INDEX OF THE VOLUME
ROSSANA DALMONTE, Una triste canzone
CLAUDE KNEPPER, La correspondance entre Franz Liszt et Daniel Ollivier
MARTIATERESA STORINO, Il Konzertstück di Weber nell’interpretazione lisztiana
NICOLAS DUFETEL, Franz Liszt à Angers
LAURENCE LE DIAGON-JACQUIN, Une épreuve d’édition annotée de la main de Liszt: le manuscrit In fol. 439 de la bibliothèque du C.N.R. de Dijon
ABSTRACTS
ROSSANA DALMONTE, Una triste canzone
Subject of this article is the thrilling story of the romance “Oh pourquoi donc”, titled also Les pleurs or Les pleurs des femmes (S301a), lyrics by Karolyna Pavlova.
Sources of the piece are: an autograph manuscript kept in Berlin (Staatsbibliothek zu Preussischer Kulturbesitz), a manuscript copy revised by Liszt, described in an article 1953 by Friedrich Schnapp but no more to be traced, a manuscript copy revised by Liszt newly bought by the Istituto Liszt in Bologna. Two original letters by Liszt contain references to the romance, but both are undated.
The romance was published first in Moscow 1844 by C. Grotrian, then in the third volume of the Works for fortepiano edited by Milstejn and recently by the Liszt Society Journal (1989).
The aim of the article is to hypothesize the date of birth of the romance and to illustrate the differences between the sources, especially between the “Russian” ones and that held in Bologna. The latter is the unique source which contains differences in the vocal line in the second verse in comparison with the first.
Even if the author did not succeed in revealing the secret of the romance, many new details of this piece are disclosed by her research.
CLAUDE KNEPPER, La correspondance entre Franz Liszt et Daniel Ollivier
The correspondence between Franz Liszt and his grandson and godson Daniel Ollivier (1862-1941) cover the 15 last years of the life of the musician (from October 1872 to July 1886). Eight letters are located: the seven first one in the chronological order are from Liszt, the last one from Daniel. The existence of eight other letters is attested: they are mentioned at their chronological place. We can still supposed that this amount represent only the quarter of the whole correspondence between Liszt and Daniel.
These letters, all transcribed from the original manuscripts (letters or drafts), show us an affectionate grandfather which pay attention to the progress of his grandson and a godfather concerned with the spritual growth of his godson.
MARTIATERESA STORINO, Il Konzertstück di Weber nell’interpretazione lisztiana
Liszt reserved his attention to the Weber’s Konzertstück during all his life: he played it, he teached it and he edited it. The autograph discussed in this article presents the six pages of drafts (never published) composed by Liszt for the edition of Konzertstück to be inserted in the Instructive Ausgabe klassischer Klavierwerke, a collection of piano’s work directed by Sigmund Lebert and published by Cotta.
The autograph is kept in the collection of manuscripts of Istituto Liszt (Bologna). It permits to extend the investigation on the relation between Liszt-Weber from the memories of Liszt’s interpretation of the work and his reduction for piano solo to a comparison among the drafts, the original version of Konzertstück by Weber and the edition for piano solo.
NICOLAS DUFETEL, Franz Liszt à Angers
This study examines the two little known concerts given by Liszt in Angers in december 1845, which took place in a larger tournée in the West of France (december 1845-january 1846). By means of newly found documents, the narrative shows in particular how Liszt’s improvisations were linked to the actuality of the local musical life. This article includes two unpublished letters by Liszt to the sculptor David d’Angers and the response of the latter. They clarify the genesis of the Beethoven monument in Bonn.
Possibly in October 1834 Liszt corrected for the fourth time his transcription of Symphonie fantastique by Berlioz. This proof with orthographical inserts is kept in the ancient collection of the library of the Conservatory of Dijon. In the present article all Liszt’s corrections and additions have been throughly described in order to show the accuracy with which Liszt supervised the publication of his compositions, not only the original ones but also the transcriptions of works by other author.