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Sabato 21 GIUGNO 2014
La Fondazione Istituto Liszt
partecipa a

24 Ore Suonate

nell’ambito della
Festa Europea della Musica

Istituto Liszt
via A. Righi 30, Bologna

• Ore 11. Dedicato ai bambini: proiezioni di cartoons con musiche di Liszt e musica dal vivo
• Ore 15. Si replicano i cartoons
• Ore 16. Concerto degli allievi del Conservatorio di Musica “G.B. Martini” della classe di pianoforte del M° Stefano Landi
• Ore 17. Proiezione del film Dreams of Love sulla vita di Liszt con la presentazione di Luigi Verdi
• Ore 19. Concerto degli allievi del Conservatorio di Musica “G.B. Martini” della classe di pianoforte del M° Carlo Mazzoli

24 Ore Suonate è un’iniziativa della Fondazione del Monte di Bologna e Ravenna

Scarica il programma completo

The young pupil of Liszt, Olga Janina, was the cause of several scandals (murder attempt on Liszt in 1871, publication of her Souvenirs d’une Cosaque from 1874 to 1878) that contributed to darken the reputation of the musician in the last part of his life. Therefore almost all the biographers of Liszt have been very caustic with her, both from a human point of view and artistic.
The time had come to undertake a serious biographical research, that is to say, free from hagiographic bias and based on the examination of reliable documentary sources. This research has led to the correction of most of the many errors, commonplaces and hasty judgments that have been uttered about Olga until today. It has also shed light on the artistic and adventurous life that Olga led after the death of Liszt, a life hitherto unknown but which lasted until the eve of World War I.

Around 1870, Stefano Gobatti had a period of great popularity, when his first opera I Goti, prémièred in Bologna in December 1873, met with such enthusiastic success that it was recorded by historians as one of the most resounding successes of the whole history of serious opera. Gobatti was awarded the Bolognese honorary citizenship when he was only 21, but after I Goti had been staged successfully in the most important Italian theatres, his following operas, Luce (1875) and Cordelia (1881) were less successful, while his last work Massias was never staged. Gobatti spent the final period of his life as a guest at the Osservanza Convent in Bologna. He is buried at the Certosa of Bologna.
The Archive of the Liszt Institute Foundation of Bologna keep a small handwritten sheet of paper with a fragment of the “In queste sale splendide” duet between Amalasunta and Gualtiero, from the second scene of the second act of Stefano Gobatti’s I Goti. The manuscript, one of the oldest in the whole collection of the Liszt Institute, is one of a packet purchased at an auction with other materials. The musical fragment consists of four bars, pen-written on a hand-drawn up stave: they are arranged for the piano and bear some slight rhythmic changes and the accompaniment in halved values in comparison with the original one.

Key words: Stefano Gobatti, I Goti, a nineteenth century opera.

In the present article are presented the results of my research during my doctoral studies in the Department of Music Science and Art at the University of Macedonia in Thessaloniki completed in 2010, on the six piano transcriptions of  Franz Liszt’s Dante Symphony for orchestra and female choir. In the first part, for the first time in the bibliography, all the information is summarized concerning the six transcriptions arranged by Franz Liszt (two pianos), Theophil Forchhammer, August Stradal and Carl Tausig (solo piano), Arthur Hahn (four hands), and János Végh (2 pianos eight hands). The second part summarizes the unknown parts of the lives and work of all the above transcribers and their relationship with Franz Liszt.

Key Words: Liszt’s Dante Symphony, Theophil Forchhammer, Arthur Hahn, August Stradal, Carl Tausig, János Végh.

The Missa Solennis is a milestone in Liszt’s œuvre, the composer himself regarded it as one of his favorite and most important compositions throughout his lifetime. While Liszt was entitled to feel himself as the spiritual successor of Beethoven in the genres of sonata and symphony, in his Missa Solennis he followed the tradition of Beethoven’s grand mass, that is of the Missa Solemnis.
Liszt sent his mass as a present to Pope Pius IX in 1859, just after the publication of the score in the hope that his composition could be performed also in St. Peters Basilica. In St Peter’s Basilica however it was not allowed to perform orchestral masses. For the planned Vatican performance Salvatore Meluzzi, the maestro of the Cappella Giulia the choir of the Basilica, was requested to transcribe an organ version of the mass with accompaniment of cello and contrabass, according to demands of the place. Liszt and Meluzzi were personally acquainted in autumn 1861 in Rome, and Liszt entertained Meluzzi several times in his home as his guest. They performed at the same concert of church music in Rome, and met at the meetings of the Accademia di Santa Cecilia to decide the programs of concerts and jubilees of church music. Meluzzi had an important role also in creating the Italian reform of church music, according to which the organ was the only instrument allowed for accompaniment of the voices during the liturgy, and sometimes it could be followed by some string instruments.
Comparing Liszt’s original score with Meluzzi’s transcription we face two different traditions, two aesthetical aims: on the one hand the tradition of the Baroque and Classical feast mass with tableaus of orchestral colours, on the other the style of church music with very pure, simple accompaniment according to the reform ideas. The study highlights the musical differences between the original score and the organ transcription of the mass against the background of these two traditions, and tries to find the role of the transcription in the music literature.

Key words: Franz Liszt, Salvatore Meluzzi, sacred music, Liszt’s Graner Messe.

This essay presents some unpublished letters (1863-1877) of Liszt to the composer Giovanni Pacini and his Roman student Maria Giuli, niece of Pacini, and letters of the same Giuli in which she speaks of Liszt. At the instance of Liszt (and thanks to the intervention of Giuli), Pacini sent to the Hungarian composer the score of his Sinfonia Dante, composed and performed in Florence during the celebrations of Dante’s sixth centenary (1865). One can easily suppose that Liszt’s interest stemmed from having himself composed only a few years earlier Eine Symphonie zu Dantes Divina Commedia, which was performed in Rome just a few months after the exchange of letters with Pacini. Other documents give information about Giuli and her relationship with the Accademia Nazionale di S. Cecilia. All these documents are kept in the Biblioteca nazionale centrale in Rome, in the “Fondo Giovanni Pacini” of the Museo civico in Pescia, and in the Archivio storico of the Accademia nazionale di Santa Cecilia, where Giuli was admitted in 1862.

Key words: Franz Liszt, Giovanni Pacini, Maria Giuli, Dante Symphony.

The paper is divided into two parts: Introduction and transcription of 29 unpublished documents held in the Richard-Wagner-Archiv in Bayreuth. In the Introduction the author expounds briefly the subject of each document, classifying them in categories, so that the reader can easily find the document he is interested in.

All the documents refer to Liszt’s biography, with news on different moments of his life. The most interesting are the four letters to Countess Marie Moukhanoff–Kalergis, written during the period of Cosima’s divorce from Hans von Bülow and her ensuing union with Wagner.

The edition of the documents is enriched by many footnotes which help in contextualising the related facts.

Key Words: Franz Liszt’s unpublished documents, Richard-Wagner-Archiv, Bayreuth.

Bologna, Istituto Liszt
via Augusto Righi 30
h. 10,30 – 13.30

L’Istituto Liszt ospiterà l’incontro di studio Le tecniche e gli stili, la teoria, la pratica e la didattica dell’improvvisazione organizzato dal GATM (Gruppo di analisi e teoria musicale). Il seminario è aperto ai soci del GATM e ai sostenitori dell’Istituto Liszt. I dettagli dell’incontro nel programma allegato.

ore  10.00  Accoglienza  e  iscrizione  dei  partecipanti
ore  10.30  Inizio lavori

• Introduzione  di  Egidio  Pozzi  (Università  della  Calabria)
• Diego  Cantalupi  (Conservatorio  di  Bari). L’improvvisazione  nella  ‘musica  antica’:  dai  manuali  di  diminuzioni  rinascimentali  al  ‘pop barock’  storicamente  poco  informato
• Giorgio  Sanguinetti  (Università  di  Tor  Vergata). Improvvisare  sul  partimento:  tecniche  e  stili
• Fabrizio  De  Rossi  Re  (Conservatorio  di  Fermo),  Didattica  dell’Improvvisazione:  la  turris  eburnea e  il  mercato  del  pesce.  L’organizzazione  dei  materiali  sonori:  dall’idea  musicale  alle  tecniche  di  elaborazione  estemporanea

GATM Incontro di studio 14-04-2014. Programma Completo

La collana Rarità lisztiane – Liszt Rarities intende offrire ad esecutori e studiosi la possibilità di conoscere brani di Liszt non reperibili in corrette edizioni moderne. In qualche caso si tratterà di fortunati ritrovamenti di opere sconosciute o ritenute perdute, oppure di versioni autografe precedenti quella pubblicata nella Gesammt Ausgabe (G A) o nella Neue Liszt-Ausgabe/New Liszt Edition.

La prestigiosa Neue Liszt-Ausgabe/New Liszt Edition,ad esempio, dichiarò fin dal primo volume che avrebbe presentato le opere di Liszt nella loro forma finale, prendendo in considerazione le eventuali altre versioni solo nel caso in cui parti significative delle prime versioni non fossero state inserite in quella definitiva.  Soltanto nell’ultimo quinquennio questa politica è stata modificata e la serie dei Supplementi s’incarica di colmare una lacuna importante.

Per la collana Rarità lisztiane – Liszt Rarities, al contrario, questo è sempre stato l’obiettivo caratterizzante. Se si osserva , infatti, che l’insieme delle opere proprie che Liszt ha in qualche modo rielaborato copre quasi l’intera sua produzione, si vede bene che la “musica nascosta” è moltissima. Il “rifare” fu per Liszt una necessità fortissima durante tutta la sua vita. A volte si tratta semplicemente di un lavoro a livello di schizzi, di brevi abbozzi per fermare un pensiero sulla carta, ma spesso si tratta di veri e propri brani, che hanno una loro coerenza interna, una ragione d’esistere e di essere conosciuti. La pubblicazione di queste musiche “nascoste” consentirà al pubblico di scoprire somiglianze e diversità nell’ambito di uno stesso pensiero, una sorta di “doppio” di musiche note, insieme alla scoperta di musiche del tutto ignote.

Questi i primi quattro numeri del piano editoriale, tutti dall’editore Rugginenti, tutti prime edizioni (vedi abstract cliccando su ciascun numero).

N. 1

Franz Liszt, Variations sur le Carneval de Venise (S700) per pianoforte. A cura di Nunzio Salemi. Prima edizione.
Rugginenti, Milano 2001

N. 2

Franz Liszt, La lugubre gondola (S199a) per pianoforte. A cura di Mario Angiolelli. Prima edizione dei manoscritti veneziani.
Rugginenti, Milano 2002

N. 3

Franz Liszt, Concerto sans orchestre (S524a) per pianoforte. Prima versione per pianoforte solo del Concerto n. 2 in La maggiore. A cura di Mariateresa Storino. Prima edizione.
Rugginenti, Milano 2006

N. 4

Franz Liszt, Foglio d’Album in Sol maggiore [versione iniziale di Consolation n. 6, LW A111a, S166q]. A cura di Mária Eckhardt. Prima edizione.
Rugginenti, Milano 2010

Istituto Liszt
via Augusto Righi 13 Liszt popolaresco Giacomo Battarino
pianoforte