and varied corpus of works. Liszt's songs contain a myriad of intertextual links, not just with the songs of other composers, but also with Liszt's own works in other genres and his own revisions. By focusing on the multi-version songs, the book uncovers how these intertextual relationships have evolved over time. Introducing the concept of'textual fluidity', the book explores Liszt's compositional processes and methods of revision, interpreting the work as being the product of the composer's interactions with a large variety of social, cultural, personal and political forces: for instance, the contemporaneous reception of Liszt's early Lieder, or the change in Liszt's performing and compositional environments from his virtuoso to his Weimar years. The book then offers close readings of selected songs, including the Goethe and Schiller Lieder, by applying the concept of textual fluidity. Its findings will impact the way in which we see Urtext editions, arguing instead for an online fluid-text edition as an ideal resource with which to study Liszt's multi-version compositions." --