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  • Franz Liszt: Smtliche Schriften, Vol. 5: Dramaturgische Bltter by Dorothea Redepenning;Britta Schilling; Detlef AltenburgReview by: Jay RosenblattNotes, Second Series, Vol. 48, No. 2 (Dec., 1991), pp. 454-456Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/942031 .Accessed: 18/06/2014 04:01

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  • NOTES, December 1991 NOTES, December 1991

    tion: "How do I listen?" "Can I verbalize view (pp. 73-76; 101-5), and then answers what I hear?" them (pp. 78-92; 105-23)-a didactically

    This book is quite accessible to non- helpful strategy. With its refreshingly di- philosophers. Apart from adopting a spe- rect approach the book could be used as an cial sense of 'intentionality' from analytic introduction to music aesthetics. philosophy, Kivy avoids technical language. His arguments are very clearly presented. NAOMI CUMMING In both chapters 5 and 6 he systematically The University of Adelaide, puts forward a number of objections to his South Australia

    tion: "How do I listen?" "Can I verbalize view (pp. 73-76; 101-5), and then answers what I hear?" them (pp. 78-92; 105-23)-a didactically

    This book is quite accessible to non- helpful strategy. With its refreshingly di- philosophers. Apart from adopting a spe- rect approach the book could be used as an cial sense of 'intentionality' from analytic introduction to music aesthetics. philosophy, Kivy avoids technical language. His arguments are very clearly presented. NAOMI CUMMING In both chapters 5 and 6 he systematically The University of Adelaide, puts forward a number of objections to his South Australia

    Franz Liszt: Samtliche Schriften, vol. 5: Dramaturgische Blatter. Edited by Dorothea Redepenning and Britta Schilling. Commentary by Detlef Altenburg, Dorothea Redepenning and Britta Schilling. Wiesbaden: Breitkopf & Hartel, 1989. [xv, 263 p. ISBN 3-7651-0236-9. DM106.00.]

    Franz Liszt: Samtliche Schriften, vol. 5: Dramaturgische Blatter. Edited by Dorothea Redepenning and Britta Schilling. Commentary by Detlef Altenburg, Dorothea Redepenning and Britta Schilling. Wiesbaden: Breitkopf & Hartel, 1989. [xv, 263 p. ISBN 3-7651-0236-9. DM106.00.]

    Although his great contemporaries Rob- ert Schumann and Hector Berlioz have long been respected for their literary out- put, Franz Liszt remains little read. The perception of Liszt as a crowd-pleasing vir- tuoso and "Don Juan parvenu" continues to stand in the way of his acceptance as a composer, and this resistance surely carries over to his writings. The charge, first se- riously leveled by Emile Haraszti in the 1930s, that Liszt himself was not respon- sible for the articles and books that ap- peared under his name, and that the real authors were Marie d'Agoult and Carolyne Sayn-Wittgenstein, has further diminished his credibility. Despite the evidence that has come to light in recent years suggesting the contrary, the accusation has been repeated often enough in the secondary literature to have acquired quasi-factual status. But per- haps most damagingly, whereas Schumann and Berlioz both attempted to put their respective literary houses in order, Liszt left the editing of his Gesammelte Schriften to his biographer, Lina Ramann. Though still alive at the time of publication (1880- 83), he appears to have had little to do with it, and it is doubtful that the resulting six volumes represented the form in which he wished his literary estate to be left to pos- terity. First, the "collected writings" are in no way complete, lacking several articles, especially from the 1830s. Second, the six volumes are in German, though Liszt wrote for the press almost exclusively in French. Third, Liszt's books on Chopin and the Gypsies, besides being in German, are pri- marily reworkings by Princess Sayn- Wittgenstein of the composer's work from

    Although his great contemporaries Rob- ert Schumann and Hector Berlioz have long been respected for their literary out- put, Franz Liszt remains little read. The perception of Liszt as a crowd-pleasing vir- tuoso and "Don Juan parvenu" continues to stand in the way of his acceptance as a composer, and this resistance surely carries over to his writings. The charge, first se- riously leveled by Emile Haraszti in the 1930s, that Liszt himself was not respon- sible for the articles and books that ap- peared under his name, and that the real authors were Marie d'Agoult and Carolyne Sayn-Wittgenstein, has further diminished his credibility. Despite the evidence that has come to light in recent years suggesting the contrary, the accusation has been repeated often enough in the secondary literature to have acquired quasi-factual status. But per- haps most damagingly, whereas Schumann and Berlioz both attempted to put their respective literary houses in order, Liszt left the editing of his Gesammelte Schriften to his biographer, Lina Ramann. Though still alive at the time of publication (1880- 83), he appears to have had little to do with it, and it is doubtful that the resulting six volumes represented the form in which he wished his literary estate to be left to pos- terity. First, the "collected writings" are in no way complete, lacking several articles, especially from the 1830s. Second, the six volumes are in German, though Liszt wrote for the press almost exclusively in French. Third, Liszt's books on Chopin and the Gypsies, besides being in German, are pri- marily reworkings by Princess Sayn- Wittgenstein of the composer's work from

    the 1850s. Only by ferreting out the orig- inal journals and monographs, many of them obscure, can the conscientious re- searcher read what Liszt wrote.

    The new Sdmtliche Schriften is the first attempt to collect all of Liszt's writings in a scholarly edition, and if the first volume to be issued is any indication, it will meet this need admirably. The editorial policy is state-of-the-art and well reflects the years of experience the general editor of the se- ries, Detlef Altenburg, has spent with the primary sources. Generally the last autho- rized version is taken for the main text, and the original orthography and punctuation are scrupulously maintained-with the ex- ception that the Fraktur type of German periodicals is printed in modern roman, while roman references from these sources are printed in italic. The editors have made it possible to have access to all other ver- sions, however, through a set of markings in the text that refer the reader to the list of variants in the critical apparatus. The system is simple to follow, and it is easy to reconstruct any given version of the text. Where another version differs significantly, the entire document is included as an ap- pendix. In addition, the French originals are translated into German on facing pages. All critical commentary is in Ger- man, but citations from Liszt's letters and other contemporary documents are given in the original languages (some languages, such as Russian, however, are quoted in German translation only). Each volume contains a brief general introduction, an introduction related to the essays within, and the texts themselves. An extensive

    the 1850s. Only by ferreting out the orig- inal journals and monographs, many of them obscure, can the conscientious re- searcher read what Liszt wrote.

    The new Sdmtliche Schriften is the first attempt to collect all of Liszt's writings in a scholarly edition, and if the first volume to be issued is any indication, it will meet this need admirably. The editorial policy is state-of-the-art and well reflects the years of experience the general editor of the se- ries, Detlef Altenburg, has spent with the primary sources. Generally the last autho- rized version is taken for the main text, and the original orthography and punctuation are scrupulously maintained-with the ex- ception that the Fraktur type of German periodicals is printed in modern roman, while roman references from these sources are printed in italic. The editors have made it possible to have access to all other ver- sions, however, through a set of markings in the text that refer the reader to the list of variants in the critical apparatus. The system is simple to follow, and it is easy to reconstruct any given version of the text. Where another version differs significantly, the entire document is included as an ap- pendix. In addition, the French originals are translated into German on facing pages. All critical commentary is in Ger- man, but citations from Liszt's letters and other contemporary documents are given in the original languages (some languages, such as Russian, however, are quoted in German translation only). Each volume contains a brief general introduction, an introduction related to the essays within, and the texts themselves. An extensive

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