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Franz Liszt and Camille Saint-Saens:...

Johnson, Lynne,

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Franz Liszt and Camille Saint-Saens: Friendship, mutual support, and influence /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Franz Liszt and Camille Saint-Saens: Friendship, mutual support, and influence // Lynne Johnson.
作者:	Johnson, Lynne,
面頁冊數:	1 electronic resource (327 pages)
附註:	Source: Dissertations Abstracts International, Volume: 71-10, Section: A.
Contained By:	Dissertations Abstracts International71-10A.
標題:	Biographies. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3378308
ISBN:	9781109405521

Franz Liszt and Camille Saint-Saens: Friendship, mutual support, and influence /
Johnson, Lynne,

Franz Liszt and Camille Saint-Saens: Friendship, mutual support, and influence /Lynne Johnson. - 1 electronic resource (327 pages)

Source: Dissertations Abstracts International, Volume: 71-10, Section: A.

The friendship between Camille Saint-Saens (1835-1921) and Franz Liszt (1811-1886) was among the most mutually beneficial of any two composers in the nineteenth century. They knew each other over thirty years and helped each other's careers in significant ways. Liszt promoted Saint-Saens as an outstanding musician and composer in his correspondence, premiered his cantata, Les Noces de Promethee, at Weimar in 1870, and made him a member of the Allgemeine Deutsche Musikverein at whose festivals Saint-Saens's works were performed. After Saint-Saens failed to generate interest in his opera, Samson et Dalila, in France, Liszt arranged for the work's premiere at Weimar in 1877. Finally, Liszt was a major influence on Saint-Saens's music, although the two maintained very different musical styles and aesthetics. Saint-Saens began playing piano transcriptions of Liszt's instrumental works in the 1860s, a time when Liszt's music was considered controversial. In his capacity as a music critic, Saint-Saens wrote articles, beginning in 1872, extolling Liszt's symphonic poems. In 1878, in gratitude for the successful premiere of Samson et Dalila at Weimar, Saint-Saens conducted a concert of Liszt's orchestral works in Paris. This concert has traditionally been viewed as a failure, but it was in fact reasonably well received by the audience, and it pleased Liszt, who heard about its success from friends. More importantly, the concert provided a stark contrast to the disastrous reception in Paris twelve years before of Liszt's Messe de Gran and helped to pave the way for Liszt's triumphant return to Paris in 1886. This friendship has tended to be ignored or downplayed by Liszt and Saint-Saens scholars due to the contrasting legacies of the two composers and their different ages, nationalities, and personalities. In truth, the two not only helped each other's careers but also delighted in each other's company and were a source of joy in each other's lives.

English

ISBN: 9781109405521Subjects--Topical Terms:

795061
Biographies.
Subjects--Index Terms:

Composer friendship

Franz Liszt and Camille Saint-Saens: Friendship, mutual support, and influence /
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520 $a The friendship between Camille Saint-Saens (1835-1921) and Franz Liszt (1811-1886) was among the most mutually beneficial of any two composers in the nineteenth century. They knew each other over thirty years and helped each other's careers in significant ways. Liszt promoted Saint-Saens as an outstanding musician and composer in his correspondence, premiered his cantata, Les Noces de Promethee, at Weimar in 1870, and made him a member of the Allgemeine Deutsche Musikverein at whose festivals Saint-Saens's works were performed. After Saint-Saens failed to generate interest in his opera, Samson et Dalila, in France, Liszt arranged for the work's premiere at Weimar in 1877. Finally, Liszt was a major influence on Saint-Saens's music, although the two maintained very different musical styles and aesthetics. Saint-Saens began playing piano transcriptions of Liszt's instrumental works in the 1860s, a time when Liszt's music was considered controversial. In his capacity as a music critic, Saint-Saens wrote articles, beginning in 1872, extolling Liszt's symphonic poems. In 1878, in gratitude for the successful premiere of Samson et Dalila at Weimar, Saint-Saens conducted a concert of Liszt's orchestral works in Paris. This concert has traditionally been viewed as a failure, but it was in fact reasonably well received by the audience, and it pleased Liszt, who heard about its success from friends. More importantly, the concert provided a stark contrast to the disastrous reception in Paris twelve years before of Liszt's Messe de Gran and helped to pave the way for Liszt's triumphant return to Paris in 1886. This friendship has tended to be ignored or downplayed by Liszt and Saint-Saens scholars due to the contrasting legacies of the two composers and their different ages, nationalities, and personalities. In truth, the two not only helped each other's careers but also delighted in each other's company and were a source of joy in each other's lives.
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