liszt’s composer-mindset response to the critique of opera...

151

985172음악논단985173 39집 2018 한양대학교 음악연구소2018년 4월 151-195쪽 한양대학교

Lisztrsquos Composer-Mindset Response to the Critique of Opera Fantasy

Kim Hyun Joo

(이화여자대학교)

Our attitude toward opera fantasies of the past is still ambivalent today In his Nineteenth-Century Music (Die Musik des 19 Jahrhunderts) Carl Dahlhaus asserts that the fantasy was ldquoone of the nineteenth centuryrsquos paradigmatic virtuoso formsrdquo1) Nevertheless he considers the fantasy only an embodiment of art music taking on traits of sonata form and thus serving as a large-scale alternative to the sonata2) In his assessment the opera fantasy does not have its own historical and musical significance Leon Plantinga in his succinct comment about the fantasy acknowledges mid-nineteenth-

Research on this article has benefited from Postdoctoral Fellowships 2017ndash2019 awarded by the National Research Foundation of Korea (NRF-2017S1A5B5A01024846)

1) Carl Dahlhaus Nineteenth-Century Music trans J Bradford Robinson (Berkeley and Los Angeles University of California Press 1989) 137

2) Ibid 137ndash39 Compared with the harmonically closed forms of variation and rondo Dahlhaus saw the fantasy as suitable for taking on sonata-form principles to avoid a harmonically monotonous cycle The only example that Dahlhaus uses in this whole section is Lisztrsquos ldquoDante Sonatardquo (Apregraves une lecture de Dante 1837) ldquofantasia quasi sonatardquo as an embodiment of the transition from fantasy to sonata

152 김 현 주

century Paris as a musical center for cultivating the fantasyrsquos profit-driven market while denigrating the genre as merely something that ldquoembroiders on the most popular operatic tunesrdquo shows off virtuososrsquo ldquohandiworkrdquo and uses ldquosimplified formrdquo3) Charles Rosen is sympathetic to the prevailing view about the opera fantasy as a ldquobastard genrerdquo describing such pieces as ldquoonly strings of popular tunes arranged for virtuoso displayrdquo4) Despite his condemnation Rosen isolates Lisztrsquos Reacuteminiscences de Don Juan (1841) from the other supposedly superficial examples because of the composerrsquos musical ldquoself-portraitrdquo of the operatic material5)

Despite such ambivalence toward the genre Liszt as a composer of fantasies has been protected on the grounds of his dramatic integrity6) His opera fantasies have in fact received a significant amount of attention from a variety of perspectives7)

3) Leon Plantinga Romantic Music A History of Musical Style in Nineteenth-Century Europe (New York W W Norton 1984) 177

4) Charles Rosen The Romantic Generation (Cambridge MA Harvard University Press 1995) 528

5) Ibid 528ndash41 Along the same lines Richard Taruskin excludes the discussion of opera fantasy genre in his monumental history of Western music except for a brief discussion of Lisztrsquos Don Juan Taruskin The Oxford History of Western Music (New York Oxford University Press 2005) III 268ndash72Liszt is credited as having used the evocative term reacuteminiscences first See Alan Walker Franz Liszt Virtuoso Years 1811ndash1847 (New York Alfred Knopf 1983) I 167 n 12

6) Although this claim is confined to Lisztrsquos mature fantasies written in the early 1840s including Don Juan Les Huguenots and Norma and afterwards See Walker Franz Liszt I 314ndash15 Charles Suttoni ldquoPiano and Opera A Study of the Piano Fantasies Written on Opera Themes in the Romantic Erardquo (PhD Diss New York University 1973) 244ndash323 and Kenneth Hamilton ldquoThe Operatic Fantasies and Transcriptions of Franz Liszt A Critical Studyrdquo (PhD Diss University of Oxford 1989) passim

Lisztrsquos Composer-Mindset Response to the Critique of Opera Fantasy 153

The existing studies help to reorient our focus on Lisztrsquos fantasy as a shallow virtuosic showpiece toward an independent piece with a higher level of artistry Yet the majority of studies tend to limit their scope to the analysis of representative stylistic aspects of Lisztrsquos major opera fantasies also normally neglecting the individuality of other fantasy composers in favor of Lisztrsquos superiority to all others8) Most of all the previous studies rarely

7) Studies by Suttoni and Hamilton remain the most comprehensive investigations of the genre during its summit between 1830 and 1850 The numerous D M documents that appeared subsequently are indebted almost exclusively to the studies of those authors following the sequence of the general function of opera fantasy in musical life and the analysis of Lisztrsquos representative fantasy(ies) See also Jesse Parker ldquoThe Clavier Fantasy from Mozart to Liszt A Study in Style and Contentrdquo (PhD Diss Stanford University 1974) For Carl Czernyrsquos influence on Liszt and his early fantasies written between 1829 and 1835 see Michael Saffle ldquoLiszt and the Traditions of the Keyboard Fantasyrdquo in Liszt the Progressive ed Hans Kagebeck and Johan Lagerfelt Studies in the History and Interpretation of Music 72 (New York Edwin Mellen Press 2001) 151ndash85 Saffle ldquoCzerny and the Keyboard Fantasy Traditions Innovations Legacyrdquo in Beyond the Art of Finger Dexterity Reassessing Carl Czerny ed David Gramit (Rochester NY University of Rochester Press 2008) 202ndash28For the representative studies of Lisztrsquos individual fantasy in detail and depth see among others Jonathan Kregor ldquoOpera and Dramardquo in Liszt as Transcriber (Cambridge Cambridge University Press 2010) 149ndash85 Kenneth Hamilton ldquoReminiscences of a ScandalmdashReminiscences of La Scala Lisztrsquos Fantasy on Mercadantersquos lsquoIl giuramentorsquordquo Cambridge Opera Journal 5 (1993) 187ndash98

8) Whereas the presumption among scholars indicates that Liszt was the first to approach an opera-fantasy composition from a dramatic perspective the recent studies have begun to reassess such a view as highly debatable given that Liszt was not the sole composer who restructured operatic material into independent compositions For instance in her study of the Norma fantasies written by the Parisian virtuosos in the 1830s and 1840s Alicia Cannon Levin argues that already in the 1830s the fantasies based on the themes from Bellinirsquos Norma including Ignaz Moschelesrsquos Souvenirs de Norma (1834) exhibit dramatic unity and progression over the course of the piece Levin

154 김 현 주

place Lisztrsquos fantasies in the broader context of the genre particularly contemporary views about it9)

My approach to Lisztrsquos fantasies is neither to reiterate the claim of Liszt as ldquothe only true master of the opera fantasyrdquo as Rosen puts it nor to discuss Lisztrsquos widely known compositional techniques from an analytical perspective10) I do address the idea of Liszt as a fantasy composer situating that idea within the broader context of contemporary criticism on the genre Through this cultural perspective Lisztrsquos fantasies can be reassessed and redefined in a more nuanced manner By doing so I propose several types of ldquoanxietyrdquo underlying criticism of the fantasy genre anxiety about artwork as commodity anxiety about becoming a composer over a performer anxiety about formal constraint and anxiety about ideas and contents Such anxieties reveal not only what is considered insufficient in the prevailing fantasies but also what composers were striving for and aspiring to in writing a fantasy based almost exclusively on the standards of elite critics and reviewers of Lisztrsquos time

Then I will turn to Lisztrsquos responses to those anxieties through his distinctive strategies in writing his fantasies By considering his Reacuteminiscences de Norma de Bellini Grande fantaisie (hereafter Lisztrsquos Norma fantasy or Norma) written around the same time as his Don Juan in 184111) I will demonstrate his

ldquoSeducing Paris Piano Virtuosos and Artistic Identity 1820ndash48rdquo (PhD Diss University of North Carolina at Chapel Hill 2009)

9) Although Levin (ldquoSeducing Parisrdquo) places Lisztrsquos Norma in the broader context of the genre as commodity Lisztrsquos Norma is conversely given only a passing mention in favor of other virtuosirsquos fantasies

10) Rosen Romantic Generation 528 11) Compared with Lisztrsquos Don Juan fantasy his Norma fantasy has

received a little scholarly attention Nevertheless brief admirable


individual approach to Norma including his use of the material beyond familiar operatic tunes his focus on character portrayal his reinvention of the virtuosic fantasy finale and his achievement of formal solidity Throughout my goal is to show not merely how Liszt attempted to dissociate himself from the current trend of the genre as has been claimed but how such attempts helped to underscore his composer-mindset as diametrically opposed to a performer-mindset or the mere virtuoso display normally associated with the fantasy genre In this context his Norma documents his desire to surpass the domain of virtuoso and acquire the credence of a composer even during his glorious virtuoso years

The material I draw on encompasses a variety of writing about the opera fantasies played by virtuosi in general and Liszt in particular12) Although contemporary accounts of Lisztrsquos playing are copious and conspicuous ones about his opera fantasies are

analyses of the fantasy are offered in Suttoni ldquoPiano and Operardquo 298ndash314 Hamilton ldquoOperatic Fantasiesrdquo 136-44 and Walter Schenkman ldquoLisztrsquos Reminiscences of Bellinirsquos Normardquo American Liszt Society Journal 9 no 1 (June 1981) 55ndash64 Schenkman focuses on the possible influence of Lisztrsquos version of the ldquoPiange pregardquo on Wagnerrsquos ldquoLiebestodrdquo from Tristan und Isolde see also David Kimbell ldquoLisztrsquos Reacuteminiscences de Normardquo in Vincenzo Bellini Norma Opera Handbooks (New York Cambridge University Press 1998) 126ndash30

12) The opera fantasy along with other small-scale virtuosic repertoire such as variations rondos and improvisations was often a target for critics in the midst of anti-virtuoso polemics The sources on anti-virtuoso critiques is thus useful for this study Among others Žarko Cvejićrsquos study is instrumental to this paper Cvejić The Virtuoso as Subject The Reception of Instrumental Virtuosity c1815ndashc1850 (Newcastle upon Tyne Cambridge Scholars Publishing 2016) It is also necessary to note that opera fantasies were also played by amateurs however this is not considered in this study which focuses primarily on the fantasies performed and composed by professional touring virtuosi

156 김 현 주

relatively scanty However the critiques of the fantasies of his time especially those of Sigismund Thalbergrsquos fantasies will provide an effective foil to Lisztrsquos distinctive approach to the genre Thalberg will be therefore a significant comparison throughout this paper Needless to say the legendary duel between Liszt and Thalberg in 1837 has often led to comparative studies of the two composers13) Instead I will use the essays Liszt wrote at the height of his rivalry with Thalberg as well as the critiques of Thalbergrsquos fantasies as a fascinating site to reveal how challenging or antithetical Lisztrsquos own strategies became to his rivalrsquos achievements which represent the standard of the fantasy of the time ultimately reinventing himself as a fantasy composer

Frenetic Accounts of Opera Fantasy

Thalberg constructed his early outstanding reputation in Paris almost solely on his performances of his own fantasias14) His

13) The stories surrounding the LisztndashThalberg duel have received a great attention from contemporaneous critics through recent musicologists including the issues of Lisztrsquos notorious review of Thalbergrsquos works prior to the duel Franccedilois-Joseph Feacutetisrsquos critical attack on Lisztrsquos review and the incessant comparisons of the two artists in the press See Walker Franz Liszt I 232ndash43 and for a more comprehensible discussion on the subject particularly including a different audience profile and musical taste surrounding the legendary duel see Gooley ldquoLiszt Thalberg and the Parisian Publicsrdquo in Virtuoso Liszt 18ndash77 In the realm of opera fantasy the comparison between Liszt and Thalberg from an analytical point of view is prevalent as found in the studies of Suttoni ldquoPiano and Operardquo and Hamilton ldquoPiano and Operardquo

14) Thalbergrsquos teacher Czerny singled out the virtuoso as a model for opera-fantasy composer ldquothe chief aim of the composer must be always to remain tasteful and interesting to stretch out no passage too much and to preserve the most beautiful and animated ideas for the


fantasy on themes from Rossinirsquos Moiumlse Fantaisie sur des thegravemes de ldquoMoiumlserdquo Op 33 (1837) in particular is the single most important piece that contributed to such a reputation15) Intriguingly this fantasy is comparable to Liszts Reminiscences de Robert le Diable (1841) in its context of frantic reception16) Lisztrsquos fantasy on Robert le Diable aroused audiences and palpably encroached upon a benefit concert with the Belgian violinist Joseph Lambert Massart (presumably in the early 1840s) as Charles Halleacute witnessed

Massart was just commencing the first bar of the introduction when a voice from the audience cried out ldquoRobert le Diablerdquo At that time Liszt had composed a very brilliant fantasia on themes from that opera and played it always with immense success The call was taken up by other voices and in a moment the cries of ldquoRobert le Diablerdquo ldquoRobert le Diablerdquo drowned the tones of the violin Liszt rose bowed and said ldquoJe suis toujours lrsquohumble serviteur du public mais est-ce qursquoon desire la fantaisie avant ou apregraves la sonaterdquo [ldquoI am always the humble servant of the public

end To these qualifications Thalbergrsquos Fantasies are indebted for their generally acknowledged effectrdquo Czerny School of Practical Composition trans John Bishop (London R Cocks 1848) I 87

15) Hamilton ldquoOperatic Fantasiesrdquo 2 Gooley Virtuoso Liszt 24 16) In the case of Thalbergrsquos Moiumlse fantasy Henri Blanchard an avid

advocate of the composer reported how the fantasy intruded upon a benefit concert of Theodor Doumlhler in 1838 that Thalberg attended ldquolsquoMr Thalberg is requested by the public to play the fantasy on MoiumlsemdashBravo Bravo Yes Moiumlse MoiumlsersquomdashAnd Thalberg responding to these flattering invitations came with that modest air you know in him and played the piece with his two handsrdquo Henri Blanchard Revue et gazette musicale 5 no16 (22 April 1838) 168 cited in Gooley Virtuoso Liszt 25

158 김 현 주

but do you desire fancy before or after the sonatardquo] Renewed cries of ldquoRobert Robertrdquo were the answer He[Liszt] did play the fantasia magnificently rousing the public to a frenzy of enthusiasm then called Massart out of his retreat and we had the ldquoKreutzerrdquo which somehow no longer seemed in its right place17)

Schumann appreciated the public enthusiasm for Thalbergrsquos Moiumlse Fantasy ldquowhen the Maestro [Thalberg] rises from the piano the public will barely be satisfied and invite him cheering to sit down again and then the same stormy effect Who does not gladly look on a public excited to enthusiasmrdquo18) At the

17) The concert was given in the ldquoSalle du Conservatoirerdquo Sir Charles Halleacute The Autobiography of Charles Halleacute with Correspondnece amp Diaries ed Michael Kenney (London Elek 1972) 104ndash5For the record Lisztrsquos Reminiscences de Robert le Diable sold over five hundred copies and was reprinted at once Gazette Musicale 10 October 1841 447 Walker Liszt I 167 Naturally this had led to inquiry about who purchased Lisztrsquos published fantasies which go beyond the capabilities of an amateur pianist Suttoni (ldquoPiano and Operardquo 307) surmises that the public would have estimated the virtuosorsquos compositional and performing abilities through his printed music and based their opinion of the virtuoso on it From another direction James Deaville argues that ldquothe difficulty of a piece of Liszt hellip did not hinder its salesrdquo based on the Hofmeister printing of Liszt publications consumers considered Lisztrsquos printed music as souvenirs of his performances although they have no hope of mastering it Deaville ldquoPublishing Paraphrases and Creating Collectors Friedrich Hofmeister Franz Liszt and the Technology of Popularityrdquo in Franz Liszt and his World ed Christopher Gibbs and Dana Gooley (Princeton NJ Princeton University Press 2006) 260ndash61

18) Schumann ldquoSigism Thalbergrdquo in Gesammelte Schriften uumlber Musik und Musiker 1854 5th ed ed Martin Kreisig (Leipzig Breitkopf amp Haumlrtel 1914) I 410 cited in Alexander Stefaniak Schumannrsquos Virtuosity Criticism Composition and Performance in Nineteenth-Century Germany (Bloomington Indiana University Press 2016) 48


same time as will be further fleshed out below Schumann was contemptuous of some of Thalbergrsquos fantasies and by extension the fantasy genre in general Such a complex overlap of contradictory views about the fantasy genre is not uncommon at that time Behind the ambivalent attitudes toward a fantasy lies several types of ldquoanxietyrdquo about the genre as will be proposed below

Anxiety about an Artwork as Commodity

The genre of opera fantasies performed by virtuosi was problematic On the one hand it aroused the grand public by its appeal to popular melodies and technical brilliance dominating virtually every concert program from 1830 to 186019) and it supplied advertisement and profit-making for both composers and publishers On the other hand these same popular qualitiesmdashthe fantasy as commodity crowd-pleasing and familiarmdashwere precisely the instigators of the critical reception

Virtuoso pieces as commodity normally received critical scorn 20) Liszt could be easily criticized because he always knew how to exploit profit-making fully in each concert Yet in his famous essay on ldquoLetters of a Bachelor of Musicrdquo Liszt himself deplored

19) Suttoni ldquoOpera Paraphraserdquo in The Liszt Companion ed Ben Arnold 179ndash91 (Westport CT Greenwood Press 2002) 179

20) For instance the ldquoUnsignedrdquo author of Neue Zeitschrift fuumlr Musik wrote a lengthy satirical article about ldquoThalbergrsquos Concertsrdquo on 27 May 1842 in which he ridiculed Thalberg as caring only for money [Unsigned] ldquoThalbergrsquos Concerterdquo Neue Zeitschrift fuumlr Musik 27 May 1842 172 cited in Cvejić Virtuoso as Subject 197 The writer construed the composer as ldquohappy as a bourgeois winning a game of dominoes at the coffeehouserdquo vergnuumlgt wie ein Buumlrger der im Kaffeehause eine Partie Domino gewonnen

160 김 현 주

the commodification of the arts

Also what do we see most commonly nowadays Sculptors No manufacturers of statues Painters No manufacturers of paintings Musicians No manufacturers of music Everywhere artisans nowhere artists And this creates cruel suffering for one who was born with the pride and wild independence of the true children of art21)

In two series of articles ldquoLetters of a Bachelor of Musicrdquo as quoted above and ldquoOn the Situation of Artists and their Condition in Societyrdquo Liszt expressed his contempt for money and fame criticized the shallow genres such as caprices and fantasies he himself performed and apologized for his liberal alterations to the works of the great masters22) Robert Wangermeacutee speculates that while exploiting his success fully during his career as a virtuoso in the 1830s Liszt had

21) F Liszt ldquoLettre drsquoun bachelier egraves-musiquerdquo Gazette musicale 16 July 1837 339ndash43 at 340 Aussi que voyons-nous le plus habituellement de nos jours Des satuaires non des fabricants de statues Des peintres non des fabricants de tableaux Des musiciens non des fabricants de musique partout des artisans enfin nulle part des artistes Et crsquoest encore lagrave une souffrance cruelle pour celui qui est neacute avec lrsquoorgueil et lrsquoindeacutependance sauvage des vrais enfants de lrsquoart A slightly different translation in Liszt An Artistrsquos Journey Lettres drsquoun bachelier egraves musique 1835ndash1841 trans Charles Suttoni (Chicago amp London The University of Chicago Press 1989) 30

22) Revue et gazette musicale 4 (12 February 1837) 5 (11 February 1838) Franz Liszt Pages romantiques ed Jean Chantavoine (Paris F Alcan 1912) 104 138 For references to English translations of the essays see Liszt Artistrsquos Journey 17ndash18For a critical edition of the Situation essays see Liszt Saumlmltiche Schriften ed Detlef Altenburg ed Rainer Kleinertz (Wiesbaden Breitkopf amp Haumlrtel 2000) I 1ndash75 Ralph Locke ldquoLiszt on the Artist in Societyrdquo in Franz Liszt and his World 291ndash302


experienced a ldquoguilty consciencerdquo the moral dilemma typical of conscientious virtuosos of the 1830s in their aesthetic and ethical ambitions23) While exhibiting his inimitable technical mastery and lucrative operatic fantasies in public Liszt passionately wished to establish his reputation as a true artist by associating himself with the intelligentsia of the time Lisztrsquos moral and intellectual anguish of a ldquotrue artistrdquo is inseparable from the contemporaneous anxiety about the commodification of arts

Fantasies Female Virtuoso Attributes and Marketing Strategy

The musical attributes of the fantasies are inextricably bound to the commodification of the genre According to Alicia Cannon Levinrsquos studies the opera fantasies of Norma written in the 1830s prior to Lisztrsquos in 1844 were dedicated to female pianists of the time24) This cultural phenomenon suggests that compositional approaches to fantasy particularly associated with technical demands remained within the bounds of amateur

23) Robert Wangermeacutee ldquoConscience et inconscience du virtuose romantique Agrave propos des anneacutees parisiennes de Franz Lisztrdquo in Music in Paris in the Eighteen-Thirties ed Peter Bloom 533ndash73 (Stuyvesant NY Pendragon Press 1987) 556

24) Alicia Cannon Levin (ldquoSeducing Parisrdquo 198) provides a table that delineates several pairs of composers and their corresponding dedicatees including Czerny and Mlle le Cointe as well as Kalkbrenner and Mme la Duchesse drsquoOrleacuteans However the inclusion of Liszt and his dedicatee Mme Marie Pleyel as I will discuss below is not entirely appropriate for this context partly because of the significant difference in compositional approach to fantasy between the 1830s for the former pairs and the 1840s for cases such as Lisztrsquos Although Levin clearly acknowledges and points out such a difference the table could be easily misinterpreted

162 김 현 주

female pianists25) Virtuosi of Lisztrsquos time could hardly have made their name in the marketplace had they not also written music that the amateur pianists could wish to perform Liszt appeared to engage with the genrersquos musical attributes by dedicating his Norma fantasy to one of the few prominent female pianists of the time Marie Pleyel (1811ndash1875)26)

Yet his dedication is less associated with a suitable approach to amateur female pianists than appears on the surface Pleyel was one of the few widely recognized virtuoso female pianists not an amateur In fact an anonymous writer in Musical World compared her to Liszt ldquoWe shall not speak of the masculine players such as Liszt Thalberg But of the female executants Madame Pleyel [neacutee Moke] is the Liszt She is the veritable empress of the instrumentrdquo27) Liszt would have been merely

25) For instance Farrencrsquos fantasy on Norma which comprises five ornamental variations exhibits a restrained approach to the keyboard deploying finger-centered passagework such as scales and ornamental turns Levin ldquoSeducing Parisrdquo 198 Such a technical property as Katherine Ellis points out embodies the principles of the jeu-lieacute school which represented the feminized qualities of keyboard playing characterized as less virtuosic and less physically technical For jeu-lieacute playing see Katharine Ellis ldquoFemale Pianists and Their Male Critics in Nineteenth-Century Parisrdquo Journal of the American Musicological Society 50 (1997) 363ndash66 particularly at 366

26) Lisztrsquos letter of dedication to Pleyel written in January 1844 appeared as a preface to the first edition of the piece published by Schott It was also reprinted in a number of journals of the time including Le Meacutenestrel (4 February 1844) See Charles Suttonirsquos translation of the whole preface in his article ldquoLisztrsquos Letters Reacuteminiscences of Normardquo Journal of the American Liszt Society 8 (1980) 77ndash78The preface helped to pave the way for the female virtuosorsquos triumphant return to Paris in which she performed the Norma fantasy in 1845 Ellis ldquoFemale Pianistsrdquo 359ndash60 points to the phenomenal concerts of female concert pianists in the years 1844ndash45 in Paris of which Pleyel was in the forefront


employing a marketing strategy in his dedication to Pleyel but he clearly recognized the essence of the female virtuoso who boasted virtuosic prowess on a par with the male virtuosos of that time For that reason Liszt ldquochargedrdquo his fantasy with brilliant bravura explicitly relating it to Pleyelrsquos capability in his dedicatory letter with a flattering tone28) Pleyel was thus an appropriate candidate for Liszt to fulfill the double demands of attracting consumers and displaying the height of his own virtuosity

Intriguingly several decades after his dedication to Pleyel in 1886 Liszt himself recalled the event in this manner

At that time Mme Pleyel wanted a piece with Thalbergian brilliance from me Therefore I dedicated the Norma Fantasia to her and wrote her a fine witty letter When I then ran into Thalberg I said to him ldquoI have copied all of you thererdquo ldquoYesrdquo he replied ldquothere are Thalbergian passages in it which are quite indecentrdquo29)

27) [Unsigned] ldquoReception of Madame Pleyel by the English Pressrdquo The Musical World 21 no 21 (23 May 1846) 239ndash41 Cvejić Virtuoso as Subject 236 Similarly Henri Blanchard also described Pleyel in 1845 ldquoShe is more than a man than a great artist she is more than a pretty woman at the piano she has no gender following the picturesque expression which she herself employsrdquo Revue et Gazette Musicale 12 no 5 (2 February 1845) 38 cited in Ellis ldquoFemale Pianistsrdquo 376

28) ldquoa Fantasy all charged and supercharged with arpeggios octaves and with those drab commonplaces self-styled as brilliant and extraordinary with your inimitable fingers I have not the slightest doubt that they will present themselves as something new and produce the most magnificent effectrdquo Suttoni ldquoLisztrsquos Lettersrdquo 77ndash78 Walker Franz Liszt I 389

29) August Goumlllerich Franz Liszt (Berlin Marquardt [1908]) 184 Mme Pleyel wollte seiner zeit durchaus ein Stuumlck mit Thalberg-Brillanz von mir Ich widmete ihr deshalb die Norma-Phantasie und schrieb ihr dazu

164 김 현 주

Although Lisztrsquos brilliant style of fantasy ostensibly stems from Pleyelrsquos request the letter cited above informs us otherwise that the virtuosic elements aimed essentially at expanding Thalbergrsquos brilliant style to a higher peak of virtuosity Charles Suttoni asserts that Liszt was clearly conscious of even annoyed at the pressrsquos relentless connection of him with Thalberg and thus determined to surpass Thalbergrsquos style the most successful result was his Norma30) Lisztrsquos dedication to Pleyel therefore also relates to a close relationship between Lisztrsquos Norma and Thalbergrsquos Furthermore Thalbergrsquos comment about ldquoindecentrdquo suggests Lisztrsquos substantial transformations of the traditional fantasy represented by Thalberg as will be further discussed in the section on ldquoLiszt Composing His Fantasyrdquo

Anxiety toward a Mere Performer over a Composer

One common thread running through criticism of the opera fantasy is the superiority of composition over performance As addressed in the critique below Thalbergrsquos fantasies become antithetical to the idea of him as ldquoa composerrdquo

As a composer apart from some pretty songs he has so far appeared only in those works that stand in tightest unity with

einen guten witzigen Brief Als ich Thalberg dann trag sagteich zu ihn ldquoDa habe ich ihnen alles abgeschriebenrdquo ldquoJardquo erwiderte er ldquoes sind Thalberg-Passagen darin die schon indezent sindrdquo Slightly different translations in Hamilton ldquoOperatic Fantasiesrdquo 48 and Suttoni ldquoLisztrsquos Lettersrdquo 77 n 3

30) Suttoni ldquoOpera Paraphrasesrdquo 183 Kenneth Hamilton also believes that Liszt wrote his Norma ldquoas an apotheosis of the Thalbergian keyboard stylerdquo Hamilton ldquoOperatic Fantasiesrdquo 48


his virtuosity His fantasies on Moses [Rossinirsquos Moiumlse et Pharaon] den Hugenotten [Meyerbeerrsquos Les Huguenots] Don Juan [Mozartrsquos Don Giovanni] etc are charged with his singular playing technique31)

From the criticrsquos standpoint Thalbergrsquos achievements in a series of fantasies pertained not to the realm of composition but to the domain of performance ldquocharged with his singular playing techniquerdquo His fantasies although drawing on the grandiosely produced operas of the time are thus merely in the ldquotightest unity with his virtuosityrdquo The critic would have liked to have seen Thalberg as a composer not a performer and namely a mere virtuoso

The hierarchy between composer and performer continues in the critique of Liszt Schumann witnessed the virtuoso unable to find himself as a composer

If he [Liszt] attained unbelievable heights as a player the composer was left behind and fascinated by Paganini who suddenly appeared on the scene he has been moved to go even further with his instrument and strive for the most extreme effects So we see him (for example in his Apparitions) indulging in murky fantasies or in an almost blaseacute indifference while at other times he strives for reckless virtuosity irreverent and half mad in its boldness

31) [Unsigned] ldquoNachrichten S Thalberg Grande Sonate pour le Piano Op 56rdquo Allgemeine musikalische Zeitung 19 February 1845 117ndash18 cited in Cvejić Virtuoso as Subject 182 Als Componisten hat er bisher ausser in einigen huumlbschen Liedern sich nur in solchen Werken die mit seiner Virtusenrichtung im engsten Zusammenhange standen gezeigt Seine Fantasieen aus Moses den Hugenotten Don Juan u s w sind auf jene ihm eigenthuumlmliche Technik des Vortrags berechnet

166 김 현 주

The sight of Chopin apparently first brought him to his senses Chopin always has form and under the marvelous structures of his music he always spins out a red thread of melody But now it was too late for the towering virtuoso to regain what he lacked as a composer But if Liszt with his eminently musical nature had devoted to himself and to composition the time he has given to his instrument and to other masters he would be I believe a significant composer32)

Although Schumann did not specify any virtuosic genre there is no doubt that he wished to see a ldquocomposerrdquo mindset in a virtuosorsquos oeuvre In Schumannrsquos view Liszt was not a composer yet although he had accomplished ldquounbelievable heights as a playerrdquo The virtuosorsquos ldquoindulging in murky fantasiesrdquo and ldquoreckless virtuosityrdquo all led Schumann to deplore that Liszt had not devoted himself to becoming a ldquosignificant composerrdquo

Moreover Schumann points to the virtuosorsquos striving for ldquothe most extreme effectsrdquo on the piano This statement runs a parallel with the Neue Zeitschrift writerrsquos on Thalberg that ldquothe originality of musical thoughts is subordinated to his striving for new instrumental effectsrdquo33) The innuendo is clear The ldquoeffectsrdquo

32) Neue Zeitschrift fuumlr Musik 11 (1839) 121ndash22 cited in Leon Plantinga Schumann as Critic (New Haven Yale University Press 1967) 217

33) The review of 1839 published under the name ldquoWrdquo from the Neue Zeitschrift discussed Thalbergrsquos recital which again includes a fantasia on Rossinirsquos Moiumlse describing the virtuosorsquos prowess at the keyboard while simultaneously condemning his music and playing as ldquoa constant resignation of the composer in the virtuosorsquos favour a continuing concession from the writing to the playing artisthellip For him the originality of musical thoughts is subordinated to his striving for new instrumental effectsrdquo W ldquoTagesbegebenheitenrdquo Neue Zeitschrift fuumlr Musik 11 January 1839 15ndash16 cited in Cvejić Virtuoso as Subject 167


are associated with performance and thus opposed to original ideas or something serious inherent in a composition Only a composition is qualified as original music-making whereas a performance is conceived of as mere imitation of effects

Furthermore Schumannrsquos comparison of Chopin and Liszt once again carries a connotation of compositionrsquos prestige over performance Whereas ldquoChopin always has formrdquo and his treatment of the melody always operated within ldquothe marvelous structuresrdquo of music Liszt lacks those qualities Here the ldquoformrdquo of music in Schumannrsquos sense is a musical element which regulates the melody or theme Schumann thus criticized not only the lack of form but also the lack of regulatory control over a melody in Lisztrsquos music For this reason Liszt albeit ldquothe towering virtuosordquo is hardly credible as a composer (ldquowhat he lacked as a composerrdquo) Intriguingly Schuman addressed the ldquoformrdquo and ldquostructuresrdquo of music in much the same manner that critics valued formal plans associated with the sonata genre while denigrating the fantasy genre as will be addressed below

Anxiety about the Lack of Formal Constraint Fantasy Like a

Sonata

In critical attacks on the fantasy the genre is placed in stark contrast with the sonata For instance an unsigned writer in Allgemeine musikalische Zeitung draws on such a contrast when he deplores the path of the pianistndashcomposer Friedrich Kalkbrenner and the genre of fantasy ldquoWhy does Kalkbrenner who followed a more elevated course before now live only to satisfy the demands of fashion There are fantasias in

168 김 현 주

abundance Why does Kalkbrenner not think of the dignified forms of sonatas etcrdquo34) The reviewer establishes an unequivocal hierarchy between fantasy and sonata construing the latter as an elevated and ldquodignifiedrdquo form

Ironically the fantasy was well-received and even considered praiseworthy when it preserved certain characteristics associated with the sonata Such a case is well illustrated in Stephen Hellerrsquos Piano Fantasia Op 54 reviewed by ldquoA Krdquo in Allgemeine musikalische Zeitung in 1846 ldquoBecause of its strong construction planned composition this piece of music could in any case bear a title other than that of fantasia under which so many composers today unite incoherent fragmentsrdquo35) The

34) [Unsigned] ldquoRecensionen Kompositionen fuumlr Pianoforte F Kalkbrennerrdquo Allgemeine musikalische Zeitung 2 February 1841 95 Warum nur Kalkbrenner der fruumlher einer houmlheren Richtung nachstrebte doch den Forderungen der Mode so sehr zu Gefallen lebt Phantasieen gibt est in Ueberfuumllle Warum denkt Kalkbrenner nicht wieder an die gediegenen Formen der Sonaten u s w Cited and a slight different translation in Cvejić Virtuoso as Subject 196Kalkbrennerrsquos Grande Fantaisie et variations brillantes published in 1834 was one of the early fantasies on the themes from Norma composed in the 1830s The piece exhibits a typical improvisatory introduction followed by theme and two ornamental variations

35) A K ldquoRecensionenrdquo Allgemeine musikalische Zeitung 15 July 1846 470 Diesen Musikstuumlck koumlnnte bei seiner festen Construction seiner planmaumlssigen Anlage allenfalls einen anderen Titel als den der Fantasie worunter so viele heutige Componisten zusammenhanglose Fragmente vereinigen vertragen cited and a slightly different translation in Cvejić Virtuoso as Subject 198Conversely it is an intriguing counterargument to the criticism above that if a sonata is constructed like a fantasy it is condemned as one reviewer saw the lack of a formal logic within the musical structure of Lisztrsquos sonata which ldquois more a fantasy a framework for a symphonic poem than a sonata New things require new names why keep the classic designation for a work whose liberty of form is driven to excessrdquo Bannelier Revue et gazette musicale 47 no 17 25 April 1880 133 cited in Katherine Ellis Music Criticism in Nineteenth-Century


implications are explicit Although the fantasy normally follows a certain structure of an introduction followed by a theme and variations concluding with a rousing finale it relies on the ideas of improvisation and elaboration which pertain to the realm of performance36) The fantasy lacks regularity coherence and discipline which otherwise regulate and characterize the sonata37) The former could therefore not surpass the sonata

Then how can fantasy composers accomplish formal coherence and regularity in the same way that sonata composers would Or would it be necessary to consider such aspects as unification and constraint when writing a fantasy which focuses primarily on free improvisatory and potpourri qualities Liszt appears to strive to facilitate a logical process in the fantasyrsquos structure which otherwise contains disparate materials We will revisit these issues in the section on Formal Solidity below

France 15436) Carl Czerny who espoused the rules of keyboard fantasies in his

treatises (as addressed below) underscored the art of improvisation as the keyboard virtuosorsquos ldquospecial obligationrdquo in the fantasy genre and provided some improvisation manuals For Czernyrsquos treatises see School of Practical Composition Complete Treatise on the Composition of All Kinds of Music Op 600 3 vols trans John Bishop (London R Cocks 1848) and Systematic Introduction to Improvisation on the Pianoforte Op 200 trans and ed Alice Mitchell (New York Longman 1983) For the quoted words see Czerny Systematic Introduction 1

37) The debate over fantasia versus sonata has its history in the keyboard literature from the late eighteenth century onwards For a discussion of the distinction between sonata and fantasy espoused by Heinrich Koch and C P E Bach respectively see Timothy Jones Beethoven The ldquoMoonlightrdquo and Other Sonatas Op 27 and Op 31 (Cambridge Cambridge University Press 1999) 58

170 김 현 주

Anxiety about the Lack of Ideas and Contents Schumannrsquos

Critiques

Schumann often heaped scorn on the Parisian virtuosos He hardly found any merit in virtuosic genres particularly a fantasy and a set of variations which dominated the music markets as well as the concert stage and programs and which almost all of the musical journals advertised enthusiastically What discouraged Schumann was the style of the fantasy which was nothing but a potpourri and utterly familiar as he made clear in reviewing Theodore Doumlhlerrsquos Fantasia and Bravura Variations on a Theme of Donizetti Op 17 ldquoMeanwhile there are nothing but brilliant variations on a theme of Donizettimdashand you know all about them in advancerdquo38) The presumption about the fantasy genre is clear it lacks original ideas Clara Schumann the lifelong supporter of Robert also found only ldquomechanical virtuosityrdquo in ldquoconcert pieces like etudes by Henselt fantasies by Thalberg Liszt etcrdquo which became ldquototally repugnantrdquo to her39) The Schumanns essentially

38) Neue Zeitschrift fuumlr Musik 5 (1836) 80 indessen sind des eben brillante Variationen uumlber ein Thema von Donizetti und man weiss Alles im Voraus cited in Plantinga Schumann as Critic 198Schumannrsquos negative view about the property of ldquofamiliarityrdquo in the fantasy provides a direct counterargument to Carl Czernyrsquos on the same matter In his School of Practical Composition Czerny believed that the familiarity of popular melodies well supplied a living theater for the public and drew them to the concert hall ldquoThe public in general experiences great delight on finding in a composition some pleasing melody with which it is already familiar and has previously heard with rapture at the opera Now when such melodies are introduced in a spirited and brilliant manner in a Fantasia and there developed or varied the composer and the practiced player can assure great successrdquo Czerny School of Practical Composition I 86


condemned the incoherent potpourri-style the familiar materials and the mere virtuosic elements predominant in the fantasy

Ironically Schumann who normally made hurtful remarks about virtuoso repertory imbued his review of Thalbergrsquos Moiumlse Fantasy with an admiring tone Although not a detailed analysis of Thalbergrsquos Fantasy Schumann observed that the fantasy departed from the previous superficial style ldquoin place of complete barrenness and lack of content a more artistically combined one more full of ideas has enteredrdquo40) Schumannrsquos emphasis on the ldquoideasrdquo and ldquocontentrdquo in Thalbergrsquos fantasy is immediately contrasted with his review of Doumlhlerrsquos fantasy above which he says lacked those qualities41)

39) The Marriage Diaries of Robert amp Clara Schumann From Their Wedding Day through the Russia Trip ed Gerd Nauhaus trans Peter Ostwald (Boston Northeastern University Press 1993) 103

40) ldquoThe Phantasie was written in a fortunate salon inspiration and gives the virtuoso all means and weapons for the conquest of the public to which belong for example a gripping introduction full of suspense virtuoso display-passages [Kraftstellen] charming Italian melodies stimulating interludes and so quiet partsmdashand now a coda befitting such a Phantasierdquo Schumann ldquoSigism Thalbergrdquo in Gesammelte Schriften I 410 cited in Stefaniak Schumannrsquos Virtuosity 48 As Stefaniak aptly points out the mention of ldquoinspirationrdquo suggests that Thalbergrsquos this engaging pleasing virtuosity stems essentially from a more interior source than superficial sensuous pleasure

41) Schumannrsquos review of Thalbergrsquos Grande fantaisie et variations sur des motifs de lrsquoopeacutera ldquoNormardquo Op 12 (hereafter simply called Thalbergrsquos Norma fantasy) is also worth noting Schumann ldquoAnzeigerrdquo Neue Zeitschrift fuumlr Musik 2 no 44 (2 June 1835) 178 cited in Plantinga Schumann as Critic 207-11 Stefaniak Schumannrsquos Virtuosity 48ndash51 Despite his typical sardonic tone throughout the fantasy attracted Schumann for instance as Plantinga (Schumann as Critic 208) points out about the second variation Schumann described how the melody migrates from one register to another in the variation each reharmonized with noticeable chromatic notes Jeffrey Kallkberg states

172 김 현 주

The various writing about the fantasy genre examined above testify to several types of anxiety about certain characteristics of the genre Critics and musicians denounced the fantasy on the grounds of ldquoincoherent fragmentsrdquo ldquonothing but brilliant variationsrdquo (Schumann) ldquomechanical virtuosityrdquo (Clara Schumann) and appeal to familiarity at the expense of original ideas Schumann particularly criticized the lack of formal regularity coherence and constraint in the current fantasies and in his review of 1839 the critic demoted Lisztrsquos role to ldquounbelievable playerrdquo not ldquosignificant composerrdquo ldquoindulging in murky fantasiesrdquo

All of these characteristics in turn converge into the most significant concern about the genre that is it remains in the realm of a mere virtuosorsquo performance not a composerrsquos work Liszt as one fantasy composer encountered the problems about the genre and strove for solutions In what follows I will demonstrate Lisztrsquos unique strategies in writing his fantasy through a case study of his Norma ultimately how distinctively he exhibits his composer-mindset in the domain of composing a fantasy

Lisztrsquosldquonew vein of Fantasiasrdquo

For Liszt composing an opera fantasy was not merely an engagement with traditional keyboard genres or the popular virtuosic repertory but a search for new compositional

that Thalbergrsquos Norma fantasy ldquoelicited admiration from Schumannrdquo but Schumannrsquos tone is contemptuous ldquoIntroduction to This Volumerdquo in Sigismond Thalberg (1812ndash1871) Selected Works Vol 1 ed Jeffrey Kalberg (New York amp London Garland Publishing 1993) ix


inspiration A series of letters to Marie drsquoAgoult written in 1841 reveal his new vision of the fantasy Norma was one of the outcomes42) When he had the ambitious fantasies based on Don Giovanni and Norma completed he noted ldquoa new veinrdquo of the genre which he ldquowant[ed] to exploitrdquo

In the meantime I am working like a madman on the fantasias of a madman Norma La Sonnambula Freischuumltz Maometto Moiumlse and Don Juan are going to be ready in five or six days This is a new vein which I have found and wish to exploit In their effect these latest compositions are incomparably superior to my previous pieces43)

42) Liszt The Liszt-drsquoAgoult Correspondence English Translations and Commentaries Introduced translated annotated and edited by Michael Short Franz Liszt Studies Series No 14 General Editor Michael Saffle (Hillsdale NY Pendragon Press 2013) 270ndash71Alluding to the astounding success of the Robert le Diable fantasy Liszt envisioned his Norma fantasy as another sensational one when he wrote on 10 May ldquoOn Saturday I set myself to patching up my three fantasies Somnanbula [sic] Freischuumltz and Norma which will become three Roberts [Reacuteminiscences de Robert le Diable]rdquo Liszt Liszt-drsquoAgoult Correspondence Letter 310 270

43) Liszt Correspondance de Liszt et de Madame drsquoAgoult ed Daniel Ollivier 2 vols (Paris Grasset 1933) I 135 En attendant je travaille comme un enrageacute agrave des fantaisies drsquoenrageacute Norma La Sonnambula Freischuumltz Maometto Moiumlse et Don Juan vont ecirctre precircte dans cinq agrave six jours Crsquoest une nouvelle veine que jrsquoai trouveacutee et que je veux exploiter Comme effet ces derniegraveres productions sont incomparablement superieures agrave mes choses preacuteceacutedentes This frequently quoted passages appear in slightly different translations Liszt The LisztndashdlsquoAgoult Correspondence Letter 311 271 Hamilton ldquoOpera Fantasiesrdquo 183 Suttoni ldquoLisztrsquos Letterrdquo 77 Pauline Pocknell ldquoFranz Liszt Fifteen Autograph Letters (1841ndash1883) in the William Ready Division of Archives amp Research Collections Mills Memorial Library McMaster University Canadardquo Journal of the American Liszt Society 39 (JanuaryndashJune 1996) 1ndash10 n 55The fantasies he addressed above with the addition of Robert le Diable also appear as a group pertaining to the ldquonew vein of Fantasiardquo in

174 김 현 주

According to listings of the primary repertory that Liszt played in Germany 1840ndash45 the three fantasies of Norma Don Juan and Robert le Diable of the ldquonew-veinrdquo group occupy the major portion of the repertory in the case of Norma it is recorded as about twenty performances44)

What did Liszt mean by the ldquonew veinrdquo The dramatic integrity Liszt deployed is certainly the first and foremost characteristic of the ldquonew veinrdquo45) Yet Liszt may have meant something more In his notorious review of Thalberg written at the height of their rivalry in 1837 Liszt harshly condemned Thalbergrsquos fantasy as ldquopretentiously empty and mediocrerdquo lacking in all ldquoinvention color character verve and inspirationrdquo and offering nothing but ldquosterility and boredomrdquo46) Lisztrsquos critiques of Thalbergrsquos

another letter written around the same time ldquoI have just found a new vein of Fantasiasmdashand Irsquom making good use of itrdquo Letter to Simon Loumlwy written in London 20 May 1841 in Liszt Franz Liszts Briefe ed La Mara I 43ndash44 Letters of Franz Liszt ed La Mara and trans Constance Bache (New York Charles Scribnerrsquos Sons 1894) I 54 also cited in Liszt Neue Ausgabe saumlmtlicher Werke Ser II Freie Bearbeitungen und Transkriptionen fuumlr Klavier zu zwei Haumlnden [Books 1ndash24] Band 5 ed Imre Mező (Budapest Editio Musica Budapest 1970ndash) xx

44) Michael Saffle Liszt in Germany 1840ndash1845 A Study in Sources Documents and the History of Reception (Stuyvesant NY Pendragon Press 1994) 187 Saffle delineated Lisztrsquos seventeen compositions as the backbone of his primary repertory at that time Reacuteminiscences de Don Juan more than 55 performances Reacuteminiscences de Robert le diable more than 50 performances Reacuteminiscences de Norma about 20 performances

45) Based on Suttonirsquos studies in his earlier fantasies of 1835ndash36 Liszt had sacrificed the dramatic content of the opera to all-consuming virtuosity whereas his mature fantasies written in the early 1840s integrate the bravura with the dramatic core of the opera successfully in this regard Suttoni specifically refers to Norma as ldquoa splendid case in pointrdquo Suttoni ldquoPiano and Operardquo 322 ldquoLisztrsquos Lettersrdquo 77

46) Lisztrsquos review of Thalbergrsquos Fantasy Op 22 and Caprices Opp 15 and


fantasies as well as his determination to pursue a new path in the genre all pave the way for a better understanding of his strategies in his fantasy as will be fleshed out below through the case of his Norma

Liszt Composing His Fantasy the Norma

Dramatic Unity

In his Norma Liszt concentrated on the essential drama of the opera Normarsquos tragic conflict between her responsibilities as High Priestess and her emotions as a woman and mother47) Liszt judiciously selected themes and scenes closely related to the portrayal of Normarsquos conflict48) In the process of condensing an opera into about a fifteen-minute piano piece a drastic elimination of the original material is inevitable Liszt made his decision to draw almost entirely on two sections (1) the opening scene of the opera two scenes from the first act

19 appears in the Revue et gazette musicale 8 January 1837 An Artistrsquos Journey 24ndash25 He continued to denigrate Thalbergrsquos fantasies in 1838 while praising Clara Schumannrsquos ldquoingenuity and true sentimentrdquo in comparison ldquoThere is a hundred times more ingenuity and true sentiment in them [Clararsquos compositions] than in all the fantasies past and present of Thalbergrdquo Liszt Correspondance de Liszt et de Madame drsquoAgoult I 217

47) Whereas Norma in the public sphere is the defender of the Druid tradition against the invading Romans in the private sphere she breaks her vows of chastity becoming romantically involved with the Roman commander Pollione the father of her two children who later becomes estranged from her

48) It has been noted that Liszt selected seven themes from the opera For the borrowed material see Suttoni ldquoPiano and Operardquo 299 NLA Ser II Band 5 xiiindashxxiv Kimbell Vincenzo Bellini 126ndash30

176 김 현 주

(Nos 1 and 3) to set the stage for Normarsquos public position and (2) the Finale of the second act in which the tragic conclusion of the protagonist unravels49)

The Introduction begins with forceful and foreboding G-minor chords The material is derived from the chorus of ldquoNorma vienerdquo (ldquoHere comes Normardquo Liszt mm 1ndash27) which announces Normarsquos arrival50) Thus Lisztrsquos opening appropriately embodies the main character of the entire opera Having established Normarsquos approach in the portentous mode of Introduction Liszt proceeds to the Cavatina for Norma in an almost complete presentation51) Then the fantasy draws on two themes related to Normarsquos public sphere The martial nature of the Druidsrsquo music ldquoIte sul colle o Druidirdquo (ldquoGo up on the hill o Druidsrdquo Liszt from m 28) is followed by the stirring warlike chorus ldquoDellrsquoaur tua

49) ldquoCasta divardquo the summit of Normarsquos nobility had to be omitted nonetheless had Liszt transferred it to the piano it would have been monotonous because the original texture that comprises the melody and arpeggiated accompaniment is so consistent as to hardly maintain the interest of the music on the keyboard This may be the reason why Alicia Cannon Levinrsquos studies (ldquoSeducing Parisrdquo 176) observed only a couple of instances of arrangements of ldquoCasta divardquo by Lisztrsquos contemporaries describing them as ldquonothing more than a basic transcription of the vocal linerdquo

50) Liszt changed the original key of E-flat major to G minor the key of Bellinirsquos overture and the chordal texture is also similar to that of the overture For these reasons David Wilde relates the fantasyrsquos opening to the overture Wilde ldquoTranscriptions for Pianordquo in Liszt the Man and his Music ed Alan Walker (New York Taplinger 1970) 185 But as a number of recent scholars including Hamilton Schenkman and Kimbell have corrected it is certainly derived from ldquoNorma vienerdquo On further detailed discussions of Lisztrsquos tonal plans see Kimbell Vincenzo Bellini 124ndash25

51) The sequence of the introduction and cavatina is what Liszt observes faithfully at the opening of the opera Nonetheless he avoids a literal transcription of the material in the cavatina by omitting some repetitions


profeticardquo (ldquoWith the prophetic aurardquo Liszt from m 89) which prompts Norma to give a sign for the uprising against the hated Romansrdquo52)

The Introduction and Cavatina have occupied roughly a half of the fantasy so far The second half changes mood dramatically It begins with the opening ldquoNormardquo theme announcing Normarsquos appearance once again The heightened version of the theme both harmonically and texturally sets the stage for the second half of the fantasy with a sense of frenzy and anguish which remain through much of the finale in four sequences (1) Normarsquos plea only for her children (ldquoDeh non volerli vittimerdquo ldquoLet them not be the victims of my sinsrdquo Liszt from m 171) (2) her reproaches towards Pollionersquos betrayal (ldquoQual cor tradistirdquo ldquoThis horrid hour will reveal the steadfastness of the heart that you betrayedrdquo Liszt from m 190) (3) a brief interlude depicting the frantic call for war against the Romans and Normarsquos answer of revenge (ldquoGuerra Guerrardquo Liszt from m 249) and finally (4) the pinnacle of the opera the concluding chorus and solos of ldquoPiange pregardquo (ldquoShe

52) In ldquoIte sul collerdquo Oroveso the highest Druid priest and Normarsquos father leads the Druids in a procession praying for victory against the invading RomansThe martial theme ldquoDellrsquoaur tua profeticardquo according to Levin ldquoPiano Virtuososrdquo 175 was the most popular tune for the majority of the Norma fantasies written in the 1830s and 1840s However with respect to the treatment of the tune it would be more fruitful if Levin distinguished Thalberg and Liszt from the majority groups of the Norma fantasy composers for whom the tune simply provided a source for variations with no harmonic or dramatic experiments In contrast it was Thalberg who appears to have taken the tune seriously as already pointed out by Suttoni (ldquoPiano and Operardquo 312) and it was Liszt who transformed the Thalbergian approach into a peak of virtuosity and drama

178 김 현 주

cries she praysrdquo) in which Norma bids farewell to her weeping father in her ldquoPadre tu piangirdquo (ldquoFather do you cryrdquo Liszt from m 220 the theme interrupted by ldquoGuerrerdquo and resumed from m 331) Intriguingly the sequence of the last four thematic ideas (1 ndash 4 above) does not conform to that found in the opera53) The original sequence became less significant for Liszt than a dramatic order he created for himself

What Liszt abstracted from Bellinirsquos opera concentrates on the portrayal of the main character and her dramatic impact The way Liszt draws on several themes and interweaves them into his piano composition is in drastic contrast with the way Thalberg relies only on the two popular themes of ldquoDellrsquoaura tuardquo and ldquoPadre tu piangirdquo Suttoni points out that in his opera paraphrases written during his Weimar years of 1848ndash61 Liszt changed direction from ldquotrying to distill an entire opera into a single fantasyrdquo to ldquoa given scene or episode hellip with related thematic materialrdquo54) Nevertheless already in his Norma fantasy composed in 1841 seven years before his Weimar period Lisztrsquos selection of thematic material reveals that his focus already shifted toward dramatic content in a coherent way

Beyond a ldquoSingingrdquo Melody

In his analysis of Thalbergrsquos Norma fantasy Op 12 Suttoni asserts that what captivated the Parisian audience was Thalbergrsquos development of the lyrical line the ldquosinging tonerdquo as

53) The operarsquos sequence proceeds in (3) (2) (1) and (4)54) Suttoni ldquoOpera Paraphrasesrdquo 185


well as the clear melodies surrounded by virtuosic passagework 55) Thalbergrsquos singing melody epitomizes his lyricism which often alternates with brilliant passagework ultimately creating the sensation of ldquopleasingrdquo the audience56) His emphasis on a ldquosingingrdquo tone is also aligned with the tradition of writing fantasies and variations as prescribed by Carl Czerny and cited above In Czernyrsquos sense a fantasy should lead the audience to the experience of hearing a well-loved theme Composing a fantasy thus necessitates making the theme audible and thus maintaining the listenersrsquo pleasure

Liszt set himself apart from the concept of pleasing melody espoused by both Czerny and Thalberg He paid sensitive attention to contextualizing the melody both horizontally and vertically juxtaposing it with other materials He further situates the operatic tunes within the whole effects of orchestral and vocal effects As shown in Example 1 the B-major section of the Norma fantasy based on ldquoQual cor tradistirdquo is as Ferruccio

55) Suttoni ldquoPiano and Operardquo 151ndash208 It is common knowledge that Thalberg cultivated a ldquosinging tonerdquo on the keyboard Walker Franz Liszt I 233ndash34 Hamilton ldquoOperatic Fantasiesrdquo 36 Gooley The Virtuoso Liszt 24ndash29From the exploitation of the singing tone emerges his trademark of ldquothird-handrdquo technique in which the lyrical melody in the middle register is surrounded by opulent virtuosic passagework Thalberg did not actually invent the three-hand technique (see Walker Franz Liszt I 234) For a further discussion of the technique see Isabelle Beacutelance-Zank ldquoThe Three-handndashTexture Origins and Userdquo Journal of the American Liszt Society 38 (1995) 99ndash121

56) Stefaniak Schumannrsquos Virtuosity 36 The term ldquopleasurerdquo is specifically used in Stefaniakrsquos studies in which the ldquopleasurablerdquo quality of music is often contrasted with the ldquopoeticrdquo ldquotranscendentrdquo quality but the boundary between the antithetical categories is promptly collapsed and overlapped

180 김 현 주

Busoni described one of the most sublime compositions necessary for understanding Liszt57) Perhaps Busoni was impressed at the way Liszt ingeniously evokes three disparate layers of orchestral parts in his piano scoremdashthe espressivo assai melody in a thickened texture the incessant chords in the accompaniment and the repeated notes from the timpani in the bass marked ldquoquasi Timpanirdquo in pp58)

57) Ferruccio Busoni The Essence of Music and Other Papers trans Rosamond Ley (London Philosophical Library 1957 reprint New York Dover 1987) 150 ldquoanyone who has listened to or played the finale of Lucrezia the middle section in B-major in Norma or the slow movement in Sonnambual without being moved has not yet arrived at Lisztrdquo also cited in Suttoni ldquoPiano and Operardquo 303 ldquoOpera and Paraphrasesrdquo 183

58) Aside from juxtaposing the contrasting textures Liszt exploits the keyboard register both entirely and appropriately for each voice Note that while imitating the timpani in the bass register the sound is realized through an astounding visual and physical effect of hand-crossingFor another example in his rendering ldquoDeh non volerli vittimerdquo (B minor with Liszt mm 171ndash90) Liszt drew on the distinctive characteristics of Bellinirsquos accompaniment not merely a melody The soft pizzicatos in the bass the syncopated and accented rhythm in the horn and the staggering movement in the strings are all highlighted in Lisztrsquos individual pianistic style Not only does Liszt combine diverse layers of sounds he creates holistic effects of assimilating the orchestral and vocal forces in his piano compositionMoreover in some instances Lisztrsquos experiments with a sonorous texture which covers five or six octaves of the keyboard stem essentially from his desire to create an effect equivalent to Bellinirsquos chorus or orchestra Examples include the restatement of ldquoDellrsquoaur tuardquo which sweeps a five-octave range of the keyboard creating an orchestral effect of the operatic material also the final statement of ldquoGuerra Guerrardquo displays high virtuosity spanning over six octaves to evoke a height of tension and intensity of the chorus


Example 1 Liszt Norma ldquoQual cor tradistirdquo mm 190ndash91

notes from the borrowed tune

Virtuosic Fantasy Finale Reassessed

The finale of Bellinirsquos Norma is considered one of the finest examples of the large-scale climatic final ensembles in which the exchange between Norma and Oroveso is discreetly delineated alongside the choral commentaries in an extended building-up musical process59) In response to the most memorable element of the finale Liszt exhibits brilliant contrapuntal engineering in his finale of Norma in which the two themes ldquoPadre tu piangirdquo and ldquoDellrsquoaura tua profeticardquo are superimposed60) On the surface Lisztrsquos concluding apotheosis drew on the tradition of fantasy The idea of virtuosic finale is immediately aligned with the tradition of fantasy which as

59) On the discussion of Bellinirsquos use of the unsurpassed dramatic devices see Joseph Kerman and Thomas S Grey ldquoVerdirsquos Groundswells Surveying an Operatic Conventionrdquo in Analyzing Opera Verdi and Wagner ed Carolyn Abbate and Roger Parker (Berkeley University of California Press 1989) 153ndash79 particularly at 154ndash56

60) Although this combination of themes may appear as an interruption to the driving force to a climax as Suttoni (ldquoPiano and Operardquo 307 and ldquoOpera Paraphrasesrdquo 184) describes it is generally considered as Hamilton (ldquoOperatic Fantasiesrdquo 144) describes the ldquocrowning climax of the piecerdquo

182 김 현 주

Czerny observed demands above all a ldquopiquantrdquo ldquorousingrdquo culmination61) Moreover the learned style albeit not normally associated with the genre was deployed earlier by Thalberg in his Norma fantasy based on the same material For that reason it is a natural claim that Lisztrsquos contrapuntal display is indebted to Thalbergrsquos62) Such a claim stems from a passing mention not a detailed look The section that follows will illustrate Thalbergrsquos contrapuntal conclusion as an effective foil to Lisztrsquos individual approach to the fantasy finale

As shown in Example 2 Thalberg superimposes the two themes ldquoPadre tu piangirdquo and ldquoDellrsquoaura tua profeticardquo (mm 245ndash48)63) It is intriguing how the thematic material is juxtaposed with other materials that precede and follow in the case of Example 2 the fully textured contrapuntal display of the themes leads to a course of brilliant passagework (mm 249ndash50) a necessary element for the ldquorousing piquantrdquo conclusion in Czernyrsquos sense The clear division between ldquothematic areasrdquo and ldquopassagework areasrdquo as Alexander Stefaniak points out is a defining compositional strategy in writing opera fantasies and variation sets described by Czerny64)

61) Stefaniak Schumannrsquos Virtuosity 3162) Suttoni ldquoPiano and Operardquo 171 184 307 Hamilton ldquoOperatic

Fantasiesrdquo 46 Stefaniak Schumannrsquos Virtuosity 35 n 43 63) Whereas Hamilton (ldquoOperatic Fantasiesrdquo 48) describes that Thalbergrsquos

thematic combination is ldquohardly emphasized at all by Thalberg who treats it as of merely passing interestrdquo dismissing any critical analysis of the passage Stefaniak (Schumannrsquos Virtuosity 35) provides a more substantial analysis and interpretation

64) Stefaniak Schumannrsquos Virtuosity 36 Diverse examples of this division can also be found throughout Thalbergrsquos fantasies


Example 2 Thalberg Grande fantaisie et variations sur des motifs de lrsquoopeacutera ldquoNormardquo Op 12 contrapuntal display of themes mm 245ndash50

In Liszt version as illustrated in Example 3a the thematic material is superimposed contrapuntally in the same order as in Thalbergrsquos the right hand for ldquoPadre tu piangirdquo and the left hand for ldquoDellrsquoaura tua profeticardquo Yet the reasoning behind the thematic choice is different Considering Lisztrsquos selection of themes as discussed above the two themes used for the contrapuntal display are the most important ones from the first and second halves of his fantasy respectively From the structural standpoint the thematic choice becomes a convincing solution to the formal organization to achieve the unity of otherwise disparate themes and materials But more importantly

184 김 현 주

by using both the warlike Druidsrsquo music and Normarsquos passionate cry Lisztrsquos contrapuntal engineering embodies the summit of the dramatic conflict between Normarsquos public and private realms His compositional maneuver thus reveals his own musical commentaries on the dramatic situation

Example 3a Liszt Finale Contrapuntal Combination of the Themes mm 345ndash48

Furthermore Liszt contextualizes the contrapuntal maneuver far differently from Thalberg Just as Czerny viewed the ldquopassagework areasrdquo as pleasing Thalberg frequently imbues the transitions with brilliant passagework and alternates them with thematic material65) Yet Liszt thwarts such an expectation of a formal template As shown in Example 3b his contrapuntal

65) Czerny as well as Gottfried Wilhelm underscored the strategy of the ldquopassagework areasrdquo applying them not only to opera fantasies and variation sets but also to ldquooriginalrdquo genres in the latter case ldquopassagework areasrdquo refers to the closes or expositions or recapitulations Stefaniak Schumannrsquos Virtuosity 36


operation of themes is preceded and followed by another thematic material from ldquoPadre tu piangirdquo not the span of brilliant figuration The melody ldquoPadre tu piangirdquo already elaborated and developed in the previous section culminates in the simplified texture of widely spread chords in this example The contrapuntal contrivance therefore appears in the process of increasingly developing the theme intensifying the final statement of the theme and summing up what was heard before

Example 3b Liszt Finale ldquoPadre tu piangirdquo at climax mm 343ndash44 (also appears at mm 355ndash56)

Formal Solidity

As seen earlier in the tension and hierarchy between fantasy and sonata the fantasy composer confronts the problem of how to lend a sense of formal regularity and coherence to the entire piece Liszt appears to consider this problem seriously and proposes solutions in a compelling manner Certain transitions Liszt deployed carry a particular structural and semantic meaning As shown in Examples 4andash4b a transition appears just before the slow cantabile section of the fantasy When this transition (Ex 4a) is juxtaposed with the music that follows (Recitativo of Ex 4a and 4b) its meaning becomes more

186 김 현 주

revealingThe transition of Example 4a concludes the first part of the

fantasy while leading the fantasy to its second half Its semantic meaning is to connect the preceding public sphere of Norma and the Druids with the following private sphere of her emotions and conflicts The latter culminates in the most ecstatic lyricism of the cantabile Andante section (Ex 4b) Intriguingly the principal rhythmic idea of the recitative (see the box in the score) has an affinity with that of the previous warlike music66) while simultaneously anticipating the rhythm of the cantabile section of Example 4b Normarsquos lamentation ldquoDeh Non volerli vittimerdquo Liszt dovetails one idea masterfully with another in a continuous stream of music

Ex 4a Liszt Norma Transition and Recitative mm 145ndash56

66) This rhythmic affinity is observed in Kimbell Vincenzo Bellini 128


Ex 4b Liszt Norma Andante mm 171ndash73


For this transition (Ex 4a) Liszt does not deploy any brilliant material such as the improvisatory cadenza-like passages normally associated with the transition Once again he draws on the opening material from ldquoNorma vienerdquo This return of the opening serves as an effective musical means for three reasons First as recurring material it provides a connecting device for achieving formal coherence Second and more importantly Liszt intensifies the opening ldquoNormardquo theme by raising it a half step higher from G to G minor and having the chords expanded fully textured in both hands and marked fff The deepened version of the opening music anticipates the mood of the next half of the fantasy with a sense of anguish and frenzy Finally summoning Norma once again for the second half of the piece and reminiscing the opening music which embodies the martial nature of the Druids this transition conveys the warlike prophecy of Norma about overthrowing the Roman imperial power This transition of Lisztrsquos own therefore ceases its conventional role as a merely linking device Instead it helps to accomplish structural coherence and maintain the dramatic impact of the opera

188 김 현 주

As observed above Lisztrsquos Norma reveals how he forges himself as a fantasy composer in a cogent manner He makes it possible to imbue the continuous stream of musical inventions with logical structural devices such as the recurring theme and rhythmic affinities in the transitions (see the Formal Solidity section above) Moreover his focus on dramatic unity entails the whole process of his delineation and juxtaposition of the existing themes (see the Dramatic Unity section above) Furthermore he avoids the conventional formal template instead he pays greater attention to the holistic effects of the operatic material combining themes with surrounding orchestral effects intrinsic to the opera (see the Beyond a ldquoSingingrdquo Melody section above) and juxtaposing disparate layers of themes as in his fantasy finale (see the Virtuosic Fantasy Finale Reassessed section above) In the case of latter his contrapuntal engineering in conjunction with his judicious selections of themes offers his own musical glosses on the dramatic events of the opera

Conclusions

The opera fantasy normally exhibits the process that the improviser-composer-performer selects familiar tunes tastefully strings them together and develops them into glittering performances it was long associated with melody-centered surface music brilliant virtuosity and ingenious improvisation all of which remain in the realm of a mere virtuosorsquos performance Although the genre is inherently reliant on a dizzying array of formal melodic harmonic and textural


adventures it simultaneously poses a challenge with respect to its lack of formal regularity coherence and constraint Ironically if the fantasy is constructed ldquoproperlyrdquo it is no longer considered frivolous or artless as observed earlier in the conflict between fantasy and sonata as well as the fantasy having a ldquostrong constructionrdquo like that of the sonata

Lisztrsquos reaction to the prevailing type of fantasy reveals his composer-mindset which in turn helps to refine the setting of the fantasy and improve the aesthetic quality of the genre Liszt never devalued the characteristics intrinsic to the fantasymdashthe pleasure of popular melodies a continuous stream of musical ideas in fragments and bravura virtuositymdashall of which nonetheless had received critical scorn Yet he assimilates these characteristics into a more planned constructed and logical process of music complementing them with his dramatic re-reading of the original Although his grappling with being a composer tends to center on his middle and late years he had already been conscious of refashioning reinventing and redefining himself as a composer in the realm of opera fantasy during his earlier virtuoso years

영문검색어 Franz Liszt Opera fantasy Anxiety Criticism Norma Composer-mindset

한글검색어 프란츠 리스트 오페라 판타지 노르마 판타지 음악비평

190 김 현 주

Selected Bibliography

Arnold Ben(Ed) The Liszt Companion Westport CT Greenwood Press 2002

Bernstein Susan Virtuosity of the Nineteenth Century Performing Music and Language in Heine Liszt and Baudelaire Stanford Stanford University Press 1998

Busoni Ferruccio The Essence of Music and Other Papers Translated by Rosamund Ley New York Philosophical Library 1957 Reprint Dover 1987

Žarko Cvejić The Virtuoso as Subject The Reception of Instrumental Virtuosity c1815ndashc1850 Newcastle upon Tyne Cambridge Scholars Publishing 2016

Czerny Carl School of Practical Composition Complete Treatise on the Composition of All Kinds of Music Both Instrumental and Vocal Together with a Treatise on Instrumentation Op 600 Translated by John Bishop New York Da Capo Press 1797

Dahlhaus Carl Nineteenth-Century Music Translated by J Bradford Robinson Berkeley and Los Angeles University of California Press 1989

Ellis Katharine Music Criticism in Nineteenth-Century France ldquoLa Revue et Gazette Musicale de Parisrdquo 1834ndash1880 Cambridge amp New York Cambridge University Press 1995

Gibbs Christopher H and Dana Gooley(Eds) Franz Liszt and His World Princeton Princeton University Press 2006

Gooley Dana The Virtuoso Liszt Cambridge Cambridge University Press 2004


Kimbell David Vincenzo Bellini Norma Opera Handbooks New York Cambridge University Press 1998

Halleacute Charles The Autobiography of Charles Halleacute with Correspondence and Diaries Edited by Michael Kennedy London Elek 1972

Hamilton Kenneth After the Golden Age Romantic Pianism and Modern Performance New York Oxford University Press 2008

______ ldquoReminiscences of a ScandalmdashReminiscences of La Scala Lisztrsquos Fantasy on Mercadantersquos lsquoIl giuramentorsquordquo Cambridge Opera Journal 5 (1993) 187ndash98

______ ldquoThe Operatic Fantasies and Transcriptions of Franz Liszt A Critical Studyrdquo PhD Dissertation University of Oxford 1989

Levin Alicia Cannon ldquoSeducing Paris Piano Virtuosos and Artistic Identity 1820ndash48rdquo PhD Dissertation University of North Carolina at Chapel Hill 2009

Liszt Franz An Artistrsquos Journey Lettres drsquoun bachelier egraves musique 1835ndash1841 Translated by Charles Suttoni Chicago University of Chicago Press 1989

______ Franz Lisztrsquos Briefe Edited by La Mara 8 vols Leipzig Breitkopf amp Haumlrtel 1893ndash1905

______ Neue Ausgabe saumlmtlicher Werke Ser II Freie Bearbeitungen und Transkriptionen fuumlr Klavier zu zwei Haumlnden [Books 1ndash24] Edited by Imre Mező Budapest Editio Musica Budapest 1970ndash

______ Pages romantiques Edited by Jean Chantavoine Paris F Alcan 1912

______ Saumlmltiche Schriften Edited by Detlef Altenburg

192 김 현 주

Wiesbaden Breitkopf amp Haumlrtel 2000______ and Marie drsquoAgoult Correspondance Edited by Serge

Gut and Jacqueline Bellas Paris Fayard 2001 Nauhaus Gerd(Ed) The Marriage Diaries of Robert amp Clara

Schumann From Their Wedding Day through the Russia Trip Translated by Peter Ostwald Boston Northeastern University Press 1993

Rosen Charles The Romantic Generation Cambridge MA Harvard University Press 1995

Saffle Michael ldquoCzerny and the Keyboard Fantasy Traditions Innovations Legacyrdquo In Beyond the Art of Finger Dexterity Reassessing Carl Czerny Edited by David Gramit 202ndash28 Rochester NY University of Rochester Press 2008

______ Liszt in Germany 1840ndash1845 A Study in Sources Documents and the History of Reception Stuyvesant NY Pendragon Press 1994

Schenkman Walter ldquoLisztrsquos Reminiscences of Bellinirsquos Normardquo American Liszt Society Journal 9 no 1 (1981) 55ndash64

Suttoni Charles ldquoPiano and Opera A Study of the Piano Fantasies Written on Opera Themes in the Romantic Erardquo PhD Dissertation New York University 1973

Stefaniak Alexander Schumannrsquos Virtuosity Criticism Composition and Performance in Nineteenth-Century Germany Bloomington Indiana University Press 2016

Thalberg Sigismond Sigismond Thalberg (1812ndash1871) Selected Works Vol 1 Edited by Jeffrey Kalberg New York amp London Garland Publishing 1993

Walker Alan Franz Liszt Rev ed 3 vols Ithaca NY Cornell University Press 1987


Wangermeacutee Robert ldquoConscience et inconscience du virtuose romantique Agrave propos des anneacutees parisiennes de Franz Lisztrdquo In Music in Paris in the Eighteen-Thirties Edited by Peter Bloom 533ndash573 Stuyvesant NY Pendragon Press 1987

194 김 현 주

Abstract


Kim Hyun Joo

Although the opera fantasy as a genre has been condemned as showing off frivolous or a simple potpourri Liszt as a fantasy composer is often protected from such denigration primarily because of his dramatic integrity Reiterating this claim however the existing studies tend to confine their scope to the analysis of representative styles of Lisztrsquos major oeuvres Instead my article situates his fantasies within the broader context of contemporary criticism on the genre By doing so I propose several types of ldquoanxietyrdquo underlying criticism of the genre including anxiety about becoming a composer over a performer anxiety about formal constraint and anxiety about ideas and contents Such anxieties help to set the stage for Lisztrsquos strategic responses to the criticism in writing his own fantasies The case of his Norma fantasy then demonstrates how he achieves formal coherence and solidity holistic effects beyond a simple pleasing melody and dramatic unity and re-reading ultimately shedding light on his composer-mindset as opposed to the mere virtuoso display normally associated with the fantasy genre


국문초록

리스트의 작곡가적 사고방식(composer-mindset)

오페라 판타지에 대한 비판과 그의 대응

김 현 주

19세기 오페라 판타지는 여전히 쇼우맨쉽의 과시를 드러내는 장르 또는 단순한 포푸리(potpourri) 같은 작품으로 여겨진다 그럼에도 불구하고 리스트의 판타지는 그런 폄하에서 종종 보호되곤 했는데 그 주요한 이유는 그가 원작의 드라마적인 내용을 보존한 점이 높이 평가되었기 때문이다 선행연구는 그의 그러한 능력을 반복 강조하였으며 또한 그의 주요한 판타지 일부만을 선택하여 대표적 스타일의 분석에 그 초점을 맞췄다 하지만 이 논문에서는 판타지 장르에 대한 당대비판이라는 포괄적인 맥락에서 리스트의 대응을 조명한다

본고는 다음 두 가지에 특히 초점을 맞춘다 첫째 판타지에 대한 비판에서 드러나는 몇 가지 중요한 불안(anxiety) 또는 갈망을 분석한다 이에는 연주자를 넘어 작곡가가 되려는 갈망 형식적 컨트롤에 대한 갈망 아디디어와 내용 추구의 갈망 등이 포함된다 둘째 이러한 불안과 갈망에 대한 리스트의 전략적 대응을 그의 노르마(Norma) 판타지라는 구체적 사례를 통해 조명한다 이 사례를 통해 리스트의 형식적 응집력 단순한 멜로디를 넘어선 원작의 전체적 효과에 대한집중 드라마적 구성과 재해석을 이해한다 이상의 두 가지에 주목하면서 본고는 단순히 비르투오소 쇼우맨쉽이라고 여겨지는 판타지 장르의 통념과 대조되는 리스트의 작곡가적 사고방식을 다각도로 분석한다

〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕

152 김 현 주

century Paris as a musical center for cultivating the fantasyrsquos profit-driven market while denigrating the genre as merely something that ldquoembroiders on the most popular operatic tunesrdquo shows off virtuososrsquo ldquohandiworkrdquo and uses ldquosimplified formrdquo3) Charles Rosen is sympathetic to the prevailing view about the opera fantasy as a ldquobastard genrerdquo describing such pieces as ldquoonly strings of popular tunes arranged for virtuoso displayrdquo4) Despite his condemnation Rosen isolates Lisztrsquos Reacuteminiscences de Don Juan (1841) from the other supposedly superficial examples because of the composerrsquos musical ldquoself-portraitrdquo of the operatic material5)

Despite such ambivalence toward the genre Liszt as a composer of fantasies has been protected on the grounds of his dramatic integrity6) His opera fantasies have in fact received a significant amount of attention from a variety of perspectives7)

3) Leon Plantinga Romantic Music A History of Musical Style in Nineteenth-Century Europe (New York W W Norton 1984) 177

4) Charles Rosen The Romantic Generation (Cambridge MA Harvard University Press 1995) 528

5) Ibid 528ndash41 Along the same lines Richard Taruskin excludes the discussion of opera fantasy genre in his monumental history of Western music except for a brief discussion of Lisztrsquos Don Juan Taruskin The Oxford History of Western Music (New York Oxford University Press 2005) III 268ndash72Liszt is credited as having used the evocative term reacuteminiscences first See Alan Walker Franz Liszt Virtuoso Years 1811ndash1847 (New York Alfred Knopf 1983) I 167 n 12

6) Although this claim is confined to Lisztrsquos mature fantasies written in the early 1840s including Don Juan Les Huguenots and Norma and afterwards See Walker Franz Liszt I 314ndash15 Charles Suttoni ldquoPiano and Opera A Study of the Piano Fantasies Written on Opera Themes in the Romantic Erardquo (PhD Diss New York University 1973) 244ndash323 and Kenneth Hamilton ldquoThe Operatic Fantasies and Transcriptions of Franz Liszt A Critical Studyrdquo (PhD Diss University of Oxford 1989) passim





154 김 현 주













156 김 현 주












158 김 현 주












160 김 현 주












162 김 현 주












164 김 현 주













166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕





154 김 현 주













156 김 현 주












158 김 현 주












160 김 현 주












162 김 현 주












164 김 현 주













166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕






156 김 현 주












158 김 현 주












160 김 현 주












162 김 현 주












164 김 현 주













166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕







158 김 현 주












160 김 현 주












162 김 현 주












164 김 현 주













166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕








160 김 현 주












162 김 현 주












164 김 현 주













166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕







162 김 현 주












164 김 현 주













166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕








164 김 현 주













166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕







166 김 현 주










Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕





Sonata


168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕

168 김 현 주











170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕







170 김 현 주


Critiques









172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕







172 김 현 주











174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕






174 김 현 주










Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕




Dramatic Unity





176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕

176 김 현 주










178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕





178 김 현 주











180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕






180 김 현 주











182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕








182 김 현 주










184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕




184 김 현 주








Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕




Formal Solidity


186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕

186 김 현 주









188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕





188 김 현 주


Conclusions







190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕






190 김 현 주























192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕













192 김 현 주














194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕



194 김 현 주

Abstract


Kim Hyun Joo



국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕


국문초록



김 현 주



〔논문투고일 2018 02 28〕

〔논문심사일 2018 03 09〕

〔게재확정일 2018 03 20〕