![]() Info on Lisztomania from Walker's biography vol. This shows that a publisher will be more successful playing to an audiences wants rather than their needs. James Deaville is his chapter, "Publishing Paraphrases and Creating Collectors: Friedrich Hofmeister, Franz Liszt, and the Technology of Popularity" part of Liszt and His World suggests that Lisztomania prompted amateur piano players to buy many of Liszt's works despite them being far out of their ability range. ![]() Few modern pianists could match that feat." Generally overlooked in the hullabaloo surrounding the Berlin concerts is a remarkable musical achievement: during his ten-week sojourn in the Prussian capital Liszt gave 21 concerts and played 80 works, 50 of them from memory. There is a rich supply of anecdotes from those years, part of that stock-in-trade material which his popular biographers have not been slow to use. Female admirers sought souvenirs in the form of hair clippings, cigar stubs and the dregs from his coffee cups. The behaviour of his audiences has been compared to the mass hysteria associated with revivalist meetings or 20th-century rock stars, and prompted Heine to identify the phenomenon as ‘Lisztomania’. Such images of the profligate Liszt still haunt the literature and colour the way we view his life. ‘Not like a king, but as a king’, wrote Rellstab in one of the best accounts we have of this visit. After a sensational series of concerts in the Singakademie (attended by Mendelssohn, Meyerbeer and Spontini, as well as the entire Prussian royal family), Liszt was driven to the Brandenburg Gate in a coach drawn by a team of white horses, with crowds lining the Unter den Linden bidding him farewell. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |