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Liszt as Transcriber Hardcover


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Product Details

  • Hardcover: 314 pages
  • Publisher: Cambridge University Press; 1 edition (December 27, 2010)
  • Language: English
  • ISBN-10: 0521117771
  • ISBN-13: 978-0521117777
  • Product Dimensions: 9.8 x 7.1 x 0.9 inches
  • Shipping Weight: 1.7 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #2,894,381 in Books (See Top 100 in Books)

Editorial Reviews

Review

"Given Liszt's importance and lasting influence, this beautifully produced, excellently written and documented book will likely prove to be a useful-even necessary-addition to the personal libraries of pianists, students of the piano literature and researchers in the field of 19th century music/Romanticism, and to institutional music libraries with collections in these areas. Highly recommended." --MusicMediaMonthly

"An excellent new book ... Kregor's book gives a persuasive account of the importance of Liszt's transcriptions in contemporary musical politics." --NYRB

Book Description

Using a host of interdisciplinary methods and primary source materials, this book provides a comprehensive survey of Liszt's activities as transcriber. Kregor discusses transcriptions of works by Berlioz, Beethoven, Schubert, Wagner, and others, providing musical, cultural, and historical contexts for this fundamentally important practice of the nineteenth century.

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By klavierspiel VINE VOICE on July 13, 2012
Format: Hardcover
Franz Liszt is such an all-encompassing, prolific figure in nineteenth-century music history that to approach his art in detail at all most historians scrutinize but a few facets of his output. Liszt as Transcriber whittles even the category of Liszt's oeuvre that is its topic to a relatively few essential works: his arrangements of Berlioz' Symphonie Fantastique, Beethoven's Fifth Symphony, Schubert's Winterreise, operatic paraphrases of works of Weber and Wagner, and finally a handful of late, and to this reader quite unfamiliar transcriptions.

Author Jonathan Kregor examines the works he chooses in detail for what they reveal about, among other topics: Liszt's attitude toward musical reproduction; the role that such reproductions played in nineteenth-century concert life; what they reveal about Liszt's relationships with the various composers involved; and the part they played in bridging the gap between the virtuoso performer and innovative (and frequently harshly criticized) composer. There is a lengthy introductory chapter that begins with an examination of the relationship between musical transcription and literary translation, then proceeds to a general discussion of the aesthetics of keyboard transcription itself. Kregor demonstrates a talent for alternating between the broadly historical and the minutely detailed in a convincing manner. While his method does result in long digressions from the main topic of study, sometimes to the point of reader impatience, the end result is a solidly researched and newly insightful study of this nowadays fairly widely performed, but as yet very incompletely understood corner of Liszt's output.
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