Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
Edited By Antonio Baldassarre and Marc-Antoine Camp
Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title «Communicating Music», this Festschrift for Ernst Lichtenhahn’s 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.
„O altitudo!“ – Literarisches Motto und musikalischer Prozess in Franz Liszts „Bergsymphonie“; oder: Warum das Werk doppelt so lange dauert, wie manche möchten
„O altitudo!“ – Literarisches Motto und musikalischer Prozess in Franz Liszts „Bergsymphonie“
oder: Warum das Werk doppelt so lange dauert, wie manche möchten
Summary: Franz Liszt’s first symphonic poem “Ce qu’on entend sur la montange” also known as “Bergsymphonie” (composed in 1850 and first published in 1857) is based on the 1829 poem of the same title by Victor Hugo. To date research has given insufficient attention to the fact that Liszt included the biblical motto “O altitude!” (Romans 11:33) in the poetic programme of his work that Hugo set above his poem. This motto plays a significant role in Liszt’s composition with regard to both the characteristic of the specific over-all design and its understanding as the present chapter will demonstrate. Of particular concern in this respect are two choral-like sections of 42 bars with the indication “Andante religioso,” namely the first, in the middle of the work, and the second just before the quietly fading away end of the composition with an approximate performance duration of 30 minutes. They not only prove to be distinctive musical representations of the motto that have not thus far been noted but also much more important than first thought as they are in Hugo: Liszt provides broad space for all characteristic musical features (melody, rhythm, meter, character). These features not only contrast with the rest of the music but are also tantamount to an instrumental extension of the biblical citation “O...
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